announcer on Fri, 3 Apr 1998 20:25:12 +0200 (MET DST)

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<nettime> announcer 028

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

1...{ brad brace } screens
2...Geert Lovink..........Virtual Realism: The new book from
                          Michael Heim
3...Steve Cisler..........Association For Community Networking
4...The Swiss Institute...We Are Somewhere Else (Already)
5...john jordan...........change of address
6...valery grancher......."self" fondation pour l'art contemporain
7...teo spiller...........Megatronix: CALL FOR PARTICIPATION
8...Robert Adrian.........RADIO.ART
9...illegal art...........invitation - illegal art project #2
10..Inke Arns.............eBC1
11..Stefan Wray...........NY Zaps Urge Protests and Electronic CD
                          on April 10
12..foebud-info...........PD85: (5.4.98) Private State


Date: Fri, 27 Mar 1998 08:14:39 -0800 (PST)
From: { brad brace } <>
Subject: green screens
Mime-Version: 1.0

Eroticized Japanese/Malaysian Snack Foods:

Kozakana Mix, Kasugai Peanut, Kokuto Peanut,
Tokyo Mix, Osaka Mix, Mazemaze Ichiban...

Fast-loading Imagery for Your Screen!


From: Geert Lovink <>
Subject: heim txt
To: (Sandra Fouconnier)
Date: Fri, 27 Mar 1998 15:00:03 +0100 (MET)
Mime-Version: 1.0

Virtual Realism: The new book from Michael Heim

The announcement of the publishing house:

From the simple VR games found in upscale video arcades, to the ultimate
"immersion"--the CAVE, a surround screen, surround sound system that
projects 3 D computer graphics into a ten-foot high cube--virtual reality
has introduced what is literally a new dimension of reality to daily life.
But it is not without controversy.
Indeed, some say that a collision is inevitable between those passionately
involved in the computer industry and those increasingly alienated from
(and often replaced by) its applications. Opinions range from the
cyberpunk attitude of Wired magazine and Bill Gates's commercial optimism
to the violent opposition of the Unabomber. Now, with Virtual Realism,
readers have a thought-provoking guide to the "cyberspace backlash" debate
and the implications of cyberspace for our culture.

Michael Heim first offers a thoughtful discussion of what virtual reality
is "in the strong sense." He outlines its essential characteristics
-including the "Three I's" of immersion, interactivity, and information
intensity--and introduces readers to such virtual reality technologies as
head mounted displays; SIMNET, a networked simulation of tanks rolling
over a virtual terrain; and flight simulators in which a trainee can
experience conditions approximating those of actual flight. He also leads
us through a fascinating gallery of virtual art experiences, including
Marcos Novak's Virtual Dervish, in which the viewer wears a head mounted
display and is immersed among and interacts with drifting, shifting
"transhuman figures" and other virtual entities. And he describes various
side effects of immersion in virtual reality, including types of
relativity sickness known as Alternate World Syndrome (AWS) and Alternate
World Disorder (AWD). Perhaps most important, Heim suggests ways of living
with technology and harmonizing computers with culture. For instance, he
offers a philosophical reconciliation between the conflicting views of
"naive realists," who regard computer systems as a suppression of reality
rather than an extension of it, and "idealists" who seem to think
computers and software can cure all ills. Heim argues convincingly that in
order to have an accurate view of the relationship between "natural
nature" and cyberspace, we must balance the idealist's enthusiasm for
computerized life with the need to ground ourselves more deeply in primary
reality. This "uneasy balance" he calls virtual realism.

In this wide ranging exploration, Michael Heim draws on an incredibly
eclectic range of sources, from the lyrics of Jim Morrison, to the wisdom
of the Tai Chi masters, to the works of philosophers and writers as
varied as Heraclitus, Descartes, William Gibson, and Jacques Ellul. The
result is an ambitious and provocative commentary on the ways in which
virtual reality and associated technologies are increasingly influencing
our lives.

