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Table of Contents:
SELF ! issue 1
"bobig" <bobig@bobig.com>
Bad Subjects CFP 2002-2003
lockard@socrates.Berkeley.EDU
M/C: Call for Contributors for the 'love' issue
"Axel Bruns" <snurb@snurb.info>
WAR ON IRAQ: What Team Bush Doesn't Want You To Know
Ododita@aol.com
COPYRIGHT DEBATE: Is self-regulation legitimate?
Sandy Starr <Sandy.Starr@spiked-online.com>
[Psrf] Photostatic Retrograde Archive, nos. 39, 40, and 41
Lloyd Dunn <ll@detritus.net>
__ Kill The President.org v2.2 __
"mason dixon" <mason@digitalconfusion.org>
North Korea and the Internet
Andreas Broeckmann <abroeck@transmediale.de>
Pixtream@sf Pixtream live! from serverfestival 2002
Matze Schmidt <matze.schmidt@n0name.de>
virus corp lives...
"t bethune~leamen" <tv_bl@hotmail.com>
new website
"Shelly Silver" <info@shellysilver.com>
Call for Papers 8.3 On Smell
Performance Research <performance-research@dartington.ac.uk>
------------------------------
Date: Sun, 22 Sep 2002 12:32:21 +0200
From: "bobig" <bobig@bobig.com>
Subject: SELF ! issue 1
bobig [ self portrait as a website]
http://www.bobig.com/self
photographies, collages,
peinture.........................................................
------------------------------
Date: Sun, 22 Sep 2002 14:05:11 -0700 (PDT)
From: lockard@socrates.Berkeley.EDU
Subject: Bad Subjects CFP 2002-2003
BAD SUBJECTS 2002-2003
- ----------------------
CALL FOR PAPERS
BAD SUBJECTS promotes radical thinking and public education about the
political implications of everyday life. We offer a forum for re-imagining
progressive and leftist politics in the United States and the world. We
invite you to join us and participate in the Bad Subjects project as we
enter our eleventh year of publishing.
We are always looking for material to publish in Bad Subjects. If you are
interested in writing an article for the magazine, please consult the
individual Calls for Papers below and contact the editors for an issue you
would like to write for (whether it be on the issue topic or something else
- -- we welcome non-topic submissions). The ideal Bad Subjects article is no
more than 3000 words and keeps specialized terminology to a minimum. If you
are interested in writing reviews for our Web site, please contact our
Reviews Editors Joel Schalit <riotgoy@ix.netcom.com> or Charlie Bertsch
<cbertsch@u.arizona.edu>.
TASTE (Issue 63)
Politics matter more than taste. But we always seem to let matters of taste
infiltrate our politics. Religious conservatives are "tasteless." The
activist who lets his sexual desires bleed into his political desires is a
"boor." The earnest men and women who distribute party literature at
demonstrations are mocked for their nerdy K-Mart attire. And the
twenty-somethings at another kind of party feel good about themselves
because they all like the music of band X or band Y. Why can't we draw a
firm boundary between our political and aesthetic judgments?
This issue of Bad Subjects is dedicated to exploring the politics of
taste. We're interested in a wide range of approaches, from essays that
make theoretical work on taste accessible to a broad audience to
first-person pieces that provide a window on particular subcultures.
Possible topics include: thinking with the body; popular culture vs. mass
culture; taste and smell; anything on the relationship between art and
food; the beautiful, the sublime, and the ugly; sexual preference as taste
preference; reconsidering the avant-garde; opiates of the masses; class,
taste, and culture; things you do with your tongue; Bourdieu -- and beyond
- -- for beginners; aestheticizing politics or politicizing aesthetics;
fetishism; "alternative" cultures; cultural programming from the womb
onward; taste and technology; flavor enhancement; rituals of the table;
anorexia and bulimia as metaphors (or not); self-fashioning now and then.
If you're interested in writing something for this issue, submit a query --
tastefully done, of course -- to issue editors Joel Schalit
[riotgoy@ix.netcom.com] or Charlie Bertsch [cbertsch@u.arizona.edu] as soon
as you can. Or just send in a polished essay by the drop-deadline of
October 15, 2002.
MARX AND THEORY (Issue 64)
"Bad Subjects issue 64 on Marx and Theory seeks to complicate --even
interrogate--the way Marxism has been misappropriated by the academic
left's over investment in poststructural theory and over-investment
cultural studies, an investment that ultimately betrays Marxism's
fundamental interest in a material economy. Leftist critiques are currently
filled with buzz-concepts such as "resistant peformativity", "alternative
citizenship", "discursive political praxis", "mimicry", "radical
hybridity", to name only a few.
The editors wonder, to what end? Can theories based on an immaterial
conception of cultural production, language, and politics "really" offer
forms of social critique and resistance? Essays might also critique
theories from the left that presuppose the text-as-reality in which the
production of different literatures of resistance--from genre bending
Musicscapes, graffiti,genre-bending, tattooed/pierced bodies, performance
art, football or literary texts--are viewed as all the resistance
necessary for a meaningful politics. Can cultural phenomena that resist
"mastery" really work as sites of resistance and as modes of political
intervention? Or are these theories simply participating in capitalist
modes of production and consumption that have no substance, or if there is
substance, is it one invested in a masculinist ontology, a colonial
metaphysics of "Whiteness", or an elitist academic performance? When
cultural discourse IS politics, what are the implications for "real"
coalition building among the working classes world wide to ensure the right
of all citizens to equal access to education,coalition-building, world-wide
medical care, common transportation, and communication?
