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announcer on Fri, 7 Aug 1998 20:19:32 +0200 (MET DST)


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<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 {AT} 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 {AT} 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 {AT} 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 {AT} 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 {AT} bethanien.de>
Subject: CALL FOR PARTICIPATION: net - art - world

CALL FOR PARTICIPATION

The media arts lab in the KŁnstlerhaus 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 {AT} bethanien.de


..........................3............................

Date: Mon, 3 Aug 1998 22:32:56 -0700 (PDT)
From: "rtmark.ANNSERV" <announce {AT} rtmark.com>
Subject: Mexican village resists high technology

FOR IMMEDIATE RELEASE
August 4, 1998
Contact: popotla {AT} 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 {AT} american.edu (by way of mf {AT} 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 {AT} 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 {AT} 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 {AT} 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 ARTíS 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 Gaffiganís off-beat original comedic characters have
kept downtown NY audiences howling for years. He has appeared on Comedy
Centralís Dr. Katz, NBC Comedy Showcase, and commercials for ESPN, Saturn,
and Rolling Rock.Jenís 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 Cafť, 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	Edís 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 didnít 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 Scorseseís 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 Ö 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.  Schnabelís 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. Jesseís 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
Morrisí 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 yearís 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 Ďn
roll, Colin Fitz offers a witty look at pop culture.

10:00pm	Riverís 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 Gloverís 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 {AT} 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 {AT} 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 {AT} park.nl
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