                               About the Author:

                               Michael Heim is the author of the award
                               winning The Metaphysics of Virtual Reality
                               and the ground breaking Electric Language.

Oxford University Press, 1998  264 pp.; 22 color plates, 10 halftones, 6
linecuts; 6-1/8 x 9-1/4 in. 0-19-510426-9


Date: Fri, 27 Mar 1998 06:04:05 -0800 (PST)
Message-Id: <>
X-Mailer: Microsoft Internet Mail and News for Macintosh - 1.1 (34)
Subject: Association For Community Networking announcement
From: cisler <>
Mime-version: 1.0
Content-type: text/plain; charset="us-ascii"

The Association For Community Networking opens its virtual doors!

March 26, 1998
               Amy Borgstrom
	   Appalachian Center for Economic Networks (ACEnet)
	   94 N. Columbus Rd.
               Athens, OH 45701
               (614) 	592-3854

Steve Cisler

Steve Snow

ATHENS, Ohio -- The Association For Community Networking is a national
non-profit membership organization dedicated to improving the visibility,
viability, and vitality of Community Networking. AFCN links and serves the
more than one hundred and fifty community networks around the country. AFCN
also builds public awareness, identifies best practices, encourages
research, and develops products and services.

Community networks are locally-based, locally-driven information and
communication systems which are owned and operated by local citizens,
government officials, social services, schools, libraries, community-
based organizations, and others; enable community members to use the
Internet to solve problems and create opportunities; usually include
a World Wide Web page or other online presence where community members
can publish community information, share interests and communicate with
one another; and often provide public access, training, and support for

"There is tremendous power in this country at the community level--to
create, to support, to build a healthier nation," said Amy Borgstrom,
President of AFCN and Executive Director of the Appalachian Center for
Economic Networks in Athens, Ohio. "AFCN's role will be to help communities
make use of the great technical advances available to them, in both rural
and urban settings. Community networks help people become better informed,
better educated, more prosperous, and more connected to others here and
around the world."

AFCN builds upon the 25-year history of community networks that began with
the Community Memory Project in Berkeley in the 1970s, and became
popularized with the Freenets like the Cleveland Freenet in the 1980s.
Community networks have quickly become a key means of civil interaction in
many places around the world in the 1990s. Existing community networks, if
taken as a whole, have one of the largest electronic user bases in the

Take a snapshot of community networking today and you might see: homeless
people checking out job listings at a public access site from a shelter in
North Carolina; high school students being trained to be computer
consultants in rural Ohio; senior citizens using e-mail in Boulder; or
citizens "meeting the candidates" in an electronic conference in inner-city
St. Paul.

AFCN provides members with
An electronic mailing list for members to share experiences and learn from
one another.  A bi-monthly newsletter examining issues and providing
community networking tips and insights.  A growing, resource-rich World
Wide Web site at  Opportunities for
face-to-face interaction, learning, and policy development--the Association
is planning a roundtable in the spring in Washington D.C., and a members'
gathering in the fall.

"Community networks can have significant impact on peoples' lives,"
according to Madeline Gonzalez, Executive Director of AFCN. "AFCN is
helping communities create their own networks, as well as working with
businesses and existing networks to develop new products and services in
the public interest. As we move toward the 21st century, this is a movement
whose time has come."

People interested in joining this exciting effort are invited to become
members. This will make it possible for AFCN to continue developing quality
products and services for community networkers everywhere. For more
information and a membership form, check out the AFCN website, or call Amy
Borgstrom at (740) 592-3854.

The Association for Community Networking is incorporated in the state of
Colorado, and is administered by a virtual Board of community networking
professionals: Amy Borgstrom of the Appalachian Center for Economic
Networks in Athens, Ohio; Steve Cisler formerly of Apple Computer; Richard
Civille of the Center for Civic Networking in Washington, DC; Joan Durrance
of the University of Michigan School of Information; Madeline Gonzalez, a
founder of the Boulder Community Network; and Steve Snow of Charlotte's Web
in Charlotte, North Carolina.