Essays might also explore the dangers of the notion of power as not
locatable, a notion that directs the understanding of the actual
concentration of power away from a state that oppresses and exploits those
at the margins of class, race, sexuality, and gender "norms". In the ironic
and textually playful world of a so-identified Marxist poststructuralism,
power exists in the hands of no one social class nor any specific state
institution. Without a state or collective at the locus of power, power
becomes purely fluid and symbolic. Is a solely symbolic intervention
satisfactory? Please send email queries and essay submissions to issue
editors Frederick Aldama [aldamaf@hotmail.com] and Robert Soza
[r_soza@uclink.berkeley.edu]. Issue deadline: December 1st, 2002.
PANIC (Issue 65)
The experience of panic is like no other. It is fear and frenzy all mixed
up in a stew of undirected energy. Panic can be a gut reaction, a false
emotion, a motivator, or a entire lifestyle. Panic is a sound biological
reaction to immediate physical danger. But it also surfaces at odd,
inopportune moments. It is not just a personal thing: as the Wall Street
Journal and the New York Times tell us, something as big and abstract as
the stock market can panic. Panic may be felt as deeply personal, but it
is inherently political.
The Panic issue of Bad Subjects will consider those panicked moments of
modern life. From the garden variety panic attack to Dick Cheney hiding
out in his bunker -- we want to hear from you about panic as a condition of
modern culture and a metaphor for personal and political life. What fuels
the proliferation of panic all around us, and what does all this panic in
turn promote? Does panic have a style? And what should cause us to panic:
Terror? Sex? The continued destruction of the environment? Your own
shadow? Neoliberalism? The fresh spaghetti sauce stain on your expensive
new outfit?
Send queries and submissions to Zack Furness [zafst+@pitt.edu] or Jonathan
Sterne [jsterne+@pitt.edu]. Issue deadline: February 1st, 2003.
NATION (Issue 66)
Headlines in the US blare: Pakistan and India steadily march towards
nuclear war. The conflicting desires of Israelis and Palestinians flare
into unusually public display. Catholics, Protestants, and the British face
off in Northern Ireland. Yet for all the ink spilled in Western newspapers
over the conflicts in these regions, readers get little sense that the West
was there. Instead, we read sustaining fictions of two bellicose people,
two age-old hatreds, two more or less democratic nation-states, all in need
of the firm, unwavering hand of Western democracy to guide them.
Liberal interventionists argue that the foreign policy disasters of the
Clinton era require a restoration of American national will and of the
moral and military might to stop ethnic butchers and to set the world
right. And while the Bush White House tries to spin the war in Afghanistan
as America's first war to "liberate Third World women", the awareness that
there ever was or could be an American imperial era slips away.
Postcolonial history-in the majoritarian sense-is being redefined as a
history in which colonialism has no legacy and cannot explain contemporary
problems.
Meanwhile, economic globalization-the catchword of governments,
corporations, and media-apparently bounces over the speed bump of
anti-globalization movements (movements that are increasingly global).
President Bush's "fast track" victory-granting him the authority to
unilaterally write trade agreements with other countries-is only the latest
step towards an integrated elite and a fragmented world.
As jingoist patriotism and national identity sweeps across the United
States, American power sponsors nation building in Afghanistan and nation
dismantling in Iraq, and confronts national and religious movements with
their own imperial dreams. We ask: does nationalism have any relevance for
progressive politics today? Is the concept of a nation inherently
repressive? What prospects for liberation does it offer, and at what cost?
What lessons must we learn from the national movements of the 20th century,
and what mistakes must we prevent? What accounts for the enduring
popularity of nationalism's promises?
We're looking for a broad, international range of viewpoints on nationhood,
globalization, and national and international rivalries. Possible topics
include: national, international, transnational, and global identities; the
effect of religious rivalries on national identity; the figuration of
international rivalries in sports and other arenas; representations of
nationhood and the body in hip-hop and popular culture; corporate branding
and national identity; the power of corporate imperialism versus national
sovereignty; concepts of the nation and internationalism in organizing
against globalization; the localization of language in books to promote
nationhood (for example, translating Harry Potter for American audiences);
the relevance of Nation of Ulysses's 13 Point Plan to Destroy America to
contemporary political life; the cosmic fellowship of One Nation Under a
Groove. Send your thoughts to issue editors Aaron Shuman
[Ashuman101@aol.com] and Elisabeth Hurst [lizyjn@earthlink.net]. The
deadline for submissions is April 1st, 2003.
