announcer on Fri, 7 Aug 1998 20:19:32 +0200 (MET DST) |
[Date Prev] [Date Next] [Thread Prev] [Thread Next] [Date Index] [Thread Index]
<nettime> announcer 046 |
NETTIME'S WEEKLY ANNOUNCER - every friday into your inbox calls-symposia-websites-campaigns-books-lectures-meetings send your PR to sandra.fauconnier@rug.ac.be in time! 0.......1........2........3........4........5........6 1...farce.................Neue linke Netzzeitschrift "com.une.farce" 2...vali djordjevic.......CFP: net - art - world 3...rtmark.ANNSERV........Mexican village resists high technology 4...simpson@american.edu..satellite imagery & human rights online course 5...Axel Bruns............M/C - A Journal of Media and Culture 6...GEN ART...............GEN ART Summer Fest! 7..Jasper van den Brink...PARK GiF DePoT ........1.............................................. Date: Fri, 31 Jul 1998 13:31:00 +0200 From: farce <farce@copyriot.com> Subject: Neue linke Netzzeitschrift "com.une.farce" Ab 1.8. 1998 ist eine neue linke Zeitschrift im WWW online: com.une.farce 0/98 Zeitschrift fuer Kritik im Netz & Bewegung im Alltag http://www.copyriot.com/unefarce =A0 Inhaltsverzeichnis der Nullnummer: -------------------------------------------- Editorial Vermittlung von Theorie und Alltag im daily terror der verwalteten Welt Festhalten am Gedanken, der radikale Ver=E4nderung meint Interview mit Johannes Agnoli zu den Folgen von '68 Die Fragen stellte das Autonome Zentrum Marbach a.N. "... repressive Moral, wie bei den Pietisten" Wie Autonomen-Chronist Geronimo autonome Politiken meint kritisieren zu m=FCssen von Gottfried Oy "Symbolische" versus "richtige" Politik? Zur Unmoeglichkeit der Suche nach der richtigen Politik in der falschen von autonome a.f.r.i.k.a.-gruppe Umherschweifende Hofnarren Das Netz als Utopiemaschine von Thomas Berker 'Aschenputtel bringt sich auf den Markt' Zur Situation mittel- und osteurop=E4ischer Migrantinnen Ein Interview mit der Jiskra-Mitarbeiterin Britta Schmitt zur Situation mittel- und osteurop=E4ischer Frauen in Frankfurt a.M. Die Fragen stellten Mitglieder der come.une.farce-Redaktion Der n=E4chste Krieg ist immer der schwerste! Fu=DFballweltmeisterschaft als Quell des nationalen Mythos von Norbert Kresse +++++++++++++=A0 Editioral=A0 ++++++++++++++ com.une.farce Zeitschrift fuer Kritik im Netz & Bewegung im Alltag com.une.farce - eine neue linke Zeitschrift, getragen von Gruppen und Personen aus dem Spektrum der autonomen und radikalen Linken - versteht sich als ein an der Vermittlung von Theorie und Alltag orientiertes Projekt. Es geht uns darum, die Ebene der alltagskulturellen Phaenomene mit der "grossen Politik" der alten Maenner auf staatlicher und internationaler Ebene, der sozialen Frage und einer Kritik des Geschlechterverhaeltnisses so zu verknuepfen, dass dem alten Reduktionismus der Oekonomie nicht irgendein neuer entgegengesetzt wird. Dabei kommt es darauf an, die verschiedenen Herschaftsverhaeltnisse zu unterscheiden, sich aber auch ihrer Verwobenheit bewusst zu sein.=20 Vermittlung von Theorie und Alltag heisst, politische Fragestellungen zur eigenen Subjektposition in Relation zu setzen. So wie sich Herrschaft bis unter die Haut materiell manifestiert, so uebersetzen sich Herrschafts- und Ausbeutungsverhaeltnisse in den daily terror der verwalteten Welt. Eine an Emanzipation orientierte politische Theoriebildung darf sich nicht damit begnuegen, sozusagen vom Katheder die kritische Kritik zu predigen, sondern muss sich auf den Alltag, auf die politische Praxis einlassen, um an der kulturellen Grammatik, der symbolischen Ordnung wie den oekonomischen und politischen Strukturen ruetteln zu koennen. Die Interventionen unseres Projektes in politische Debatten und Auseinandersetzungen verstehen wir als eine solche Vermittlungsanstrengung.=20 Wer spricht? Das Redaktionskollektiv ist durchaus heterogen: Teile des Projektes sehen sich in der Tradition der inzwischen etwas in die Jahre gekommenen Neuen Linken und wollen ihr Engagement auch als Beteilung an den Erbstreitigkeiten um 68 verstanden wissen, andere wiederum pfeifen drauf und ueberlassen insbesondere im Jubilaeumsjahr die Entsorgung der Geschichte lieber den Museen und Galerien. Motivationen sind schlechte Erfahrungen im real existierenden linksradikalen Blaetterwald oder einfach der Wunsch, selbst zu ProduzentInnen zu werden. So verschieden der Ausgangspunkt, wieso sich die an diesem Projekt Beteiligten mit der "Waffe der Kritik" ins Handgemenge begeben, so verbindend ist doch das gemeinsame Interesse an der Weiterentwicklung einer linksradikalen Theorie und Praxis jenseits von Markt, Staat, Geschlecht und kultureller Herkunft.