More than a third of the existing community networks have had a hand in
creating AFCN, which has been under development for the last two years.
Start-up activities were supported by Apple Computer, the W.K. Kellogg
Foundation, the University of Michigan, the Morino Institute, and a group
of 50 founding contributors.


Date: Fri, 27 Mar 1998 12:17:14 -0500
From: The Swiss Institute <>
Organization: The Swiss Institute
Mime-Version: 1.0
Subject: We Are Somewhere Else (Already)
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we are somewhere else (already)
April 2-May 19
organized in collaboration with Florian Zeyfang
opening: Thursday, April 2, 6-8pm
curators’ tour: Saturday, April 11, 3pm

This exhibition presents the works and activities of individual artists
and collectives who take a critical look at some common assumptions
about art—such as the autonomous, individual artist/subject, the
aestheticizing use of artistic media and the production of
self-sufficient art objects—and in doing so seek to re-examine systems
of representation as influenced by exhibitions and institutions.
Traditional understandings of art are reconsidered within critical art
practices which address both legacies of modernism and influences of
poststructuralism. Avoiding the configuration of a definitive style,
these practices are necessarily influenced by similar critiques made in
the 70s and 80s, but have developed their own dynamics. This exhibition
will examine the activities of groups and individuals based in Zürich,
Berlin, and New York by presenting projects and providing a forum to
address methods and media.

The projects presented include public utility, developed by the
non-institutional artist group Kombirama, which worked out of a rented
space in Zürich during 1997. Here, independent groups were invited to
participate in a week long series of lectures, discussions, and
presentations. sex & space , a project developed at the Shedhalle in
Zürich, brought together forty-five artists, theorists, and architects
to reflect on the issue of space as a form of representation of social
structures. These issues were explored through the use of a wide range
of media including an exhibition, lectures, a she-DJ workshop, the
production of a fanzine, and a homepage. dogfilm, a video production
group from Berlin, uses public television which allows them to link
artistic practice to social/political concerns and to address a broad
audience rather than a specialized art public. Likewise the group a-clip
produces short video-clips for mainstream cinemas. monitor - label für
flüchtige medien (side effects) will demonstrate the effects of
>interventions via sounds, music and visuals in spaces, which are
“overtaken” for a short period of time, thereby undermining official
city planning. The events will also feature recent narrative/documentary
works by videomakers Liza Johnson and Shelly Silver, which adress the
function of the narrative in this genre and a presentation by Berta
Jottar on the U.S./Mexican border.

In these projects content and form are closely bound together in order
to mediate social and political concerns. We are somewhere else
(already) addresses related issues such as: what does collaborative
practice—as opposed to the conception of the artist as an autonomous
author—mean to the critical scene? What are the limitations of dealing
with social or political concerns within the field of art? To what
extent does the method chosen by the artist affect both practice and
content? And how do these methods also structure the way an audience is
conceived and addressed?

We are somewhere else (already) presents some challenging,
unconventional artistic practices to a New York audience. The project
also attempts to motivate an in-depth discussion among the
representatives of these practices and provides a space to develop new

screenings/panel discussions
we are somewhere else (already)

April 3, 6pm-9pm
The City Section
In art projects and theoretical discussions, traditional concepts of
public space are reconsidered: who uses what we refer to as public
space? who is excluded from it and why? Some projects addressing these
issues will be presented including a-clips which participated in the
1997 project InnerCityActivities by screening a series of video-clips
that dealt with issues of privatization and gentrification in urban
areas. These clips were shown just before the main feature in mainstream
cinemas in several European cities, introducing politicized artwork into
a non-art context intended for ‘entertainment purposes.’ sex & space, a
group interested in gendered structures of public urban space, will
compare and contrast their own strategies.