FAMILY (Issue 67)
Languages increasingly need new words for family members beyond mom, dad,
the kids, grandparents and so on. Stepmothers and stepfathers, then
half-siblings? Stepsiblings? It seems everybody also has twisted custom
designations, like "I've always called Brenda 'Auntie', even though she's
really my father's best friend". Then there's the queer family. As of
2002, the New York Times accepts advertisements for same sex commitment
ceremonies, published side by side with wedding announcements. The
California State Assembly wants to extend in testate rights to the
registered partner in a domestic partnership. In state after state, courts
are granting people the right of second parent adoptions. So-called
"Florida" marriages are increasingly common among the elderly and
disabled. Increasingly, the question of who qualifies as "family" is being
determined not just by governments and religious denominations, but also by
corporate interests. In 1884 Friedrich Engels expressly linked the family,
private property and the state itself. To what extent do we still do so?
Who decides what a family is? In a world where how we constitute a family
seems to change dramatically from decade to decade, what do we mean when we
refer to our family? Let's find out. For this issue of Bad Subjects, we're
looking for political perspectives on stable and explosive nuclear
families, functional and dysfunctional households, family secrets,
monogamy, polygamy, polyandry, communes, parenting, generational conflicts,
loving and loveless couplings, lineage and heritage (both civil and
religious), adoption. Brothers and Sisters, send your essays to Cynthia
Hoffman [choff@lmi.net] and Mike Mosher [mosher@svsu.edu] by June 1, 2003.
ORGANIZE (Issue 68)
Thomas Jefferson is reputed to have quipped that if he could go to heaven
only after shedding his affiliation with a political party, he would prefer
to have his name stricken from the guest list. Today, however, it seems
increasingly common for political life to be lived in private. Across the
political spectrum from the micro-militias of the extreme Right to the
nebulous networks of the postmodern Left organization seems locked in a
steady decline. Is this, as many have suggested, a positive development,
leading in the direction of greater freedom for opinion and action? Or does
the decline of organized politics leave ordinary citizens weakened in the
face of powerful elites? Is 'organization' itself a suspect principle,
leading down a slippery slope from housecleaning to the Holocaust?
This issue of Bad Subjects looks to examine the problems, perils, and
positive things that can come from political organizing and organizing
politics. Can organizing your bookshelves or CDs or not be a political
statement? What does it take to be organized? Are time management, day
planners, PDAs and pocket protectors tools of The Man or tools for
liberation? And can or should politics even be organized in our time? Put
this on your to-do list: send your submissions to J. C. Myers
[jcmyers@csustan.edu] or Scott Schaffer [scott.schaffer@millersville.edu]
no later than August 1, 2003. Time's a-wastin'.
SLAVERY (Issue 69)
In 1853, concerning liberal politics that protested foreign slavery but
ignored its own oppressions, Karl Marx connected the struggle against wage
slavery directly with the struggle against race slavery in the US southern
states. "The enemy of British Wage-Slavery has a right to condemn
Negro-Slavery...a Manchester Cotton-lord -- never!" That same parallel
convinced early19th-century trade unionists and readers of Connolly's 1913
manifesto, "To the Linen Slaves of Belfast". Slavery has functioned
throughout the modern era as a connective metaphor in political rhetoric.
The slaveries of everyday life continue no less today than under classic
slave systems. Economic globalization drives wages continually downward in
order to provide dominant economies with cheaper goods, at the expense of
workers in Asia, Latin America and Africa. Impoverished neo-slavery,
absence of labor rights, and subordination to capital represent the terms
of existence neo-liberalism has established for uncountable hundreds of
millions of workers. Large segments of the sex industry function through
violence against women and sex slavery. For some -- like the Palestinian
'captive nation' -- enslavement assumes the form of collective oppression
and denial of equal political entitlement.
Slavery remains one of the most relevant descriptions of contemporary life,
yet it gets treated as either history or rare exoticism. Bad Subjects
issue 69 will re-explore the metaphor and reality of slavery. Worklife,
economic, gender/sex, national, religion, social discipline and prisons, or
other forms of slavery: we are looking for non-fiction prose essays of
2500-3000 words that expand the paradigm. We will be especially interested
also in witness essays addressing the forms of neo-slavery described in
Bales' Disposable People. The essays we are looking for might remember the
original words of the Internationale: "Esclaves, debout, debout / Le monde
va changer de base / Nous ne sommes rien, soyons tout."
Contact issue co-editors Joe Lockard [Joe.Lockard@asu.edu] or Aaron Shuman
[aShuman101@aol.com] with essays or essay proposals. The deadline is
October 1, 2003.
------------------------------
Date: Mon, 23 Sep 2002 18:56:43 +1000
From: "Axel Bruns" <snurb@snurb.info>
Subject: M/C: Call for Contributors for the 'love' issue
M/C - A Journal of Media and Culture
<http://www.media-culture.org.au/>
Call for Contributors
The University of Queensland's award-winning journal of media and culture,
M/C, is looking for new contributors. M/C is a crossover journal between
the popular and the academic, and a blind- and peer-reviewed journal.
To see what M/C is all about, check out the Website, which contains all the
issues released so far, at <http://www.media-culture.org.au/>. To find out
how and in what format to contribute your work, visit
<http://www.media-culture.org.au/contribute.html>.
We are now accepting submissions for the following issue:
'love' - article deadline: 21 October 2002
issue editors: Donna Lee Brien & Helen Yeates
"Smack habit, love habit - what's the difference? They both can kill
you." - Helen Garner, Monkey Grip
>From the tennis scores to computer viruses, love is all around us, but do
we live in an age where "Love is all you need"? In the post-AIDS, post-
September 11, globalised multimedia present is love an outmoded concept or
more important than ever before? Why is it hard to even say the word
without imagining a sea of Barbie pink and the cringe-making verses from
greeting cards?