=20 Mehr Fragen als Antworten Dabei stellen sich noch viele Fragen: Wie ist das Verhaeltnis von Theorie und Praxis zu werten bzw. inwieweit kann unter den gegebenen Verhaeltnissen Theorie als Praxis reichen? Welche Theorie hat was mit welchem/wessen Alltag zu tun? Wie muss heute eine "Kritik des Alltaglebens" formuliert werden? Oder genauer: Wie koennen feministische, antirassistische und marxistische Ansaetze - seien sie nun poststrukturalistisch oder eher an Kritischer Theorie ausgerichtet - fuer eine undogmatische Theoriebildung so nutzbar gemacht werden, dass sie nicht bei einer Aneinanderreihung von -ismen stehenbleiben, sondern Herrschaftszusammenhaenge in alltaeglichen Kontexten analysieren und Experimentierfelder fuer Emanzipation benennen koennen? Diese Fragen werden immer wieder von neuem zu beantworten sein. Die Antworten werden dabei notwendigerweise unterschiedlich ausfallen, aber genau das macht uns neugierig auf die gemeinsame Arbeit an einer Zeitschrift wie der com.une.farce.=20 Mit Netz und doppeltem Boden Die Idee, eine Zeitschrift im Netz machen zu wollen ist nicht zuletzt eine Folge davon, dass die Mittel fuer eine "echte" Zeitschrift in Printform fehlen. Insbesondere der Aufbau eines Vertriebes, der eine Zeitschrift auch einigermassen traegt, ist derzeit ein nahezu unueberwindbares Hindernis fuer neue Projekte. Im Netz ist das einfacher und vor allem billiger. Wir wollen unseren Schritt ins Netz jedoch nicht als Ausdruck unkritischer Netzeuphorie verstanden wissen; wir verfolgen und beteiligen uns an den Netzdebatten und ueben Netzkritik, weil hier wichtige Weichenstellungen fuer die Zukunft der politischen Kommunikation getroffen werden. Ungeachtet des neu aufgekochten Brechtschen Interaktivitaetsmythos, der schon in den 20er Jahren Kommunikationstechnologie mit der Veraenderung gesellschaftlicher Strukturen in ein kausales Verhaeltnis setzte, und diverser anderer ideologischer Wolkenkratzer, die das Medium mit sich bringt, erscheint uns das Internet im pragmatischen Sinn nutzbar. Wir wissen, dass wir mit der ausschliesslichen Publikation im Netz neue Ausschluesse produzieren - selbstverstaendlich kann auf Anfrage auch ein Ausdruck der com.une.farce zugeschickt werden. Andererseits sind die Ausschluesse bei klassischen linken Zeitschriften, die es lediglich in ein oder zwei Buchlaeden in ein dutzend Staedten zu kaufen gibt, kaum minder problematisch. Das ganze allein auf ein quantitatives Problem zu reduzieren, wird der Sache gewiss nicht gerecht; es geht auch darum, Erfahrungen mit der Nutzung eines fuer linke Zeitschriften neuen Mediums zu machen, es sich anzueignen. com.une.farce wird dreimal jaehrlich erscheinen. Die Nullnummer ist ab Samstag, den 1. August 1998 unter http://www.copyriot.com/unefarce abrufbar, Nummer 1 erscheint am 1. Dezember, die folgenden Nummern in viermonatigem Abstand. Diese, einem klassischen Periodikum angelehnte Erscheinungsweise verzichtet bewusst auf einige der neuen und schnellen Moeglichkeiten des Mediums und orientiert sich an den Diskussionsprozessen der Redaktion, die ueberregional und dezentral organisiert ist. Das Medium Internet soll hier nicht nur zur Publikation der Zeitschrift selbst dienen, sondern auch der Redaktion die Moeglichkeit einer Kommunikation bieten, die nicht auf die bei ueberregionalen Projekten bekannte Zentralisierung auf einen Redaktionsstandort zurueckfaellt.=20 Moeglichkeiten, die das Medium bietet, wie etwa die Einrichtung einer Mailingliste fuer Diskussion und Austausch von LeserInnen, Redaktion und AutorInnen, stehen als weitere Entwicklungstufen des Projektes zur Diskussion. Selbstverstaendlich ist an dieser Stelle auch die Einladung an Interessierte, sich Texte runterzuladen, zu verteilen oder als Werkzeugkiste in anderen Kontexten zu verwenden. Bei=20 Wiederveroeffentlichung bitten wir um Angabe der Quelle und der Autorinnen sowie der Zusendung eines Belegexemplares. In der vorliegenden Ausgabe wurde noch kein Bild- und Tonmaterial verwendet. In den folgenden Ausgaben soll das anders aussehen und sich anders anhoeren. Die fuer das Zeitungmachen, -lesen und drueber reden notwendige Neugierde, Gelassenheit und kriminelle Energie wuenschen wir Euch und uns. =A0 Die Redaktion ------------------------------------------ Impressum: com.une.farce Zeitschrift fuer Kritik im Netz & Bewegung im Alltag WWW: http://www.copyriot.com/unefarce (Hier k=F6nnen alle Texte einzeln als rft-Dateien downgeloadet werden. Sie stehen unter Angabe der Quelle com.une.farce 0/98 und der Webadresse http://www.copyriot.com/unefarce zur freien Verwendung) Das Redaktionskollektiv ist unter mailto:farce@copyriot.com zu erreichen. Belegexemplare bitte an: com.une.farce c/o diskus Mertonstr. 