April 4, 4-6pm
The Independent Section
Members of public utility will discuss their understanding of authorship
and their critique of artistic careerism. monitor - label für flüchtige
medien (side effects) will present a talk on a small scene around
ambient music and sound interventions in Berlin, where artists and
musicians develop short-term, de-localized tactics, oriented loosely on
Situationist ideas. A significant portion of this event will consist of
slide shows and music illustrating both recent activities as well as the
group’s background.

April 4, 7-9pm
The Narrative Section
Within certain practices, the narrative form is integrated into
experimental film and video in critical, rather than conventional, ways.
Combining documentary and fiction, Liza Johnson juxtaposes feminine and
feminist attitudes of the 60s and the 90s in her video piece Good
Sister/Bad Sister. In Shelly Silver’s 37 Stories About Leaving Home,
women in Japan discuss processes of self definition within their social

April 5, 6pm
The Border Section
This panel brings together artists concerned with migration and
borders—both physical and metaphorical. Berta Jottar will present her
impressions of artistic activities that deal with the problematic
situation of the border between Mexico and the United States. Her video
piece Border Swings/Vaivenes Fronterizos, and her own experience with
the Border Arts Workshop will be discussed alongside the related work of
dogfilms’ television documentary Juristic Bodies, which examines the
situation of the EU/non-EU border—addressing notions of identity and
(il)legality— and was aired on German public television in 1996.

Gallery hours are Tuesday-Saturday 11am-6pm.
For further information please contact Annette Schindler or Florian
Zeyfang at 925.2035.


Date: Fri, 27 Mar 1998 21:24:10 GMT
X-Sender: (Unverified)
Mime-Version: 1.0
To: (Timothy Nunn),,
From: (john jordan)
X-Pop-Info: 00000659 00000018
X-Mime-Autoconverted: from 8bit to quoted-printable by id

Greetings to all

At last we are online again and we have a new electronic and land based
address - which is - 44 Leyland Rd, London SE128DT,
tel/faX 0181 853 1892

yours JJ

!!!!................GLOBAL STREET PARTY.......................!!!!!
@@@@@@@ SATURDAY 16 MAY - 3pm Birmingham New Street Station@@@@@@@@@
£££££££££££££££££££To coincide with G8 Summit.££££££££££££££££££££££
 also simultaneously in Finland, Columbia, Ireland, France, Germany,
Sweden, Canada, USA, Japan, Israel, Netherlands, Switzerland, Hungary,
Australia etc....


Date: Sun, 29 Mar 1998 18:35:57 +0200
From: valery grancher <>
X-Mailer: Mozilla 4.04 [en] (Win95; I)
MIME-Version: 1.0
To: eyebeam <>
Subject: "self" fondation pour l'art contemporain paris
Content-Type: text/plain; charset=iso-8859-1
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message en francais plus bas apres la partie anglaise.

Hi Everybody,

  I have the pleasure to anounce the launching of "Self" on the
Fondation Cartier pour l'Art Contemporain website and virtual gallery at
the URL hereafter:

"Self" is a command and the first virtual artwork bought by the
Fondation Cartier pour l'Art Contemporain for her art collection.
This interactive artpiece will be put on line the April 10 1998 for the
reopening of this fondation in Paris.

    I'm waiting for your coming  and interacting with this new piece on
next April 10.

See you soon,

Valery Grancher


Date: Mon, 30 Mar 1998 10:44:38 +0200
From: teo <>
Message-id: <>
MIME-version: 1.0
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Content-type: text/plain; charset=us-ascii
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( )

You are kindly invited to cooperate in a project "Megatronix" with your
own web creations.
Megatronix is an open online project, an interactive, social critical
theater, concept as an arcade game, where the player
becomes the actor. The "free choice" is just a fictive solution, because
the game is leaded by a random generator.

It is the continuation of the idea of a random leaded game, first used
in Esmeralda
 ( )
(Esmeralda was presented on the art festival OSTRANENIE 97 in the
Bauhaus school in Dessau, Germany)

The open structure of the game lets every user of the web to add his own
action scene into the MEGATRONIX game.

