announcer on Fri, 23 Jan 1998 18:37:34 +0100 (MET)

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<nettime> announcer 018

NETTIME'S WEEKLY ANNOUNCER - every friday into your inbox
send your PR to in time!

2...Martine Brinkhuis.....Call for proposals: AVATAR
                          Amsterdam, 98.04.18-05.03
3...Matthew Fuller........Kittler book
4...Tommaso netstrike x chiapas
5...Geert Lovink..........ars 98 on Infowar
6...Tiia Johannson........more cheap art
7...Dominic Hislop........Photographs taken by Budapest's
8...Andreas Broeckmann....BLASTforum: Artistic Practice in
                          the Network
9...David Cross...........'10'
                          Montage Gallery, Derby


>From!A.Amir Thu Jan 22 19:19:50 1998
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Date: Thu, 22 Jan 1998 18:01:43 +0000 (GMT)
From: aharon <>
To: Pit Schultz <>
Subject: MindSpec
In-Reply-To: <>
Message-Id: <>
MIME-Version: 1.0
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Status: O

Whether in general or virtual reality, we tend to super impose ourselves
on whatever it is we encounter. Stuff we encounter ('artistic' or 'not'),
is being filtered, given new identities, possibilities, meanings,
definitions, directions, significances, memories, imaginations, ideas and
concepts. These processes are some of the great mysteries in life, they
add the creative element to mere existence.

MindSpec, as most of the works in the quest site
(, is designed to be downloaded and
expressed freely by people. In fact, MindSpec is available only if a
person downloads it.  This strategy relates to MindSpec s internal
structure which allows filtered interaction with every part - hence
turning the work into a fully pledged medium. Mindspecing is the practice
of using the medium, expressions done through the medium belong to the
mindspecer.  By mediumizing, working for making mediums, one is free of
authorship and expressive control while allowing people to express and
gain insights through the medium.

Once downloaded, MindSpec can be used with it's working prototype and/or
be used for individual expression by adding and changing the make up of
its elements. This requires practice of both choice and knowledge. Choice
of how to use and express with the medium, and some elementary knowledge
of VRML (, HTML ( and
JavaScript (  MindSpec allows a filteration
of personal wishes, needs and abilities as to how mindspecer would like to
experience Virtual Reality based on VRML.  These needs, abilities and
wishes can reflect both the spec of one s mind and serve as an expression
of personal spectacles through which life is being filtered. MindSpec
allows you to celebrate your consciousness, to express whatever it is that
forms the frames, the spec and spectacles of your mind. Using the medium,
you will be able filter dimensions and elements of your mind to allow them
be expressed in virtual environments.

MindSpec is an interface medium through which vrml environments are
filtered by the spectacles of your mind. You can make and/or activate
elements which express parts of your personality such as:
     - to view/experience any vrml file/s through.

To enjoy MindSpec, you will need to:
*  download and open the medium on your machine.
*  have Netscape 4.3 (
*  have CosmoPlayer 1.0.4 or 1.0.3.

If you have any problem to obtain these versions of CosmoPlayer Netscape -
please email me and I ll email you the software.

MindSpec is part of quest site -


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Of postmodern times and multiple identities
Amsterdam,  18/4-3/5/98

Organized by: Axis, De Balie, Maatschappij voor Oude en Nieuwe Media and

Dear Colleague(s),

Thanks to the generous support of the Amsterdam Fund for the Arts and the
Mondriaan Foundation, Paradox, Axis and De Balie are happy to announce
AVATAR, an event consisting of exhibitions, a symposium, and a special party
around the phenomenon of multiple personality.
The event will take place at a  number of Amsterdam based institutions from
April 18 - May 3. Main exhibition site will be a 12th C church in the heart
of the red light district.

An outline of the concept is following this message. We would greatly
appreciate your suggestions for projects to be included, both from artists
(for the exhibition) or theoreticians (for the symposium or MOO Meeting as
it will be called). Please feel free to distribute this message to others.