26-28 60325 Frankfurt/M Erscheinungsweise: 3 x j=E4hrlich Nr.1 erscheint am 1. Dez. 1998, Redaktionsschlu=DF ist am 1. Okt. Wir sind daran interessiert, mit anderen Projekten Anzeigen zu tauschen und bitten um R=FCcksprache. Das gleiche gilt f=FCr gegenseitige Hyperverweise. Au=DFerdem freuen wir uns =FCber Diskussionsbeitraege, Nachfragen und Besprechungen unseres Projektes in euren Publikationen. .................2..................................... Date: Mon, 03 Aug 1998 16:16:33 +0200 From: vali djordjevic <valid@bethanien.de> Subject: CALL FOR PARTICIPATION: net - art - world CALL FOR PARTICIPATION The media arts lab in the Künstlerhaus Bethanien in Berlin is organising a meeting of net artists, theorists, curators and netizens on the topic of net - art - world: reception strategies and problems ==================================================== Date: October 16th to 18th 1998 We appriciate your ideas and proposals for discussions, lectures and workshops. Please send us your abstracts (not more than 300 words) as soon as possible. Deadline 16th of August. We are looking forward to it. Concept and general thoughts: The Net developed a secondary presence a long time ago, such that it became a symbol for modernity and social reality for people who do not participate actively in the net culture. In public debates, TV serials, films and print media a mythic image emerges, where the Internet seems to be the battlefield of intelligence services and porno mafia, military forces and conspiracy theorists fighting over the hegemony of the computer screens. Netart as critical reflection of the medium of the Internet needs direct knowledge of the technical and social conventions. Like high-technology it demands of its audience a basic knowledge about specialized problems and technical conditions which is absolutely necessary to understand and estimate its solutions, doubts and proposals. This lets the insiders appear to be the ideal public for netart. It is tempting to produce art for artists and to stay among oneselves. The sphere of netart becomes a parallel universe. That is how netart gets in a paradoxical situation: An ever-growing audience without knowledge of the technological basics, and the artists with their relationship to innovation and to the electronic parallel culture, do not come together; sometimes it seems, the public is a symbol for the developments of blind consumerism, which netart is opposed to. Between the difficulties of mediation and the claims for effect, aesthetic radicality and social relevance we are automatically confronted with the question of the transitions between the netart-world and the outer world as an characteristic of the medium. How can we reconcile or shape these transitions? This question gets even more important when we look at netart from the perspective of the conventional, not electronically-mediated art world. The conventional art scene -- not only since the context critique in the art of the 80s -- experienced an internal critique of its own operating system. Its elaborate marketing and reception systems promise -- apart from economical chances -- also a well developed quality evaluation and practical mechanisms how art and society can permeate. Considering the technological race over the economical utilization of the Internet -- its commercialization and its information overflow -- the consideration to present netart to the selective publicity of the art world suggests itself. Netart could have multifold profit from a tighter union with the gallery system, the exhibitions and the institutionalized critique of the art system. Vice versa it is nessecary to encourage conventional art to meditate more profundly about its technological environment. It needs a deeper reflection on technological innovation in order to understand, examine