The main concepts, united in this project are:

1) The critical relation to the violent, senseless action movies, arcade
games, brutal comics and cartoons, intensifying the
violent behavior of the wide public, specially by youth.
2) The concept of all different concepts, designing solutions, visual
presentations of web artist all over the world in one
collective project.
3) The confusion, that contemporary subject is throw in, specially
because of the intensive attack of too many TV channels,
newspapers and other commercial institutions, which goal is mostly their
own profit.
4) The possibility that web tools gives: that one project can load
different scenes from the servers all over the world into
one collective project (I find it very fascinating, that you don't even
need to write the URL of the megatronic random
generator, but you only have to name the frame, where it is positioned).

5) The concept of an anarchic piece without any direction, loading in a
confused order different scenes one after another
(just like sitting by the TV with 35 channels and clicking on the remote
control unit from one channel to another, looking for
"something interesting").
6) The second phase of megatronix is to fully automatise the submiting
of the scenes, so it will become an independent, self
developing organism, an artifical life form on the web.

How to add your own scene:
( )

The scene must be written in the HTML, it may include pictures and
sounds, but it may not include frames.
If you are using any plug-in, you must give a player choice to continue
also without it. You may not link from your scene
anywhere but back to Megatronix random generator.

Every scene is concept as a fictive situation, where the player arrives.
It must be descriptive and it must harangue the player
(like:"you just arrived..", "you are in a trouble again", "great done!
After a short vacation, boss sent you to... where you...",
There must be at least two possible decisions (links) for a player to
continue to the next scene.

For example: You are arrested in the evil wizard's castle, the eagle
peck your liver every afternoon. What will you do?
a) make a liver spread
b) get cirrhosis
c) peck eagle's liver

Every link must be like this:

<A HREF="Javascript:newscene()" TARGET="MEGATRONIX">
a text or a picture...

The "newscene" is a function, running the random generator. It is
positioned in the frame called "MEGATRONIX".
As a user clicks that link, the random generator will choose another
You can also use "sub scenes". It means, the player's decision is
followed by a logical continuation of the scene, but than the
sub scene must end with the upper link to function "newscene()" in frame

for example:

Is player chooses "a) make a liver spread", it may be linked to a new
HTML file, where he is asked for the name of the
1) Gavrilovic
2) Bucco
3) Microsoft

but every of possible answers must than end with the upper link to
function "newscene()" in frame MEGATRONIX

The pages (scenes or sub scenes) may not content any other links !



after you have created your scene (or even more scenes), please test
your pages on the
and submit the full URL
(the internet address - for example
of your
scene and your email address so I will add your URL to the random

One scene is also "GAME OVER" and a random generator can load it
anytime. Whenever it loads it, it ends the game.

So is the user jumping from one scene to another in a random order until
the "GAME OVER" scene appears, having a
feeling, he plays a game, but in fact, the random generator runs it.

for any questions, please contact


Mime-Version: 1.0
Date: Tue, 31 Mar 1998 20:19:29 +0100
From: Robert Adrian <>
Subject: RADIO.ART


Saturday, April 4 1998
20:00 (8pm) GMT

TOUCHLESS by Elisabeth Schimana

The Sensuality of Music made without touching.

A Live concert of "Touchless Instruments"
>from the Minoritenkirche (Krems, Austria)

The link to the Live Real Audio Server will be
available on the Kunstradio home page:
<> on Saturday, Apr.4.

