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<nettime> Announcer 051-052
Diana McCarty on Fri, 18 Sep 1998 21:29:28 +0200 (MET DST)

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<nettime> Announcer 051-052

[apologies to anyone whose announcement comes too late...]

NETTIME'S WEEKLY ANNOUNCER - every friday into your inbox
send your PR to sandra.fauconnier {AT} rug.ac.be in time!

1... Dooley Le Cappellaine.............Art on the Web
2... Cary Peppermint...................symbolic threesome wanted
3... Iris Ben-David....................Art Station - art democracy
4... William M Stamper.................multipolyomni & We installation
5... timesup.org.......................Sick of Eurodisney?
6... John Armitage.....................*EXPLORING CYBER SOCIETY*
7... Stefan Wray.......................reuters addresses for you
8... Adrian Miles......................Chris Marker Symposium
9... Tofts {AT} lucy.cc.swin.edu.au..........Memory Trade Book Release
10.. Joel S Bachar.....................1999 Independent Exposure Call
11.. n5m3 {AT} waag.org.....................The Next 5 Minutes
12.. Michael Krome.....................Betreff:Update Schipper&Krome
13.. Chris Paul........................Church of the Utteerly Ridiculous
14.. Valery Grancher...................please answer these questions


Bill Albertini:

Bill Albertini

The mutability of "fact" has been accelerated by changes in the way
information is transubtantiated: new media developments have
materialized data. During the last quarter century this info-stuff
has become what iron and coal was to the nineteenth century. Lead
may have been holographed into gold, the emperor may have new (no)
clothes, and now at the very least we have the digital tools to
reopen arguments about the number of angels that can fit on the head
of a pin. Revisionism is a reality, contemporary mythology is a
fact, and history is a misnomer.

The interface for Bill Albertini's "Viewer" consists of an image of
a desk with a computer, a TV monitor tuned into a dead channel, and
a mysterious white cube. Once you click on the cube's surface, the
little monitor appears on top of it, and is then transformed into
morphing shapes. Clicking on the image of either the computer screen
or the monitor will present differing perspectives on what you're
seeing on your computer screen. The viewer may easily get the
feeling of being trapped in the small world on the screen that can
do nothing but reflect on itself.

The work of Bill Albertini has been exhibited extensively over the
last 15 years. Recently he exhibited a series of digital drawings at
Horodner Romley Gallery, New York. These drawings featured a
completely accurate computer generated model of the gallery
containing "virtual sculptures" of varying degrees of impossibility.
Part of a much larger body of work utilizing the possibilities of
the computer, these drawings continue the artist's investigation
into the imaginary cultural artifact, the nature of memory and
history. Bill Albertini was born in Dublin, Ireland in 1954. His
training includes: Yale School of Art, MFA; Crawford School of Art,
Cork, Ireland; Ravensbourne College of Art and Design, Bromley,

Phone and Fax (212) 966-3046


The bald white boy with a black shirt modeling a cheap tie.

If you like what you see then consider this:

Looking for an ahistorical/symbolic threesome in the New York area.  Do you
like the term 'restless culture'?  Are you a convoluted 'lifetime in

Lets spend the night together in just our underwear and don't touch at all
and just talk about how to emulate the feeling of perpetual drunkenness and
lets take polaroids of one another washing dishes or preparing couscous and
then trade them  with one another and not sleep all night and then look at
the polaroids the next day after our moments together are lived and then we
will not feel so bad and we will be happy ahppy happy knowing these are the
good times and mortality really is laughable and all is not simulated,
engendered and of high velocity.

We will call this an Exposure Version 1.0

Neo-nihilists-smash the state types, newly elevated conscious types,
disconcerted fashionably jaded post-mod types and/or idealistic neo-hippie
political activists need NOT apply.

Must be mature professional and discreet.

cary peppermint with photo and/or brief bio
capepper {AT} dreamscape.com

Art Station is part of a degree project in the MA interactive multimedia
course in the LCP, London Institute, it provokes questions about the
influence of the Internet on art and art exhibition. It is also challenging
the definitions of art and art curating in the Internet era.

I would appreciate Nettimers feedback on the idea and include this feedback
in the project.

Art Station (www.artstation.co.uk) allows every visitor to submit artworks
and curate an exhibition.

The idea is to democratise art through the net.

Some of the questions Art Station is asking are:
Who is the artist?
Who is the curator?
Where is the gallery?