and criticize the future formation of the society. One question is what are the claims of both camps towards the relationship between the two still - in most parts - divided spheres. The problem can be discussed from the perspectives of production, mediation and reception policies. + production: which artistic strategies are developed regarding these contadictory requirements? How do the producers/artist react to this problem? Do certain critical traditions of netculture lead to certain limited publicities? What does a broader net-unspecific public mean for project development and planning? It does not get one very far to explain the net over and over again. To work for an inner circle, which knows what one wants to say, limits the range of people who can participate and can lead to a conceptional stagnation. What part does an net-unspecific aesthetic, with its broader autonomous possibilities for netart play? + mediation: how do you exhibit netart? Until now one could see two proposals: on the one hand the introduction of the working process as seen at the "open x" at the ars electronica in Linz or the "hybrid workspace" at the documenta X in Kassel; on the other hand the presentation of the work of art as in the netart corner at the documenta X. The first form of presentation confronts us with the same problems as the festival phenomenon: people who know each other's work anyway meet to have a good time together. The mediation is superseded by a fair event. The producers talk with each other about their work. An audience from outside exists just marginally. The latter form (exhibiting computer screens in a museum) asks the question: What is a work of art? The pixel on the screen? The idea, that maybe nobody understands outside of the net? Further questions regarding mediation are: What is the role of institutions and curatorial instances? What channels of distribution are nessecary? Does the lack of curatorial evaluation do harm or is it an advantage? Is there a lack of an (independent) critical public? + reception: on which conditions is netart received? What demands are made on the conditions of reception? In what degree has the viewer to be an user? Are forms of consumption possible and desirable, where the recipient leaves and overcomes the desktop situation of the classical computer workplace? How realistic is the alleged freedom of the network situation? Does free access to the net bring this de-hierachizing freedom, which is commonly believed to be an integral part of the net? Is it nessecary to design the situation of reception in a community-enhancing way? How does one cope with inexperienced users? Thesis: in addition to the ordinary considerations on exhibition didactics it is necessary to think of more targeted preparations and reactions to the conditions of the exhibition. These are some questions, that arose from our reflections on the topic. The symposium is meant to offer proposals and solutions through lectures, discussions and practical workshops. We want to get artists, net.theorists, museum scientists, art historians, gallerists and the audience together to develop new strategies for netart. Organisation and Concept: Vali Djordjevic and Gerrit Gohlke Contact: valid@bethanien.de ..........................3............................ Date: Mon, 3 Aug 1998 22:32:56 -0700 (PDT) From: "rtmark.ANNSERV" <announce@rtmark.com> Subject: Mexican village resists high technology FOR IMMEDIATE RELEASE August 4, 1998 Contact: popotla@rtmark.com FISHING VILLAGE WINS PRIZE FOR TECHNOLOGICAL WARFARE Ars Electronica, the foremost new media technology festival in the world, has awarded its prestigious InfoWeapon cash prize to the people of Popotla, a tiny Mexican fishing village, for resisting unwanted technologies by means of trash and recycled materials. To film the movie Titanic, Twentieth Century Fox built a movie maquiladora in Popotla, and surrounded it with a giant cement wall to keep the villagers out. ("Maquiladora" is the term for US factories operating in Mexico because of the low wages.) The people of Popotla reacted to the unsightly wall first in humiliation and anger, and then by covering it with a mural constructed from garbage they amassed and collected. The Ars Electronica InfoWeapon jury is rewarding Popotla for this remarkable low-tech gesture against an unpleasant high-tech situation. Ars Electronica is also