     Andrew Garton (AUS): Theremin
     Günther Gessert(A) Theremin, Minimoog
     Pedro Lopez(E): Theremin, Sampler
     Olga Milanich (RUS): Theremin
     Sergio Messina(I): Theremin
     Elisabeth Schimana(A): Voice
     Andre Smirnov(RUS): Theremin/ring modulator
     Yuri Spitsin(RUS): Powerglove

A radio version of TOUCHLESS can be heard on
Kunstradio (On Air & On line) on Thursday  April 9,
and for the following week on line at:


Date: Tue, 31 Mar 1998 18:28:12 -0800 (PST)
From: illegal art <>
Subject: invitation - illegal art project #2

Illegal Art ( invites all audio
artists to contribute to the second Illegal Art project, tentatively
called Extracted Celluloid.  For this project only sounds and music from
films may be used in the assemblage of tracks of any style or genre.

The last project, Deconstructing Beck, ended up being sponsored by rtmark
( and received quite a bit of attention in
the media.  It is still available from Illegal Art via mail order and is
in the process of being co-released by Seeland Records

We hope that Extracted Celluloid will be just as successful and rtmark and
Seeland Records have already expressed interest in possibly supporting the
release (if it meets their standards).  We also hope that we will be able
to give artists whose tracks are selected some sort of compensation.  If
you are interested in participating in this or other Illegal Art projects
please contact us at for deadlines and further


Date: Wed, 01 Apr 1998 16:16:11 +0200
From: Inke Arns <>
Subject: eBC1
Mime-Version: 1.0

Hi all,

this is what Steve Rushton from the great London-based 'everything' magazine
<> just sent...

enjoy the show



The worlds first net broadcasting station run by artists will launch at 8pm
(London local time) on April 28th 1998 at the ICA .

In the first of four netcasts a group of 16 artists will be showing a
series of videos and live events from ICA's new media centre to an audience
across the globe. The show, an anarchic blend of cutting edge art and dumb
entertainment, will transmit from a specially built studio in the ICA. The
bar will become a hive of multimedia activity.

The initiative was set up by everything Editorial who produce a visual arts
magazine and critically acclaimed web site. It will include new work by
Sally Barker, Richard Cook, Rod Dickinson, Victor Mount, Bob and Roberta
Smith, Ann Jones, Iain Forsyth and Jane Pollard, Jessica Voorsanger and
Susan Alexis Collins.

Anyone can access the system with a standard browser (Netscape 3+ or
Explorer 3+) and a 28.8 modem. This means the viewers won't have to use a
plug-in or download an application. All the viewer will have to do now is
type in the URL ( and sit back and
enjoy the show. If you're not on line you can come along and see it all
happening live at the ICA.

Illustrations and more detailed information on the project can also be
found on

eBC 2 will include Cornford & Cross, Rachel Baker,Cleo Broda, Alison
Craigehead & Jon Thomson, Komar & Melamid, Alasdair Duncan, Neil Miller,
Graham Ramsay and John Beagles. It will be broadcast at 8 pm GMT on the 2nd
June 1998.

For more information and images contact everything on : 0171 249 7737 or


Date: Wed, 01 Apr 1998 01:19:09 -0500
From: Stefan Wray <>
Subject: NY Zaps Urge Protests and Electronic CD on April 10
Mime-Version: 1.0
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New York, NY (March 31, 1998) -- New York Zapatistas joins the U.S. based
National Commission for Democracy in Mexico in calling for mass actions on
April 10 to protest the Mexican government's escalating low-intensity war
against the Zapatistas and other indigenous peoples in Chiapas, Mexico. In
Mexico, the National Indigenous Congress and other organizations are
calling for mobilizations in Mexico City and elsewhere on this day, the
anniversary of Emiliano Zapata's death.

In New York City, the New York Zapatistas are calling for a protest in
front of the Mexican Consulate, at 8 E. 41st Street, at 5:00 p.m. on April
10. New York Zapatistas are also calling for an afternoon vigil to begin at
Noon that will last until the 5:00 p.m. protest.

In addition to supporting demonstrations in the streets, the New York
Zapatistas are urging people around the world to send a powerful message to
the Mexican government by committing Electronic Civil Disobedience.