Art Station's suggested answers are:
The artist is everyone
We open the gallery walls to everyone who wants to make art:
Visitors will be able to send artworks via e-mail.
People will be able to create artworks in art galleries. These artworks will
be scanned into the online exhibition.
Additional creation centres in various places.

The curator is the visitor
The curating process in Art Station is democratic:
The public will have the ability to comment and react to each artwork and to
select the artworks they would like to add to their own privet exhibition.
A special on line exhibition will present the most popular choices at any

The gallery is real and virtual
The exhibition will be presented in two places simultaneously:
Art gallery =F1 projected on walls
On line web site

Art Station will be projected in a private room in  the ICA gallery in
on the 28-29 of September as part of final exhibition of the MA interactive
multimedia course in the LCP, London Institute.

Iris Ben-David
artstation {AT} hotmail.com


contact: William M. Stamper (718) 277-1944
e-mail: illbilly {AT} earthlink.net

Produced by Michael Randazzo and mr y in association with Lauren
Executive Producer: Vanguard Visions, Inc.


"Early Stages of Organic Life"
a three part episode from multipolyomni's opera Quark Soup

with music composed by We=99

Friday, September 11 through Saturday, September 26, 1998

Space Untitled Gallery
137 Greene  St (south of Houston )
Gallery Hours: Monday - Saturday 10AM - 6PM; Closed Sundays
Gallery:(212) 674-1524

Curated by Combat Aesthetics

Performances by multipolyomni & We
 on three consecutive Fridays at 8PM

Friday, September 11 multipolyomni & We
will perform Part 1 of *Early Stages of Organic Life*
 with special guests

Friday, September 18 multipolyomni & We
will perform Part 2 of *Early Stages of Organic Life*

Final Performance:
Friday, September 25 multipolyomni & We
will perform Part 3 of *Early Stages of Organic Life*

Wednesday, September 16 at 6PM
*A Conversation with multipolyomni & We*

*Early Stages of Organic Life*

	 multipolyomni's new episode from Quark Soup will feature puppets
and nonreferential shapes representing flying tactile allegories: hydroids,
plants, aquatic mutations; our most ancient biological ancestors and their
natural desire to create variety of life.  It is the celebration of this
variety and implied symbiosis between all life that is multipolyomni's
central theme for this piece.

	Viewers will be encouraged to build and bring their own
allegories to fly. During the week viewers can manipulate pre-arranged set
ups, or just wander through the staging box.  On three Friday evenings in
multipolyomni will perform acts with a live soundtrack composed and
performed by We. On Wednesday, September 16, the members of  multipolyomni
& We=99 will be available for questions & answers in *A Conversation with
multipolyomni & We*.

	Earlier episodes from multipolyomni's opera Quark Soup include :
the "Song of Fuaa" from the _Early Aquatic Episode_ installed in Creative
Time's Art at the Anchorage series summer 1996; and most recently the *Solar
Drama*, a twenty-four hour real-time sunrise staged at the Kitchen
January 17 - 18, 1998.

	We's debut release as is is available on Asphodel records.
multipolyomni maintains a web site at http://www.multipolyomni.com.

	Early Stages of Organic Life was curated by Combat Aesthetics
and produced by Michael Randazzo and mr y in association with Lauren Amazeen

The executive producer was Vanguard Visions.


If you are sick of Eurodisney already here's an option package for you:

Option 1: Ticket to Cuba
	Munich-Havanna is only 8050,- Austrian Schillings via =D6kista (local
	travel office)
	ask the Eurodisney-office and they'll propably throw in a train ticket
	to Munich.

Option 2: Count the days: 26
	There are at least 26 more days of eurodisney month
	ask the local dealer for a calender and count the days or watch the
	reruns of the soccer championship on your telly

Option 3: Safe Harbours, 9pm Posthof Linz
	Safe Harbours, a 7-day extravaganza in robotics, sampling and
	culture jams is opening tonite at 9p.m. with the likes of Gordon
	Monahan's Machine Matrix, Nic Baginsky's Flamenco Machine and Triclops
	International's Air Cushioned Vehicle to name a few.

Pick the right choice and we'll even clear up the sky for you.


                                         ***CALL FOR PAPERS***

                                       *EXPLORING CYBER SOCIETY*

                      Social, Political, Economic and Cultural Issues

       An International Conference at the School of Social, Political
  and Economic Sciences, University of Northumbria at Newcastle, UK.