awarding the movie Titanic itself, which cost US$200 million to make, its Golden Nica cash prize for computer animation. Ars Electronica is thus in the cutting-edge position of rewarding both parties in a cultural and economic impasse, thus perhaps furthering discussion between them. RTMARK will present the InfoWeapon cash prize to a representative of Popotla at the Ars Electronica award ceremony in Linz, Austria, this September. For a fuller story of the Popotla wall, see http://rtmark.com/popotla.html. For a description of the InfoWeapon prize, see http://www.aec.at/infowar/NETSYMPOSIUM/ARCH-EN/msg00000.html To learn about Ars Electronica, see http://www.aec.at/. RTMARK was established in 1991 to further anti-corporate activism, in some cases by channelling funds from donors to workers for sabotage of corporate products. Recent and upcoming acts of RTMARK-aided subversion are documented on RTMARK's web site, http://rtmark.com/. ...................................4................... Date: Tue, 4 Aug 1998 16:55:52 -0400 From: simpson@american.edu (by way of mf@mediafilter.org (MediaFilter)) Subject: satellite imagery and human rights online course American University ?s School of Communication is offering a free, online, hands-on course on: Satellite Imagery and Human Rights. This is a non-technical introduction to practical uses of satellite imagery for journalists and news organizations; NGO and grassroots leaders; local, provincial and tribal leaders and resource managers; persons with a professional interest in international affairs; and similar non-engineers who can make good use of this emerging technology. We?ll emphasize grassroots verification of environmental and arms control treaties, as well as techniques for monitoring largescale human rights crisis. Participation or auditing the online sessions is free. The course includes lectures and projects in geographic information systems (GIS) delivered from Portugal?s Universidade Nova de Lisboa, prominent guest speakers and an opportunity for original work that pushes the state of the art. A summary of course session topics is provided below. -------------------------------------------------- Persons interested in applying for participation please send: Name________________ Address, including institution name_________________ telephone______________ fax___________________ E-mail________________ A very brief summary of your professional or educational experience that may be relevant to the course content. A line or two is adequate._________________________________________________ Send your information to: Prof. Christopher Simpson at simpson@american.edu --------------------------------------------------- Live webcast time: 8:30 am to 11:10 am EST Thursdays, from September 3 through December 3, 1998. Recorded class sessions will be available for download at times to be announced. The course language will be English. Prerequisites are basic computer and WWW literacy. Class lectures and resources will be offered via the WWW using streaming audio, whiteboard and ftp software that can be downloaded without cost from the WWW. A 486 Pentium computer and a 28.8 link to the WWW are the minimum necessary hardware for satisfactory online participation. Faster processors and web links are desirable. However, course presentations will be recorded and can be downloaded and used at your convenience using more basic computer equipment. American University honors students and certain graduate students will be taking the course for academic credit. Online observers will _not_ receive course credit. However, you are welcome to participate fully in the course, lectures and discussions, especially when your professional or academic experience contributes to class discussion and insights. Important Legal Notes: The WWW version of this course is shared as a public service by American University?s School of Communication. Every effort is made to provide an excellent educational experience. For obvious reasons, however, American University and its School of Communication make no warantees whatever concerning the course or its contents to persons who choose to observe or participate in this event online, nor does the university and the school assume any responsibility whatever for actions, statements or claims made by online observers and participants. ONLINE OBSERVATION OR PARTICIPATION DOES NOT LEAD