The deadline for proposals is close: January 15, 1998.
It is our intention to make the exhibition available for take-over.

Thanks in advance for your help,

Bas Vroege (Paradox), Martine Brinkhuis (De Balie), Deanna Herst (Axis)


Of postmodern times and multiple identities

organized by: Axis, De Balie, Maatschappij voor Oude en Nieuwe Media and
Amsterdam,  18/4-3/5/98

	Intensive users of the Internet are familiar with the concept of the
Avatar. An "Avatar" is an "Alter Ego," a disguise that an Internet user puts
on in "Cyberspace" when communicating on "websites," "chatboxes" or "MUDS"
(Multi-User Dungeons or Domains). Because of the deceptive play of
"Avatars," no one actually knows with whom he or she is really in contact.

 The form of the "Avatar" is to a great extent determined by how creative
the user is. At the simplest level, you can pose as a man when you are a
woman, or vice versa, pose as old while being young, assume an entirely
different profession, etc. But at the same time you can also make use of
multiple personalities, something that "users" appear to be doing more and
more frequently.

	Ever advancing technological possibilities allow these guises to
take on
increasingly detailed forms, thereby more closely approximating reality.
Where formerly the communication in chatboxes took place entirely through
typed text on the screen, it is now possible to give avatars a photographic
"face" and, with "text to speech" software, to convert typed text into audio
communication. Popular commercial websites such as The Palace, for instance,
are already making use of these possibilities. These developments mark the
beginning of a "new life-form" in electronic space.

	Taking on various roles or guises has come to be almost routine for
us, not
just in cyberspace but also in physical reality. It is the consequence of
social and professional pressures requiring top performance in any area of
our lives. The growing anonymity of urban society enables people to more
easily maintain these multiple, parallel aspects than previously would have
been the case. It goes without saying that the possiblities the electronic
society offers in this respect, are unparallelled.

	These developments have recently given rise to questions, particularly
psychological in nature. Illnesses such as MPS (Multiple Personality
Syndrome), schizophrenia and other identity problems might increasingly be
lying in wait for us, if we are not able to cope with the demands of modern
society. This implies keeping control over the identities connected to the
different roles we have (or want to play) in it.

	But although the threat with regard to this phenomenon is primarily
attributed to cyberspace, such developments took (and take) place in the
"real" world as well. Roll playing which breaks through identity, such as
"gender-bending," transvestitism (theatrical and otherwise) and the "alter
egoism" of the personae behind certain amusement, chat and sex telephone
numbers, however, have become completely accepted. One can thus say that
this is a rather general (and older) social phenomenon; people no longer
unthinkingly accept the limits laid on them by a single identity. Through
these deceptive exhibitionist games people consciously flout social control.

 The theme of "multiple personality" has had a history of legitimacy as a
source of inspiration for visual artists which goes back much further than
its history as a social phenomenon. One of the pioneers in this field in the
visual arts was Marcel Duchamp, who in the 1920s attained notoriety with his
female "avatar" Rose Silavy. Since the 1980s the theme has been related
primarily to identification with media personages. as e.g. in the early work
of Cindy Sherman.

 In the present decade, the increasingly indistinct border between male and
female identity has become an important point of departure. In her
photographs, Catherine Opie (USA) soberly documents Lesbian women who move
in transvestite circles. Her gallery of portraits is a peculiar inventory of
a subculture in which the right to determine one's own identity predominates
over gender conventions.

	For the interactive installation Genderbender, Greg Garvey (USA) was
inspired by the anonymity those who use chatboxes, MUDS and MOOS. Proceeding
from this, he investigated psychological tests in the field of sexual
identity. Genderbender challenges users of the installation to undergo a
personality test themselves. On the basis of the users' questions, the
computer gives a definitive answer about their identity ("You are a man!"
"You are a woman!" "You are androgynous!") An initially androgynous
individual, who becomes more masculine or feminine depending on the
questions asked, appears on a monitor. Users are themselves responsible for
the end result.