                                                   5th-7th July 1999

What is Cyber Society? What are its social, political, economic and
cultural dimensions? What are its theoretical and policy implications
for the 21st century?

New Information and Communications Technologies (ICTs) now touch on
almost every aspect of our lives. No serious discussions of society,
politics, economics or culture can be complete without their
consideration. This interdisciplinary conference will assemble
theorists and practitioners from the social sciences, the humanities
and the arts, to explore the emergence of Cyber Society.  Both the
rhetoric and reality of Cyber Society will be addressed at a
regional, national and international level. The conference will
provide a forum for the critical evaluation of the impact of ICTs on
individuals, communities, the state,  economy, and culture.


Professor James Der Derian, Centre for European Studies,
Harvard University, USA.

Professor William Dutton, Annenberg School  for Communication,
University of Southern California, USA.

Professor Ian Miles, Centre for Research on Innovation and
Competition, and PREST, University of Manchester, UK.

Professor Kevin Robins, Centre for Urban and Regional Development
Studies, University of Newcastle, UK

Professor Frank Webster, University of Birmingham (From January
1999), UK.


*Cyber Society* - Cyber communities; Cyberspace and everyday life;
Cyberfeminism; The virtual class; Cyber ethnicities and identities;
The cyber classroom; Cyber medicine;  Research methods .

*Cyber Politics & Policy* - Information age government and public
administration; Power and control; Geopolitics; Net politics and
activism; Censorship, Privacy; Regulation and surveillance; Access;
Interactivity; Democracy; Cyberwarfare; Cybercrime.

*Cyber  Economics* - Cyber markets, industries and corporations;
Internet and Intranet economics; Electronic commerce; Information
services; R&D; Cyber employment; Globalization of information and
networks; Intellectual property rights.

*Cyber Culture* - Theory; Posthumanism; Cloning; Cinema; Intelligent
TV and video; Post-photography; Digital architecture; Cybernetic art;
Literature; Performance; Cultures of the Internet.


Papers related to the above themes are welcome. Abstracts (150 - 300
words) should be sent to the conference secretary (see over) stating
the theme under which the paper should be considered.

Deadlines for papers:
31.1.99 - Submission of abstracts
31.3.99 - Notification of acceptance
31.5.99 - Submission of full papers

All papers will be published in conference proceedings. A selection of
papers will be published in edited volumes. Professor Manuel
Castells, University of California, Berkeley, (Author of the three
volume 'The Information Age: Economy, Society and Culture') has
agreed to contribute a commentary to one of these conference volumes.


The programme and timetable for the call for papers and conference
bookings are subject to change and will be updated as details are
finalised. Form mid September the latest information will be
available at our web site:

Monday 5th July 1999
Registration 11.30am - welcome, plenary session, lunch. Afternoon -
parallel paper sessions, plenary session. Evening - dinner.

Tuesday 6th July 1999
Morning - plenary session, parallel paper
sessions, lunch. Afternoon - plenary session, parallel paper
sessions. Evening - conference dinner.

Wednesday 7th July 1999
Morning -  plenary sessions, parallel paper session, closing
comments, lunch.


(Please print off and complete)

Tel No. (including STD code)..................................
Fax No. (including STD code).................................
Email .............................................................


(Please tick as appropriate)

Including accommodation stlg285

Without accommodation stlg255

stlg20 Reduction for booking by 1.3.99

stlg20 Reduction for paper presenters

Accommodation consists of bed and breakfast in the Claude
Gibb Halls of Residence at the University of Northumbria at
Newcastle. For those wishing to arrange their own accommodation a
list of hotels can be obtained from the conference secretary or our
web site.The Conference fee includes all meals and timetabled
refreshments. Please state any special requirements (diet, disability

I enclose a cheque (payable to the University of
Northumbria) for the sum of stlg................................

Travel details, maps of the city of Newcastle and the campus of the
University of Northumbria, and an acknowledgement of payment slip will
be sent to delegates on receipt of this booking form and payment of
the appropriate fee.

Closing date for booking: 31st May 1999.


Lorna Kennedy,
Conference Secretary,
School of Social, Political and Economic Sciences,
University of Northumbria at Newcastle,
Room 143,
Northumberland Building, Newcastle Upon Tyne. NE1 8ST.