TO ACADEMIC CREDIT FROM AMERICAN UNIVERSITY. ------------------------------------------------------------------ Summary of Class Schedule Sept. 3: Review of course goals and assignments; outline of communication techniques we?ll use to stay in touch with one another and with other participants around the world... Assignment of term projects and project teams... Initial discussion of remote sensing and GIS. Sept. 10: Introduction to online satellite imagery indexes... AVHRR and weather imagery.... First discussion of image interpretation. Sept. 17: Q&A concerning term paper proposals.... The civil MS IIRS rating scale for imagery.... Spectral bands and an introduction to gathering information on human rights, arms control or pollution from outside the spectrum of visible light.... Brainstorming on signatures that may reveal or suggest information relevant to your project. Sept. 24: Guest lecture by Dino Brugioni, formerly the CIA?s chief expert for briefing U.S. presidents and other policy makers on photoreconnaissance. Q&A.... More brain food: checking out J-Track online as it traces the path of particular satellites. Oct. 1: Discussion of your learning checklists and a review of course thus far. Oct. 8: GIS overview courtesy of GASA at the Universitdade Nova de Lisboa, Portugal. Class session includes: Introduction to basic types of geographic information products and to how they can be used to analyze as well as illustrate a controversial issue.... ?Draping? images or other geographic information over digital information about elevation to create three-dimensional models. Includes illustrative examples. Oct. 15: GIS overview courtesy of GASA. Why comparisons are usually necessary to get the most benefit from geographic information.... Introduction to the use of GIS in environmental justice and resource management controversies..... Additional guest speaker. Oct. 22: GIS overview courtesy of GASA. Tracking urban sprawl using GIS.... Documenting ?toxic alleys? or clusters of particularly dangerous pollution.... Using the GASA GIserver (http://gasa.dcea.fct.unl.pt/inovagis/giserver/).... How ?fly-through? 3-D models helped negotiate a cease fire in Bosnia. Oct. 29: Satellites, orbits, & revisit times.... In-class work on midterm reports. Nov. 5: In-class work on the midterm report on your term project. Nov. 12: Presentation of Midterm reports and international online discussion of presentations.... Discussion of how to locate free or low-cost satellite imagery and geographic information. Nov. 19: Feedback from the professor and problem solving on your term project.... In-class work time.... Quick introduction to Power Point or similar software useful for illustrating your term project lecture. (It?s really easy). Nov. 24: (Tuesday) The class session that would usually take place Thursday will be held on Tuesday due to the Thanksgiving Holiday. This session will include identification of the specific tasks necessary to complete the term project, some in-class work time, and the beginning of the course review needed to prepare for the final exam. Dec. 3: In-class and international presentation of completed term projects. Discussion. Course review. Dec. 17: Final Exam. ............................................5.......... Date: 07 Aug 98 15:26:20 +1000 From: Axel Bruns <snurb@uq.net.au> The Media and Cultural Studies Centre at the University of Queensland is proud to present M/C - A Journal of Media and Culture http://www.uq.edu.au/mc/ M/C is a magazine that plays with the push/pull characteristics of the Web. We're writing, investigating, analysing, critiquing the meeting of media and culture. These are large concepts: we're working through the various refractive powers that media forms have on culture, through the cultural power of media forms to conceptualise and to organise (or disorganise) our world-views. M/C is a crossover journal between the popular and the academic. It is attempting to engage with the 'popular', and integrate the work of 'scholarship' in media and cultural studies into our critical work. We take seriously the need to move ideas outward, so that our cultural debates may have some resonance with wider political and cultural interests. M/C issues are each organised around a theme. The first issue's theme is particularly appropriate for a birthing process, and the move from the apparent simplicity of beginnings to