	Another component is the process of observing in contemporary
culture, a subject that is being investigated by artists chiefly through the
use of new media. Based on this process, Lynn Hershman (USA) shapes various
different female characters in her interactive video installations. In
addition, she has made a pair of video films about how relationships arise
through the internet, by means of assuming a different self.

	Avatar intends to bring together projects from artists who are
investigating the phenomenon of "multiple personality." In addition to
photography, video and installations, projects which make use of new media
will be at the heart of the project.


The project will take place from April 18 through May 3, 1998, and will take
place at a number of different locations in Amsterdam. Main location for the
exhibition, however, is the Oude Kerk (a 12th C church in Amsterdam's red
light district).

The deadline for submitting proposals is January 15, 1998.

SHORTLISTED ARTISTS (subject to change)
Jeanine Antoni (USA), Bea de Visser (NL), Jake & Dinos Chapman GB), Lynn
Hershman (USA), Cindy Sherman (USA), Hamish Buchanan (CDN), Tony Oursler
(USA), Gillian Wearing (GB), Ken Feingold (USA), Vibeke Tandberg (Norway),
Cathie Opie (USA), Paulina Wallenberg-Olsson (S), Lawrence Weiner (USA) and

Bas Vroege (Paradox), Deanna Herst (Axis), Martine Brinkhuis (De Balie)

Amsterdam Fonds voor de Kunst, Mondriaan Stichting

Axis   Oudezijdsvoorburgwal 72  1012 GE Amsterdam The Netherlands
T +31 (0)20 4655530 F 4654290 E

De Balie  Kleine-Gartmanplantsoen 10  1017 RR Amsterdam  The Netherlands
T +31 (0)20 5535151 F 5535155 E

Paradox   PO Box 113  1135 ZK Edam  The Netherlands
T +31 (0)299 315083 F 315082 E


(Please CC Email correspondence)

Postbus 113
1135 ZK Edam
The Netherlands

T +31 (0)299 315083
F +31 (0)299 315082


X-Sender:  (Unverified)
Mime-Version: 1.0
Date: Mon, 19 Jan 1998 21:06:42 +0000
From: Matthew Fuller <>
Subject: Kittler book announcement
Status: RO

One of the most interesting figures from the academy to write about related
areas of focus to Nettime has been Friedrich Kittler.  Until now, only one
book <Discourse Networks 1800-1900> has been available to anglophone
readers.  At the end of 1997 however a short collection of his essays was
published in English.

Friedrich A. Kittler
Literature, Media, Information Systems
edited and introduced by John Johnson
publisher: G+B Arts International
ISBN 1025-9325


Friedrich Kittler: Media Theory After Poststructuralism
John Johnston

Essays by Friedrich Kittler

Gramaphone, Film, Typewriter
Dracula's Legacy
Romanticism - Psychoanalysis - Film: A History of the Double
Media and Drugs in Pynchon's Second World War
Media Wars: Trenches, Lightning, Stars
The World of the Symbolic - A World of the Machine
There Is No Software
Protected Mode


X-Sender: (Unverified)
Mime-Version: 1.0
Date: Tue, 20 Jan 1998 22:00:37 +0100
From: Tommaso Tozzi <>
Subject: support netstrike x chiapas
Status: RO

In solidarity with the zapatist movement
we welcome all the netsurfers with the ideals of justice, freedom,
solidarity and liberty within
their hearts, to sit-in the day 29/01/1998 from 4:00 pm GMT(Greenwich Mean
 to 5:00 pm GMT (Greenwich Mean Time) in to the following five web sites :

Bolsa Mexicana de Valores
Grupo Financiero Bital
Grupo Financiero Bancomer
Banco de Mexico

simbols of the mexican neoliberism following the below technical instruction:

Connect with your browser to the upper mentioned web sites and push the
bottom "reload" several times for an
hour (with in between an interval of few seconds)