Love, its trials and the search for it, imbues media culture. Television
presents every night contemporary negotiations of love, youth, sex and
friendship in such programs as Friends, The Secret Life of Us and Sex in
the City. Love knows no age-bounds, as the film Innocence shows us. While
Lola runs for love, others die for love, with Moulin Rouge popularising
once again the evergreen 'doomed love' syndrome.
Sales of romance novels from Bridget Jones' Diary to Mills and Boon are
booming, Internet dating is a worldwide phenomenon, chat rooms are filled
with punters looking for their perfect match while Jerry Springer and
reality TV shows bring particular versions of real-life love and dating
into everyone's lounge room. Every Valentine's Day we are subjected to the
shopping mall's image of love: cute, pink, red, sleazily sexy (think
feathered lingerie here) and expensive for what you get.
Queer love, gay and lesbian love, straight love; love exists potently
across the sexuality spectrum, with Australian films like Head On and
Monkey's Mask exploring sexuality and identity in confronting ways. Love
can be explosive, taboo territory, challenging cultural, racial and
religious divides. Love can also involve aberrant longings such as
necrophilia and vampire love.
Lost love, first love, or grown-up love - what is love and what does it
mean? We use the verb frequently, saying we love sport, love sex, love
art, love poetry, love KFC, and some people really do love their Apple
Macs. Most of us love our mums. But what is love? Is it adoration,
worship, affection, caring, passion, ardour, addiction, covetousness,
desire, lust or just plain unadulterated greedy obsession? Love can lead
to stalking, to jealousy, to fatal attractions.
Does love matter? Is love a gendered concept or a psychoanalytical one?
Can love be theorised? Is it an obsolete, antiquated, reactionary and
limiting idea, is love ready to be remade in the image of the 21st century
into something new and better, or is love the one constant that makes us
human? If we have pig's hearts transplanted into us will we love the same?
And if they were dog's hearts would we love better? Is there a border
between love and sex, and what about self-love and platonic love?
Would you die for love or kill for love or is it for you a case of
"What's love got to do with it?" There are love-apples, love affairs, love
children, love letters and love-handles to ponder, but whatever your take
on this thing called lurve, M/C welcomes articles and creative works on
the theme.
issue release date: 20 November 2002
Length: around 1500 words; if you wish to be considered for the feature
article, the length can be 3000 words.
Please send contributions to d.brien@qut.edu.au (+61 7 3864 1005) or
h.yeates@qut.edu.au (+61 7 3864 1231)
Axel Bruns
- --
M/C - A Journal of Media and Culture snurb@snurb.info
The University of Queensland http://www.media-culture.org.au/
------------------------------
Date: Mon, 23 Sep 2002 00:25:19 EDT
From: Ododita@aol.com
Subject: WAR ON IRAQ: What Team Bush Doesn't Want You To Know
Please see the following link:
<< http://www.washingtonpost.com/wp-dyn/articles/A25134-2002Sep16.html >>
WAR ON IRAQ: What Team Bush Doesn't Want You To Know
by William Rivers Pitt
with Scott Ritter, former U.N. weapons inspector
"INSTANT BOOK " PUTS KIBOSH ON BUSH ADMIN 'S WAR OF CONVENIENCE
In an "instant book" entitled War On Iraq, scheduled for release on September
23, author William Rivers Pitt talks to former U.N. weapons inspector Scott
Ritter (a self-described conservative Republican) and debunks the key
arguments for war on Iraq. These are that Iraq has a viable stockpile of
weapons of mass destruction and will soon have nuclear capabilities, that
Saddam Hussein is an ally of Osama bin Laden and al Qaeda, and that any new
Iraqi regime would be friendlier to the West than Hussein's. In the tradition
of Thomas Paine, War On Iraq is intended for citizen campaigning.
In War On Iraq Pitt argues that, unlike the televised in-and-out Persian Gulf
War; the current conflict will cause heavy casualties on both sides, the
destabilization of the Middle East, and a terrible backlash of terrorist
attacks on the United States. Pitt argues that a war on Iraq will give rise
"to exactly the kind of Islam vs. the West al Qaeda sought when it attacked
the World Trade Center a year ago." William Rivers Pitt offers a non-partisan
analysis of the current situation, including a brief history, and conducts a
pointed interview with former U.N. weapons inspector Scott Ritter to
dismantle the myths about Iraq 's present weapons program and to uncover the
neo-conservative forces behind the White House 's fixation on Iraq. William
Rivers Pitt argues that the threatened conflict will be playing into the hand
of Osama bin Laden (who would like to see Saddam Hussein deposed as much as
the Bush administration) and that any attack at this moment in history would
be both unprovoked and illegal. Pitt then lays down the framework for a
reasonable, informed debate. The book closes with a stark forecast for
American troops if a ground war ensues and urges the nation 's leaders to
seek a diplomatic solution before it is too late. An appendix provides
senator contact information.
• Weapons of mass destruction unlikely
• No tie between Qaeda and Hussein
• The problems with regime change
• The rise of terror attacks in U.S.