the complexity of sustaining life. We're looking at the concept of "New", and we're approaching it from a variety of angles and avenues. Most of the essays are short interventions. One essay for each issue will engage with the concept for a little bit longer. M/C is now on the Web. Visit us at <http://www.uq.edu.au/mc/>. ......................................................6 Date: Fri, 7 Aug 1998 10:29:56 -0400 (EDT) From: stefang@emedia.net (GEN ART) Subject: GEN ART Summer Fest! IF YOU ARE IN THE CITY IN THE NEXT THREE DAYS, GET OUT OF THE HEAT AND COME TO GEN ART’S SUMMER ARTS FESTIVAL PRESENTED BY BASS ALE & GUINNESS IMPORT CO.! GREAT FILMS, LIVE PERFORMANCES, ART EXHIBITION AND OPEN BEER BAR EACH EVENING, ALL FOR ONLY $10!!! (7pm - midnight) FREE DURING THE DAY!!! (noon - 7pm) at EXIT ART, 548 Broadway between Prince & Spring THE GEN ART SUMMER ARTS FESTIVAL SCHEDULE Today's Hottest New Talent and the Art that may have inspired them... noon-7:00pm daily Visual Art Exhibition Their works will continue to remain on display from noon to midnight throughout the run of the festival. Michael Alderson Domenica Bucalo Anthony Deluca Christopher James Andy Madsen Jean-Michel Basquiat Louise Bourgeois Jenny Holzer William Wegman Friday, August 7th >>Live Performance / Art 8:00pm Jim Gaffigan. A pale Midwesterner with a dry and dark, yet often playful attitude, Jim Gaffigan’s off-beat original comedic characters have kept downtown NY audiences howling for years. He has appeared on Comedy Central’s Dr. Katz, NBC Comedy Showcase, and commercials for ESPN, Saturn, and Rolling Rock.Jen’s RevengeShe trashes her boyfriends (past, present, and future) with love songs about hate. Rosanne Barr meets Joni Mitchell (kinda). 10:00pm Billy Voss. Billy Voss pulls equally from the center of such artists as Beck, G-Love and Ben Harper. Delving into acoustic rock, groovy swing, hip hop, and more, all layered with interesting loops and samples, he creates his own brand of organic / electric folk. >>Film 3:00pm Pousse Café, 1996. Director: Susan Winter Cast: Dominic Hamilton, Anthony F. Hamilton, Beatrix Ost. A wonderfully dry comedy that goes down as smoothly as an ice cold Martini, this homage to the cocktail is also a hilarious study of the complexities of family relationships. The timing and chemistry of the real-life father/son team playing the lead characters sends this absorbing blend of cocktails and character study over the top. 5:00pm Parting Glances, Director: Bill Sherwood. Cast: Steve Buscemi, Richard Ganoung, John Bolger, Kathy Kinney. Set during the height of the AIDS epidemic in the mid 80s, this funny, life affirming film focuses on a rock star's (Steve Buscemi) discovery that he has AIDS and the impact this has on his world. 8:00pm Ed’s Next Move, 1996. Director: John Walsh. Cast: Matt Ross, Callie Thorne, Kevin Carroll. Ed (Matt Ross - "Last Days of Disco") thought his life was all mapped out. But he didn’t plan on getting dumped by his girlfriend and taking off to NYC, thousands of miles from the security of his Wisconsin home. Check out the familiar sites as Ed attempts to adjust to life in the always-entertaining East Village. 10:00pm After Hours, 1985. Director: Martin Scorsese. Starring: Griffin Dunne, Rosanna Arquette, Linda Fiorentino, Cheech & Chong. What starts off as an innocent chat over a cup of coffee turns into a Kafkaesque descent into the bowels of NYC. One of Martin Scorsese’s most unappreciated films, this black comedy offers a parade of offbeat New York characters and a chance to see SoHo before the trust fund babies moved in. Saturday, August 8th >>Live Performance / Art 8:00pm Michele Riganese. Beautiful lyricist and musician will sweep you away. 10:00pm Saul Williams. A modern-day renaissance man, Saul Williams is one of the most talented and exciting new artists to come along in years. Award-winning actor, recording artist, poet and author, he is setting a new benchmark for creative expression. Join Saul and his band for a unique evening of music and poetry. Saul is also the lead of the soon-to-be released "Slam" - Sundance Award Winning Film. >>Film 3:00pm Eight Days A Week, 1996. Director: Michael DavisCast: Josh Schaefer, Keri Russell, R.D. Robb, Johnny Green. Crazy-in-love like his great grandfather before him, Peter stands under the window of his dream girl, day and night, night and day, all summer long, hoping to steal her heart … from her beef cake boyfriend who enjoys nothing more than beating the crap out of Peter on a regular basis. In this quirky comedy, Peter reminds us all of how we felt at the crossroads of youth and adulthood: full of heartbreak, hope, and hormones. 