1) for Netscape navigator users on PC, Apple Macintsoh and Unix o.s.:
- From the Option menu select Preferences and set up:
memory cache = 0
disk cache = 0
verify document = Every Time
- From The Option menu select Network Preferences, and activate the No
Proxies option

2) for Microsoft Internet Explorer users:
>from the View menu select Options -> Advanced -> and in the Temporary
Internet File Box
select Never

Next messages will be signed whith our PGP Key
During netstrike time you can connect to IRC channel #netstrike
on server:


From: Geert Lovink <>
Message-Id: <>
Subject: ars 98 on Infowar
Date: Tue, 20 Jan 1998 12:40:39 +0100 (MET)
X-Mailer: ELM [version 2.4 PL25]
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In 1998, under the banner of "INFO WAR", the Ars Electronica Festival of
Art, Technology and Society, is appealing to artists, theoreticians and
technologists for contributions relating to the social and political
definition of the information society. The emphasis here will lie not on
technological flights of fancy, but on the fronts drawn up in a society
that is in a process of fundamental and violent upheaval.

The information society - no longer a vague promise of a better future,
but a reality and a central challenge of the here-and-now - is founded
upon the three key technologies of electricity, telecommunications and
computers: Technologies developed for the purposes, and out of the logic,
of war, technologies of simultaneity and coherence, keeping our civilian
society in a state of permanent mobilisation driven by the battle for
markets, resources and spheres of influence. A battle for supremacy in
processes of economic concentration, in which the fronts, no longer drawn
up along national boundaries and between political systems, are defined by
technical standards. A battle in which the power of knowledge is managed
as a profitable monopoly of its distribution and dissemination.

The latest stock market upheavals have laid bare the power of a global
market, such as only the digital revolution could have fathered, and which
must be counted as the latter¼s most widely-felt direct outcome. The
digitally-networked market of today wields more power than the
politicians. Governments are losing their say in the international value
of their currencies; they can no longer control, but only react. The
massive expansion of freely-accessible communication networks, itself a
global economic necessity, imposes severe constraints on the arbitrary
restriction of information flows.

Any transgression of a critical control functions in the
cybertechnologies¼ sphere of responsibility and influence puts central
power wielders in a hitherto unheard-of position of vulnerability and
openness to attack. The geographic frontiers of the industrial age are
increasingly losing their erstwhile significance in global politics, and
giving way to vertical fronts along social stratifications.

Whereas, in the past, war was concerned with the conquering of territory,
and later with the control of production capacities, war in the 21st
century is entirely concerned with the acquisition and exercise of power
over knowledge. The three fronts of land, sea and air battles have been
joined by a fourth, being set up within the global information systems.
Spurred on by the "successes" of the Gulf war, the development of
information warfare is running at full speed. Increasingly, the attention
of the military strategists is turning away from computer-aided warfare -
>from potentiation of the destructive efficiency of military operations
through the application of information technology, virtual reality and
high-tech weaponry - to cyberwar, whose ultimate target is nothing less
than the global information infrastructure itself: annihilation of the
enemy¼s computer and communication systems, obliteration of his databases,
destruction of his command and control systems. Yet increasingly the vital
significance of the global information infrastructure for the functioning
of the international finance markets compels the establishment of new
strategic objectives: not obliteration, but manipulation, not destruction,
but infiltration and assimilation. "Netwar" as the tactical deployment of
information and disinformation, targeted at human understanding. These new
forms of post-territorial conflicts, however, have for some time now
ceased to be preserve of governments and their ministers of war. NGOs,
hackers, computer freaks in the service of organised crime, and terrorist
organisations with high-tech expertise are now the chief actors in the
cyberguerilla nightmares of national security services and defence

In 1998, under the banner of "INFO WAR", the Ars Electronica Festival of
Art, Technology and Society, is appealing to artists, theoreticians and
technologists for contributions relating to the social and political
definition of the information society. The emphasis here will lie not on
technological flights of fancy, but on the fronts drawn up in a society
that is in a process of fundamental and violent upheaval.