• 125,000-copy First Printing
• Grassroots campaign In Major Cities
• Tool for Protest Rallies
• http://www.war-on-iraq.com
William Rivers Pitt is a writer and political analyst from the Boston area,
where he also works as a teacher. His new book, The Greatest Sedition is
Silence, will be published soon by Pluto Press.
Scott Ritter, former U.N. weapons inspector, lectures around the country and
is an outspoken opponent of the Bush administration 's stance toward Iraq. He
is the author of Endgame (1999).
WAR ON IRAQ
by William Rivers Pitt with Scott Ritter
ISBN:1-893956-38-5 (Trade Paperback); Pub:Sept/Oct. 2002
Pages:96; Price:$8.95; Trim:4.2 " x 6.8 ".
Nonfiction/Current Events/Politics
------------------------------
Date: Mon, 23 Sep 2002 18:34:22 +0100
From: Sandy Starr <Sandy.Starr@spiked-online.com>
Subject: COPYRIGHT DEBATE: Is self-regulation legitimate?
- IS SELF-REGULATION A LEGITIMATE APPROACH TO PROTECTING COPYRIGHT ON THE
INTERNET? -
The online debate 'Copyright in the digital age', hosted by the online
publication spiked and sponsored by the European Commission research project
RightsWatch, continues. The debate can be found at:
http://www.spiked-online.com/copyright
The debate's initiating papers, which make the case for and against
self-regulation on the internet, are written by:
- DAVID STOLL - composer, board director at British Music Rights
- SANDY STARR - coordinator, spiked-IT
So far, six commissioned responses to the debate, written by experts in
the field of copyright, have been published. These responses are written by:
- DR DAVID TOURETZKY - Carnegie Mellon University
- MICHAEL FRAASE - partner, Arts & Farces LLC
- DR CHRIS EVANS - founder, Internet Freedom
- JULIA HÖRNLE - Institute for Computers and Communications Law
- PROFESSOR GIOVANNI COMANDÉ - chair, Southern Europe RightsWatch Working
Group
- PROFESSOR PETER BLUME - chair, Northern Europe RightsWatch Working Group
Further expert responses are due to be published this week.
Several reader responses have also been published.
The debate, although moderated, is open to contributions from anybody.
Contribute by clicking on 'Join the debate' in the right-hand menu.
All debate contributions will be permanently archived.
If you have any enquiries about this online debate, contact Sandy Starr
at spiked:
Tel: +44 (020) 7269 9234
Fax: +44 (020) 7269 9235
Email: Sandy.Starr@spiked-online.com
------------------------------
Date: Tue, 24 Sep 2002 21:02:29 +0200
From: Lloyd Dunn <ll@detritus.net>
Subject: [Psrf] Photostatic Retrograde Archive, nos. 39, 40, and 41
# If you no longer wish to recieve e-mail announcements from the
# Photostatic Retrograde Archive, simply let us know and we will remove
# your name from the mailing list.
# - - - - - - - - - - - - - - -
Triple Release
now available for download, retrograde release nos. 9, 10, and 11,
october 2002:
PhotoStatic 39, PhotoStatic 40, and Retrofuturism 12
descriptions:
http://psrf.detritus.net/vii/p40/index.html
http://psrf.detritus.net/vii/p39/index.html
http://psrf.detritus.net/r/12/index.html
direct downloads:
http://psrf.detritus.net/pdf/p39.pdf
http://psrf.detritus.net/pdf/p40.pdf
http://psrf.detritus.net/pdf/r12.pdf
Descriptions. To mark the end of the current phase of Photostatic
Magazine, a triple issue was released. It included the largely visual
No. 39, the mostly text No. 40, and the newly independent
Retrofuturism 12, which itself included the supplemental Yawn 8,
marking the beginning of the Art Strike 1990-1993. [PhotoStatic 39:
Visual] Featuring one-of-a-kind covers produced by Mark Pawson
photopied with color toner onto sections of salvaged billboard
sections, this issue is exclusively composed of visual works (some
with text elements). [PhotoStatic 40: Verbal] This number forms the
text core of the triple issue. The brilliant mail art humorist Al
Ackerman offers the total hoot of "Rotational Situationism:
'Levi-Strauss' Style", which is in turn counterweighted by the
scholarly gravity of Harry Polkinhorn's "On Difficulty in Verbal
Visual Art'. Additionally, an obscure, and prescient, article written
by Edgar Allen Poe entitled "Anastatic Printing" lays out a
technology not unlike xerox a century before it came into being.
[Retrofuturism 12] For the first time, Retrofuturism appears as its
own issue, outside of the pages of PhotoStatic (up until this time,
it had appeared only as a sort of extended conceptual thread in the
pages of its parent publication).
Contributors include. [p39] Mark Pawson, d'Zoid, Bill DiMichele,
Serse Luigetti, Joe Schwind, Joel Score, Ralf Schulze, Margent Common
Wheel, John F Kelly, Dadata, Roy R Behrens, Jeff Plansker, Dominique
LeBlanc, John Stickney, Malok, Thomas Hibbard, Jean-François Robic,
Joel Lipman, Françoise Duvivier, Pandora's Mailbox, Philippe Billé;
[p40] Ll. Dunn, Harry Polkinhorn, Ezra Mark, Pascal Uni, Tim Coats,
Bob Grumman, Al Ackerman, Géza Perneczky, Edgar Allen Poe, Ge(of
Huth), R. K. Courtney, Eric Harold Belgum; and [r12] Ll. Dunn, The
Tape-beatles, Norm Ingma, Brad Goins, Neil K. Henderson.