By Electronic Civil Disobedience we mean applying the principles and
tactics of traditional civil disobedience - like trespass and blockade - to
the electronic systems of communication upon which Mexican government
officials and their supporters depend. In this sense, we support the NCDM's
call for people to "phone, fax, and email" appropriate government officials
to voice protest, but we also urge people to autonomously and independently
go beyond merely voicing protest, and to use these means of communication
to disrupt business as usual.

We therefore urge that the following tactics be used against governmental,
financial, and corporate sites responsible for the ongoing genocide in

1) Phone Zaps: Repeated calling to disrupt normal operations.
2) Fax Jams: Repeated faxing to overload fax machines.
3) Email Jams: Massive emailing to overload email inboxes and servers.
4) Virtual Sit-Ins: Trespassing and blockading of web sites.
5) Other More Sophisticated Computer Tactics

Since the Acteal Massacre at the end of December, 1997, we have seen a new
level of cyber-activism emerging within the global pro-Zapatista movement.
At the end of January, web sites for five Mexico City financial
institutions were subjected to virtual sit-ins. During a given time frame
repeated reloading of these web sites effectively blockaded so-called
legitimate use. At the beginning of February, cyber-activists hacked into a
Mexican government web page and placed pro-Zapatista and anti-government
messages on the site.

These new forms of Electronic Civil Disobedience and Direct Action need to
be developed, popularized, and applied more globally by the pro-Zapatista
movement. Recently, on March 22, a Panel on Electronic Civil Disobedience
was featured at the Socialist Scholars Conference in New York City. Written
presentations and an audio recording of this panel are now available on a
web page. Please set your browsers to the following site, bookmark it, and
link to your own sites:

Viva Zapata!


Date: Thu, 02 Apr 1998 20:17:59 +0200
Subject: PD85: (5.4.98) Private State

5.4.98: PUBLIC DOMAIN V85.0 on privatisation

Ever been annoyed at a stubborn official, burocracy at  the  authorities
or   the   'service' at a post office counter (which appears to you more
like  sabotage)? Did you say then: "This would not happen if  they  were
in   the   free  market!"  or "They should be privatised at last!". Lean
state,  this  could  mean  in near future: Police Ltd.,  Lawcourt  Ltd.,
Parliament   Inc.,   Motorway  plc.  and High School Corp. Why not after

Many  tasks   could   be   managed   much  more  efficiently.  State-run
institutions    are    challenged   by   Internet,   global   trade  and
communication anyway.

Hartwig  Thomas,  executive  director  of  the  Enter AG in  Z=FCrich,  is
neither  science  fiction author nor economist, but simply a citizen who
has thought out this development. On invitation of FoeBuD  e.V.  Hartwig
Thomas   will   visit  Bielefeld: In the ongoing series of events called
PUBLIC  DOMAIN he will present his scenario of  unlimited  privatisation
and  globalisation.  FoeBuD  look  forward  to a fascinating discussion.

Date:   Sunday, 5th of April 1998 from 3 pm
-----   at Bunker Ulmenwall, Kreuzstr. 0, Bielefeld (Germany)

PUBLIC DOMAIN contact:   FoeBuD e.V.
----------------------   Marktstr. 18
                         D-33602 Bielefeld
                         Tel: +49-521-175254   Fax: +49-521-61172

Background of the PUBLIC DOMAIN events:

PUBLIC  DOMAIN  is  a  series of monthly events at Bunker  Ulmenwall  in
Bielefeld,   which   runs  already since 1987. Every first sunday of the
month  there  is  a  lecture,  a  demonstration, a workshop or  a  panel
discussion  on  a different topic. PUBLIC DOMAIN has become an important
regional  and  also  national  monthly  meeting  point  for  all  people
interested   in   the  fascinating  field  between  future  and society,
technology  and  environment,  science  and general knowledge,  art  and
culture and who want to exchange with others.

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but  contribute  by  bringing  their  own work, share their  ideas  with
others   in   the  network  and  who  like  exciting  and  controversial

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