see also:


Message-ID: <>
Received: from by with HTTP;
	Tue, 20 Jan 1998 00:41:07 PST
X-Originating-IP: []
From: "tiia johannson" <>
Subject: Re: -nettime- lialina - cheap art
Content-Type: text/plain
Date: Tue, 20 Jan 1998 00:41:07 PST

Hi everybody from Estonia!
a little bit more cheap net art, altavista art and scratched quicktime


>From  Tue Jan 20 22:38:25 1998
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From: (D.Hislop) (by way of (Janos Sugar))
Subject: Photographs taken by Budapest's homeless

        'Inside out'- Photographs taken by Budapest's homeless.

'Inside out' is a photographic project which began in Hungary's capital
city, Budapest, in July 1997.  Since then around 30 people from a variety
of homeless situations have been given simple single use colour cameras and
asked to record their view of whatever they feel to be important  or
interesting in their everyday experience.  Each image is accompanied by
some text taken from the transcript of a recorded interview with the

As well as drawing attention to the issue of homelessness in Budapest, it
is intended that this project can empower the homeless with the
responsibility for their own representation and produce images which
challenge common preconcieved notions of the homeless as a homogeneous or
stereotypical group.

A web-site which catalogues the process and results is presently 'under
construction' and can be located at <http//>.
The site will be completed in early March and will contain around 1000
photographic images, the text from the interview with each photographer,
background information about the homeless situation in Budapest, a list of
contributors and sponsors and a page giving links to related web-sites.

If you require any further information please contact <>

Dominic Hislop


Date: Fri, 23 Jan 1998 16:35:49 +0100
To: fokky <>
From: Andreas Broeckmann <> (by way of Pit Schultz <>)
Subject: Syndicate: BLASTforum: Artistic Practice in the Network
Mime-Version: 1.0

<eyebeam><blast> ARTISTIC PRACTICE IN THE NETWORK a critical forum
presented by Eyebeam Atelier and the X Art Foundation
February 1 - April 30, via mailing list
TO SUBSCRIBE send email to with the following single
line in the body of the message: subscribe eyebeam-list
This forum aims to further a critical discourse on artistic practices in
the global communications network. It concerns practices that employ
networking technologies as a means of critically reflecting on contemporary
societies.  Featuring an international group of scholars, critics, and
artists, this virtual symposium maps the clashes and exchanges of cultures,
uncovering the historical and material currents that jostle below
user-friendly interfaces.  Articulating changing modes of perception,
representation, and identification, the forum will develop new
possibilities for artistic and critical intervention.
~moderator~ JORDAN CRANDALL, founding editor of Blast and director of the X
Art Foundation, New York
~hosts~ CARLOS BASUALDO, poet and curator based in New York, senior editor
of TRANS> and regular contributor to Artforum
ANDREAS BROECKMANN, project manager and researcher at V2_Organisation
Rotterdam and coordinator of the V2_East/Syndicate network initiative,
which facilitates media art-related exchange and co-operation across Europe
BRIAN HOLMES, cultural critic and translator living in Paris, English
editor for the theoretical publications of Documenta X, including
_Documenta X - The Book_
EVE ANDRÉE LARAMÉE, Professor of Sculpture at Sarah Lawrence College,
currently developing a project for the List Center at MIT on an alternate
history of digital culture
OLU OGUIBE, Chair in African Art at University of South Florida; Convenor
of the 2nd Johannesburg Biennale conference; co-editor of Nka: Journal of
Contemporary African Art
GREGORY ULMER, Professor of English and Media Studies at University of
Florida; books include _Heuristics: The Logic of Invention_ and
_Teletheory: Grammatology in the Age of Video._
~with~ ALEXANNE DON and ALAN SONDHEIM, lecturer and theorist living in
Japan, researching emailing lists and online communities
~invited guests~ [Feb 2-8] OKWUI ENWEZOR, critic, curator, Artistic
Director of the 2nd Johannesburg Biennale, founding editor of Nka: Journal
of Contemporary African Art
LEV MANOVICH, artist and theorist, currently writing _The Engineering of
Vision from Constructivism to Computer,_ a history of the social and
cultural origins of computer technologies
[Feb 9-15] N. KATHERINE HAYLES, Professor of English at UCLA, author of the
forthcoming book _How We Became Posthuman: Virtual Bodies in Cybernetics,
Literature, and Informatics_
[Feb 16-22] SASKIA SASSEN, Professor of Urban Planning at Columbia
University, author of works on urbanism and the global economy including
_Losing Control? Sovereignty in an Age of Globalisation_
[Feb 23-Mar 1] MARGARET MORSE, Assoc. Professor of Film, Video and New
Media at UC Santa Cruz, author of the forthcoming book _Virtualities:
Television, Media Art, and Cyberculture_
[Mar 2-8] MARTIN JAY, Professor of History at UC Berkeley; emphasis on