Project Overview: The Photostatic Retrograde Archive serves as a
repository for a complete collection of Photostatic Magazine,
Retrofuturism, and Psrf, (as well as related titles) in electronic
form. We are posting issues in PDF format, at more or less regular
intervals, in reverse chronological order to form a mirror image in
time of the original series. When the first issue, dating from 1983,
is finally posted in several year's time, then this electronic
archive will be complete.
issue directory: http://psrf.detritus.net/issues.html
project URL: http://psrf.detritus.net/
- --
# Photostatic Magazine Retrograde Archive : http://psrf.detritus.net/
# - - - - - - - - - - - - - - -
# E-mail | psrf@detritus.net
------------------------------
Date: Thu, 26 Sep 2002 15:18:46 -0500
From: "mason dixon" <mason@digitalconfusion.org>
Subject: __ Kill The President.org v2.2 __
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`"""' '`"`"`"'` `'` `' ``' "`''` ''" `""` '''" '`" `"`'`"'` `'` `' ```"'`
`'` `' ```"'` `'` `'
The Organs of Our Mechanical Bodies
featuring...
Adbusters.org
Orlan
Asymptote Architecture
Fred Fenollabbate
and Shannon Roberts
also premiering KTP Radio with the sounds of...
Negativland and John Oswald
____________
||||||||||||||||||||||||||||
|==\\_____//==
|===\\___//===
|====\__/====
|=====_=====[
\_____________www.killthepresident.org______________
================================================
- ------=_NextPart_000_0048_01C26570.02528460
------------------------------
Date: Fri, 27 Sep 2002 14:27:44 +0200
From: Andreas Broeckmann <abroeck@transmediale.de>
Subject: North Korea and the Internet
North Korea and the Internet
an extensive report on North Korean ICT policies and initiatives
http://north-korea.narod.ru/dprk_internet.htm
------------------------------
Date: Fri, 27 Sep 2002 14:19:41 +0200
From: Matze Schmidt <matze.schmidt@n0name.de>
Subject: Pixtream@sf Pixtream live! from serverfestival 2002
_
|°|
|_| Pixtream
Pixtream@sf
Pixtream live! from serverfestival 2002, Dortmund/Germany
28.9.2002, 22:00-00:00 h
Pixtream live! from serverfestival 2002, Wiesbaden/Germany
29.9.2002, 17:00-23:00 h
Subscribe: pixtream-subscribe@yahoogroups.com
http://www.n0name.de/pixtream
------------------------------
Date: Sat, 28 Sep 2002 22:31:58 +0000
From: "t bethune~leamen" <tv_bl@hotmail.com>
Subject: virus corp lives...
virus corp is in the montreal biennale. the 1st link is the main page of
the biennale and go to WEB ART on the left side, or you can use the 2nd
link and find my name on the left side (tara bethune-leamen). thank you for
looking, and thank you to all who worked on it! (also-my new website will
be up soon.)
tara
http://www.ciac.ca/biennale2002/en/information.htm
http://www.ciac.ca/no_16/en/cadre.htm
" Le chassé doit découvrir comment devenir le chasseur "
(Nie Ascherson, cité par David Garcia et Geert Lovink, in "ABC des médias
tactiques", Connexions, p : 76)
- ------------------------------------------------------------------------
STATEMENT:
"Virus Corp allows the visitor to unleash a pseudo-virus, in the form of an
animated creature (Virus Corp), on a corporate website of their choice. The
creature is 'in-CORP-orated' in both interpretations of the word; having a
physical body and being legally (omnipotently) incorporated.The creature's
design is influenced by the Shishi Gami (Great Forest Spirit/the God of Life
and Death) from Hayo Miyazaki's anime feature 'Princess Mononoke'. In the
film Shishi Gami dwells in a glade deep in the forest. With each step all
life blooms beneath him, only to dissipate immediately. He is revered as the
giver and taker of life.These corporations which act as gods with omnipotent
rights due to their financial assets have met a new foe: Virus Corp
symbolically goes head to head with the virtual representations of
corporations on the internet."
(Tara Bethune-Leamen)
- ------------------------------------------------------------------------
The creature in Virus Corp is a simplified figure, exaggerated,
cartoon-like, vibrantly coloured, and representing a kind of mythical stag
or reindeer, with no eyes or mouth and large paws. A blind, primitive animal
force that, once thrown like a foreign body on a site of the visitor's
choosing, joyfully stomps and tramples on it, from right to left and left to
right, adding the marks of its passage, which it gradually superimposes on
those elements that composed the original content. From this, another image
results on the screen, as the accumulation of traces leaves unexpected forms
that thwart the site's overly utilitarian design to produce a muddled,
haphazard, and impermanent (though momentarily printable) "art work."