Tel: +44 (0)191 227 4937.
Fax: +44 (0)191 227 4515
Email: lorna.kennedy {AT} unn.ac.uk.

Further details will be available from mid-September at the Cyber
Society web site:


John Armitage,
Division of Government & Politics,
University of Northumbria at Newcastle,
Newcastle upon Tyne,
NE1 8ST, UK.
Fax: 0191-227-4654.
E-mail:John.Armitage {AT} unn.ac.uk
Home Page: http://www.unn.ac.uk/academic/ss/government/john.htm


Reuters Europe

amsterdam.newsroom {AT} reuters.com
ankara.newsroom {AT} reuters.com
bonn.newsroom {AT} reuters.com
bratislava.newsroom {AT} reuters.com
brussels.newsroom {AT} reuters.com
budapest.newsroom {AT} reuters.com
copenhagen.newsroom {AT} reuters.com
london.general.desk {AT} reuters.com
frankfurt.newsroom {AT} reuters.com
geneva.newsroom {AT} reuters.com
istanbul.newsroom {AT} reuters.com
kiev.newsroom {AT} reuters.com
lisbon.newsroom {AT} reuters.com
london.commodities.desk {AT} reuters.com
london.equities.desk {AT} reuters.com
london.treasury.desk {AT} reuters.com
london.energy.desk {AT} reuters.com
madrid.newsroom {AT} reuters.com
milan.newsroom {AT} reuters.com
moscow.newsroom {AT} reuters.com
paris.newsroom {AT} reuters.com
prague.newsroom {AT} reuters.com
rome.editorial {AT} reuters.com
sofia.newsroom {AT} reuters.com
stockholm.newsroom {AT} reuters.com
uk.emergingmarkets.news {AT} reuters.com
uk.rns.news {AT} reuters.com
uk.eurobonds.news {AT} reuters.com
uk.stocks.news {AT} reuters.com
uk.lobby.news {AT} reuters.com
uk.general.news {AT} reuters.com
uk.investments.news {AT} reuters.com
uk.forex.news {AT} reuters.com
uk.equities.news {AT} reuters.com
uk.economics.news {AT} reuters.com
uk.governmentbonds.news {AT} reuters.com
warsaw.newsroom {AT} reuters.com
zurich.newsroom {AT} reuters.com

Reuters North America

chicago.derivatives.newsroom {AT} reuters.com
chicago.commods.newsroom {AT} reuters.com
los.angeles.newsroom {AT} reuters.com
miami.newsroom {AT} reuters.com
miami.sls.newsroom {AT} reuters.com
newyork.commods.newsroom {AT} reuters.com
newyork.corporatedebt {AT} reuters.com
newyork.emergedebt.newsroom {AT} reuters.com
newyork.energy.newsroom {AT} reuters.com
nyc.equities.newsroom {AT} reuters.com
newyork.feds.newsroom {AT} reuters.com
newyork.forex.newsroom {AT} reuters.com
newyork.assetbacked.newsroom {AT} reuters.com
newyork.munis.newsroom {AT} reuters.com
newyork.power.newsroom {AT} reuters.com
newyork.rbr.newsroom {AT} reuters.com
newyork.guvvies.newsroom {AT} reuters.com
newyork.finfilers.newsroom {AT} reuters.com
toronto.newsroom {AT} reuters.com
washington.commods/energy.newsroom {AT} reuters.com
washington.daybook.newsroom {AT} reuters.com
washington.economic.newsroom {AT} reuters.com
washington.foreignpolicy.newsroom {AT} reuters.com

Reuters Latin America

buenosaires.newsroom {AT} reuters.com
bogota.newsroom {AT} reuters.com
brasilia.newsroom {AT} reuters.com
lima.newsroom {AT} reuters.com
mexicocity.newsroom {AT} reuters.com
rio.newsroom {AT} reuters.com
santiago.newsroom {AT} reuteres.com
saopaulo.newsroom {AT} reuters.com
bangkok.newsroom {AT} reuters.com
bombay.newsroom {AT} reuters.com
canberra.newsroom {AT} reuters.com
colombo.newsroom {AT} reuters.com
dhaka.newsroom {AT} reuters.com
hanoi.newsroom {AT} reuters.com
hongkong.newsroom {AT} reuters.com
jakarta.newsroom {AT} reuters.com
kuala.lumpur.newsroom {AT} reuterscom
manila.newsroom {AT} reuters.com
melbourne.newsroom {AT} reuters.com
delhi.newsroom {AT} reuters.com
singapore.newsroom {AT} reuters.com
sydney.newsroom {AT} reuters.com
taipei.newsroom {AT} reuters.com
tokyo.newsroom {AT} reuters.com
wellington.newsroom {AT} reuters.com