5:00pm Fast Times at Ridgemont High, 1982. Director: Amy Heckerling. Cast: Sean Penn, Jennifer Jason Leigh, Judge Reinhold, Brian Backer, Phoebe CatesAn 80s classic if ever there was one. Mr. Hand, Jeff Spicoli, Phoebe in a bikini, and Anthony Edwards before he went bald. Need we say more? 8:00pm Basquiat, 1996. Director: Julian Schnabel. Cast: Jeffrey Wright, Benicio Del Toro, David Bowie, Gary Oldman, Parker Posey. Julian Schnabel creates an indelible portrait of the meteoric rise and tragic fall of Jean-Michel Basquiat in the racy art world of the 1980s. From a cardboard box, Basquiat literally rises to become an overnight sensation and darling of the Soho scene. Schnabel’s intimate knowledge of his subject makes this film a unique portrait of one 80's icon by another. 10:00pm Sid and Nancy, 1986 Director: Alex Cox. Starring: Gary Oldman, Cloe Webb. Alex Cox somehow makes sense of the relationship between deceased punk rocker Sid Vicious and his girlfriend Nancy Spungen. His compassionate rendering of these two nihilists reveals a tender co-dependency amidst the heroin drenched punk scene of the Seventies. Sunday, August 9th >>Live Performance / Art 8:00pm Jesse Harris. Jesse Harris (lead singer of the Ferdinandos) is an honest and subtle songwriter. Jesse’s jazz-folk/pop sound is anchored in his delicate voice and beautiful guitar phrasing. 10:00pm Squelch. Drum and Bass improvisations >>Film 3:00pm Waco: The Rules of Engagement, 1996. Director: William Gazecki. Who could forget the Branch Dividians and the government siege that led to the fiery destruction of their compound. This Oscar nominated documentary takes you on a stunning journey through the entire standoff between Koresh and the FBI. 5:00pm The Thin Blue Line, 1988. Director: Errol Flynn Morris. Errol Morris’ fascinating documentary about the murder of a Dallas policeman. Meet the convicts and the participants in the criminal justice system whose interpretations of the evidence led to a hotly debated conviction of a presumably innocent drifter. 8:00pm Colin Fitz, 1996. Director: Robert BellaCast: Matt McGrath, Andy Fowle, Martha Plimpton, Mary McCormack, John C. McGinley, William H. Macy, Julianne Phillips. On last year’s anniversary of the death of Colin Fitz, the rock legend, a mass suicide took place at his grave. In order to prevent another disaster this year, two mismatched security guards are hired to watch over the grave. A satirical comedy about love, death and rock ‘n roll, Colin Fitz offers a witty look at pop culture. 10:00pm River’s Edge, 1987. Director: Tim Hunter. Starring: Crispen Glover, Dennis Hopper, Keanu Reeves, Ione Syke. Based on a true story, this disturbing film depicts a group of teenagers in the Pacific Northwest and the conflicting loyalties that arise when one in their circle murders another. Worth it just for Crispin Glover’s over-the-top performance. For more information: call (212) 290-0312. Open Noon - Midnight Admission is $10 from 7 - midnight. Beer courtesy of Bass Ale, Pilsner Urquell, Guinness and Harp. or visit www.genart.org 7...................................................... Date: Fri, 7 Aug 1998 16:53:43 +0100 From: Jasper van den Brink <jasper@park.nl> Subject: PARK GiF DePoT Uitnodiging _english version below_ U bent van harte welkom op de opening van het 'PARK GiF DePoT'. Het PARK GiF DePoT is een onderdeel van het PARK MuSeuM. De eerste bijdrage: Maker: Han Hoogerbrugge Titel: I am not much of a dancer but I can jump http://www.park.nl PARK 4DTV Amsterdam - Berlin - New York info@park.nl Invitation We would like to invite you on the opening of the 'PARK GiF DePoT'. The PARK GiF DePoT is a component of the PARK MuSeuM. First contribution: Maker: Han Hoogerbrugge Title: I am not much of a dancer but I can jump http://www.park.nl PARK 4DTV Amsterdam - Berlin - New York info@park.nl --- # distributed via nettime-l : no commercial use without permission # <nettime> is a closed moderated mailinglist for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@desk.nl and "info nettime-l" in the msg body # URL: http://www.desk.nl/~nettime/ contact: nettime-owner@desk.nl