Bethune-Leamen gives us the opportunity, not to destroy or otherwise harm
the invested sites (as would a "true" virus), but more peacefully and simply
to mark the territory of our chosen sites with our passage, thanks to the
Shishi Gami's coming and going, substituting itself for us and becoming our
representative. The more powerful the "victim," of course, the more
satisfying the transgression. From this point of view, the work in question
greatly resembles graffiti culture, where the fact of having tagged big name
ads, for instance, constitutes a feat and at the same time a critique
(invariably playful however) of the consumer world, which, alas, becomes
increasingly confused with the only known or recognized world, one with no
outlet.
Thus, as emphasized in the introduction reproduced above, the struggle here
is played out at the level of "virtual representations." For the Shishi Gami
is only a "pseudo-virus" - doubly virtual, as both digital "creature" and as
a symbol. It can, by turns or simultaneously, represent nature's revenge and
that of the animal world over culture and the human realm, the irruption of
disruptive play in capitalism's marketing logic, or the return of the
suppressed. It is foremost a war of images.
"I am speaking of an activism that has style. I am speaking of greater
critical awareness of what style is rather than of the correct use of such
and such a program, icon, colour scheme, or actual motif or font." (Geert
Lovink in David Garcia and Geert Lovink, in "GHI des media tactiques,"
Connections, p: 79)
To summarize, Bethune-Leamen shows us in her Virus Corp that it is in style
that aesthetics and ethics, form and content, meet and merge. But the style
of this work, with its vibrant colours taken from Japanese anime and its use
of Flash, doesn't have much to do with net.art purists. In this, Virus Corp
may be seen as typical of an advance in the field of Web art, drawing its
inspiration from the origins of Pop Art, which it regenerates, instead of
from an often too-rigid and too-narrow minimalism.
A.-M. B.
Tara Bethune-Leamen
tv_bl@hotmail.com
3v Productions Corp.
http://www.3vcorp.com
_________________________________________________________________
Join the world’s largest e-mail service with MSN Hotmail.
http://www.hotmail.com
------------------------------
Date: Sun, 29 Sep 2002 13:36:38 -0400
From: "Shelly Silver" <info@shellysilver.com>
Subject: new website
Dear Friends:
I'm pleased to announce the launching of a website on my video &
installation work:
www.shellysilver.com
The site was designed by the artist John Menick.
Please pass on the info to anyone you think might be interested.
Best,
Shelly
many apologies for cross-postings
& please let me know if you want to be removed from the list
------------------------------
Date: Mon, 30 Sep 2002 14:40:47 +0100
From: Performance Research <performance-research@dartington.ac.uk>
Subject: Call for Papers 8.3 On Smell
With apologies for any cross postings
Performance Research
Vol. 8 No. 3 (Autumn 2003)
'On Smell' - Call for Contributions
'On Smell' will be the third issue of Performance Research, Vol.8,
Nos.1-4, 2003 which explores the body and the senses in performance
in four related issues: 'On Voices', 'Bodiescapes' 'On Smell' and
'Moving Bodies' (tbc).
The issue is jointly edited by Richard Gough - editor and co-founder
of 'Performance Research', Centre for Performance Research/University
of Wales Aberystwyth, UK; and guest editor Judie Christie -
Executive Producer, Centre for Performance Research, Wales, UK.
Deadlines are as follows:
Proposals: October 30th, 2002
Draft manuscripts: December 30th, 2002
Finalized material: February 15th, 2003
Publication Date: September 2003
'On Smell' investigates the olfactory in performance and as a
potential for new performance work as well as the performative
aspects of the olfactory in daily life.
The relationships between smell and performance are many and diverse
- - historical, cultural, social, aesthetic - and there are many
historical precedents for the current interest in the olfactory
potential in performance. The editors invite contributions that
explore these relationships, either discussions of work that use
smell as an aesthetic or representational strategy, or broader
discourses about smell, especially in regard to identity,
commodification, psychology, neurology, medicine, therapy and
environmentalism.
We invite academics and practitioners working in the field to
contribute on aspects of the olfactory (smell, aroma, fragrance) in
performance ranging from contemporary performance and its analysis,
to historical accounts of rituals, religious ceremonies and civic
events, circus, magician's acts, equestrian theatre and other popular
entertainments from 'live art', performance art, installation and
gallery-based works to theatre productions and 'daily life'
occurrences in markets, trade fairs and shopping malls. We are
interested to receive proposals on the olfactory in performance about
particular periods and stylistic conventions of theatre - e.g.
Classical, Symbolist, Futurist - and most especially contemporary and
innovative use, methods and approaches. We are curious about the
range of possibilities for the use of smell in performance: as
illustration, through to evocation, provocation, disorientation,
alienation and immersion; to enhance, contra-indicate, seduce,
repulse, and trigger memories and associations. We welcome proposals,
speculations and manifestos about the possibilities for an
'orchestration' of smells in performance, or a dramaturgy, a
choreography or an 'olfactography'.
The Olfactor in Performance
[...] smell has returned to the theatre with a vengeance at the turn
of the 21st century.