visual culture and European intellectual history; books include _Downcast
Eyes: The Denigration of Vision in 20th Century French Thought_
[Mar 9-15] TIM JORDAN, author of _Cyberpower: The Culture and Politics of
Cyberspace and the Internet_   MATTHEW SLOTOVER, editor of Frieze magazine,
[Mar 16-22] KELLER EASTERLING, Asst. Professor of Architecture at Columbia
University, developing architectures of active organizations
KEN GOLDBERG, artist working in robotics and telepresence, editor of the
forthcoming book _The Robot in the Garden: Telerobotics and Telepistemology
on the Net_
[Mar 23-29] PETER WEIBEL, artist, media theorist, curator at the Neue
Galerie am Landesmuseum Joanneum, Graz, Austria
GEERT LOVINK and PIT SCHULTZ, media theorists/activists, founders of
nettime, a forum for net criticism and cultural politics
[Mar 26-30] URSULA BIEMANN, curator at the Shedhalle Zurich, focus on
representational politics in the electronic media
[Mar 30-Apr 5] KNOWBOTIC RESEARCH, artist team, recent projects include
I0_DENCIES--questioning urbanity in Tokyo, Sao Paulo, and Berlin, which
locates the urban realm in terms of hybrid network flows
HANS-ULRICH OBRIST, curator, recent exhibitions include Cities on the Move
at Vienna Secession (with Hou Hanru), which explores the socio-cultural
implications of urbanization in Asian cities
WOLFGANG STAEHLE, artist, founder of The Thing, a network based in New York
and Vienna
YUKIKO SHIKATA, art critic and curator at Artlab, Tokyo; Japan editor of
World Art
[Apr 5-6] BRACHA LICHTENBERG-ETTINGER, artist, theorist, and psychoanalyst
working in Paris and Tel Aviv
[Apr 6-12] FRANKLIN SIRMANS, critic, US Editor of Flash Art; coeditor of
_Transforming the Crown: African, Asian, and Caribbean Artists in Britain_
MARK TRIBE, artist, founder of the web publication Rhizome and the media
stock library StockObjects
[Apr 13-19] CRITICAL ART ENSEMBLE, artists/media activists, authors of _The
Electronic Disturbance_
[Apr 20-26] RAVI SUNDARAM, Research Fellow, Centre for the Study of
Developing Societies, Delhi, India; current research  on globalization, new
technocultures, and the reworking of the national imaginary in South Asia
OLADÉLÉ AJIBOYÉ BAMGBOYÉ, artist whose work concerns Nigerian life and the
politics of African identity
[Apr 27-30] COCO FUSCO, artist, curator, author of _English is Broken Here:
Notes on Cultural Fusion in the Americas_
TO SUBSCRIBE send email to with the following single
line in the body of the message: subscribe eyebeam-list
discussions is located at <>
EYEBEAM ATELIER's (<> mission
is to provide a structural support for the digital arts.  The Atelier is a
not-for-profit organization dedicated to advancing digital art in cinema,
fine arts, humanities and on the Internet.  Through its education programs,
exhibitions, lectures and other public events, Eyebeam Atelier seeks to
increase understanding and appreciation of the artistic power of emerging