(Banes, 2001)
'It stank' may not necessarily denote a less than positive response
post performance but rather a literal description of one of its
'effects'. Despite the multisensoriality - and sensorial
interdependence - of theatre and performance, sight and hearing have
been established as the dominant sensorial means, with less privilege
accorded to taste, touch, and smell. In Western culture, smell seems
to be the most undervalued of all the senses, as evidenced not least
by the linguistic adoption of sensorial terms for commendation or
compliment - visionary, good taste, a light touch, a good listener -
as opposed to the mainly derogatory examples in the smell field (with
the exception, perhaps, of the slightly ambivalent 'fragrant'.) The
demotion of smell in western cultures in line with the advance of
scientific, rational thought and advances in sanitation would appear
to be concurrent with a similar 'deodorization of the theatre' with
the advent of naturalism. However, smell is now enjoying a
renaissance in both theatre and scientific research.
It may well be that the rash of olfactory performances in the West is
yet another plot turn in the continuing narrative of the theatre's
anxiety towards the mass mediaŠ to carve out a niche for theatre
where "liveness" makes a difference. (ibid.)
In many non-western cultures, smell has been accorded a higher status
in everyday life, ritual and performance, with sophisticated
classification and codification systems determining social and
cultural meaning.
[Š] often the ethnicity or nationality invoked by the olfactory
effect is an exotic "Other" - that is, the exotic "Other" is
represented precisely as possessing a smelly (or fragrant)
identityŠŠ.and, in doing so, creates an ideological representation of
the West as odourless and therefore neutral and the norm. (ibid.)
The strong link between smell and memory (and emotion) has been
well-documented in both science and literature - indeed, now known as
the 'Proust Effect'. Scientific research has located olfactory
functions in the subcortical 'pre-cognitive' limbic part of the brain
and furthered neurological understanding of the role of emotion in
cognition and behaviour.
In humans, the relationship between cortex and subcortical brain is
not one of dominance and hierarchy but of multiplex reciprocity and
interdependenceŠ it is an emotional evaluation, not a reasoned one,
that ultimately informs our behavior.
(Cytowic, 1995)
Performance and smell are both unrecordable and ephemeral, both
'energetic', and 'dynamic', that is, always in the state of
'becoming' rather than 'stasis'. How can such phenomenon be
documented; described, recorded and scored; how can the effects be
planned, predicted and realised?
The following are categories within a taxonomy of theatrical aroma
design proposed by Sally Banes in her inspirational article
'Olfactory Performance':
to illustrate (words, characters, places, actions)
to evoke (mood, ambience)
to complement or contrast (with aural/ visual signs)
to summon specific memories
to frame the performance as ritual
to distance (to serve as a distancing device)
These categories are equally useful when considering the growing
trend of atmospherics in commercial practice which is making an
increasing strategic employment of smell and aroma - smellscapes,
concerts of scents, olfactory scenographies, urban perfuming,
olfactory logos - in retail and marketing contexts to manipulate
consumer behaviour, and which has both contributed to and benefited
from recent research into smell.
Research, [...] has shown that aromas can also: Encourage customers
to make more considered purchase decisions; Improve the perception of
the quality of merchandise; Trigger impulse purchases; Increase
average spend per purchase.
(The Aroma Company (Europe) Ltd.,2002).
References:
Aroma Comany (Europe) Ltd. (2002) http://www.aromaco.co.uk
Banes, Sally (2001) 'Olfactory Performance' in TDR Vol.45, No.1
(T169) Spring, NYU & MIT.
Cystowic, Richard E. (1995) 'Synesthesia: Phenomenology and Neuropsychology' in
Psyche Vol.2 No.10 (ISSN: 1039-723X)
http://psyche.cs.monash.edu.au/v2/psyche-2-10-cytowic.html
We are looking for - and looking forward to - submissions from any
area of performance research, practice and scholarship. The editors
also invite responses to previous contributions on related subjects
published in PR, and especially welcome proposals for both textual
and visual work that makes use of the resources of the page. We are
interested not only in conventional academic papers, but also in
performance scores and other documents, interviews, discussions,
collaborations between artists and academics; also critical review
essays of performances and publications.
ALL proposals, submissions and general enquiries should be sent direct to:
Linden Elmhirst - Administrative Assistant
Performance Research
Dartington College of Arts
Totnes, Devon TQ9 7RD UK
tel. 0044 1803 862095
fax. 0044 1803 866053
email: <performance-research@dartington.ac.uk>
web: http://www.performance-research.net
Issue specific enquires should be directed to:
Richard Gough <rig@aber.ac.uk>
or
Judie Christie <juc@aber.ac.uk>
Performance Research is MAC based. Proposals will be accepted on hard
copy, disk or by e-mail (Apple Works, MS-Word or RTF). Please DO NOT
send images without prior agreement. For complete guidelines please
see http://www.performance-research.net.
Submission of a proposal will be taken to imply that it presents
original, unpublished work not under consideration for publication
elsewhere. By submitting a manuscript, the author(s) agree that the
exclusive rights to reproduce and distribute the article have been
given to Performance Research.
*******
- --
Linden Elmhirst
Administrator
Performance Research
Dartington College of Arts
Totnes, Devon TQ9 6EJ UK
Tel : +44 (0)1803 862095
Fax : +44 (0)1803 866053
e-mail : performance-research@dartington.ac.uk
http://www.performance-research.net
------------------------------
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