technologies and to enrich the arts and humanities for the 21st century.
The Atelier targets its programs for students, artists, scholars, and the
public interested in applying digital technology to the study of art,
archaeology, architecture, art history, and special effects for film and
not-for-profit organization that seeks to further the discourses and
practices of new media art, particularly those engaged with communications
technologies.  Its current project, Blast6, attempts to identify and employ
critical artistic strategies in the global communications network.


Date: Fri, 23 Jan 1998 16:47:25 +0100
To: fokky <>
From: David Cross <> (by way of Pit Schultz <>)
Subject: Cornford & Cross: '10'
Mime-Version: 1.0

News release

'10' The Face of Derby PRIDE

Cornford & Cross
Montage Gallery, Derby
28 February - 10 May 1998

Are your ideals of physical beauty constructed by the Western media, or are
they in harmony with other cultures and eras?

'If you reduce people to one aspect of their identities, you get a very
distorted and ill-functioning society.' Naomi Wolf, Author of The Beauty Myth

'Science is our best hope of understanding the strange alchemy of lust that
so disrupts our social lives.' Camille Paglia

'10' will consist of a beauty contest in a gallery. Substantial cash prizes
will be awarded, and there will be an exhibition of giant digital
photographs of the ten winners. But in this contest, all personal traits
which may be socially acquired (such as speech and gestures) will be
excluded - instead, the entrants will be judged only on their facial
beauty. Furthermore, the judging process will be free from human error and
bias: entrants' faces will be photographed under strictly controlled
conditions, then analysed using police and security facial recognition
software. Rather than comparing suspects' faces to the photograph of a
'wanted' criminal, the computer will compare contestants' faces to the
'ideal' of symmetry and proportion being researched by scientists
internationally. The computer will then numerically rank the scores, select
the top ten and allocate cash prizes in direct proportion to their scores.

In a spirit of fairness and equality of opportunity, the competition will
be open to all men and women over the age of 16 years who live, work or
study within the Derby 'City Challenge' area. Entry will be free, and
expenditure on clothes, makeup or portrait photographs will not offer
entrants any advantage. Connecting art with life, 10 will directly link the
Montage Gallery with people in the 'City Challenge' area through their
active participation in the project, rather than through a conventional
social documentary survey. For the lucky winners, the substantial cash
prizes and valuable publicity could help launch a modelling career.

This project takes place in the context of a re-emergence of 'Social
Darwinism', which asserts that genetic heredity plays a greater role than
social factors in the individual's success or failure, and proposes
'survival of the fittest' as the most rational response. The Human Genome
Project aims to shift our understanding of biology towards codes of
information, while promising new products and services including the
isolation of specific genes for criminality, sexuality, health and beauty.
10 aims to provoke public debate around the systematic codification of
social selection and rejection; and to encourage people to question their
own judgement of physical appearance in relation to equality and elitism,
social mobility and entrapment.

Matthew Cornford and David Cross met and studied at St Martins School of
Art and the Royal College of Art, London, graduating in 1991. Cornford &
Cross make provocative interventions into systems or situations: by
highlighting the involvement of people from a wide range of non-art
organisations; foregrounding the role of viewers as participants, and
actively engaging with the ensuing public debate.

This project takes place as part of 'Meeting the Challenge' which will
mark five years of Derby PRIDE Ltd delivering City Challenge with gallery
and off-site projects, including a permanent work by Stefan Gec sited on
PRIDE Park. Meeting the Challenge has established partnerships with a range
of organisations across the City, and made links with artists including
Cornford & Cross and Stefan Gec, whose work actively makes connections with
local people.


Cornford & Cross tel/fax: +44 (0)171 232 2909
Alison Lloyd, Montage gallery tel: 01332 295 858

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