Reuters Asia

bangkok.newsroom {AT} reuters.com
bombay.newsroom {AT} reuters.com
canberra.newsroom {AT} reuters.com
colombo.newsroom {AT} reuters.com
dhaka.newsroom {AT} reuters.com
hanoi.newsroom {AT} reuters.com
hongkong.newsroom {AT} reuters.com
jakarta.newsroom {AT} reuters.com
kuala.lumpur.newsroom {AT} reuterscom
manila.newsroom {AT} reuters.com
melbourne.newsroom {AT} reuters.com
delhi.newsroom {AT} reuters.com
singapore.newsroom {AT} reuters.com
sydney.newsroom {AT} reuters.com
taipei.newsroom {AT} reuters.com
tokyo.newsroom {AT} reuters.com
wellington.newsroom {AT} reuters.com

Reuters Middle East

beirut.newsroom {AT} reuters.com
cairo.newsroom {AT} reuters.com
dubai.newsroom {AT} reuters.com
jerusalem.newsroom {AT} reuters.com
telaviv.newsroom {AT} reuters.com

Reuters Africa

johannesburg.newsroom {AT} reuters.com
nairobi.newsroom {AT} reuters.com

Reuters Special Functions

chicago.commods.newsroom {AT} reuters.com
london.commodities.desk {AT} reuters.com
newyork.commods.newsroom {AT} reuters.com
washington.commods/energy.newsroom {AT} reuters.com
newyork.corporatedebt {AT} reuters.com
washington.daybook.newsroom {AT} reuters.com
chicago.derivatives.newsroom {AT} reuters.com
washington.economic.newsroom {AT} reuters.com
uk.economics.news {AT} reuters.com
newyork.emergedebt.newsroom {AT} reuters.com
uk.emergingmarkets.news {AT} reuters.com
london.energy.desk {AT} reuters.com
newyork.energy.newsroom {AT} reuters.com
london.equities.desk {AT} reuters.com
nyc.equities.newsroom {AT} reuters.com
uk.equities.news {AT} reuters.com
uk.eurobonds.news {AT} reuters.com
newyork.feds.newsroom {AT} reuters.com
newyork.finfilers.newsroom {AT} reuters.com
washington.foreignpolicy.newsroom {AT} reuters.com
newyork.forex.newsroom {AT} reuters.com
uk.forex.news {AT} reuters.com
uk.governmentbonds.news {AT} reuters.com
uk.investments.news {AT} reuters.com
uk.lobby.news {AT} reuters.com
newyork.assetbacked.newsroom {AT} reuters.com
newyork.munis.newsroom {AT} reuters.com
newyork.power.newsroom {AT} reuters.com
uk.rns.news {AT} reuters.com
newyork.rbr.newsroom {AT} reuters.com
miami.sls.newsroom {AT} reuters.com
uk.stocks.news {AT} reuters.com
newyork.guvvies.newsroom {AT} reuters.com
london.treasury.desk {AT} reuters.com
chicago.commods.newsroom {AT} reuters.com


RMIT Media Studies, in conjunction with Melbourne Cinematheque, is
hosting a one day symposium on Chris Marker.

Sunday, September 27, 1998
1 to 5 pm.

RMIT University
Swanston Street

more specifically:
Radio Theatre
Building 9

This symposium is an informal gathering to think about and celebrate the
contributions, pleasures and problems posed by the work of Chris Marker.
Audience collaboration and participation is encouraged.

Papers Sought:
ideas, opinions, fascinations, appreciations on any aspect of Marker's
oeuvre or its implications. The papers are to be brief (10 to 15 minutes)
and should fall under the sign of "My beautiful Marker: Favourite
Moments, themes and works".

Accepted papers will be published.

Please send proposals to
Adrian Miles
amiles {AT} rmit.edu.au
by Friday September 18th.

(Remember, the emphasis is on exchange and tools for thinking).

Adrian Miles

  lecturer in cinema studies and new media, rmit, melbourne, australia
                             voice: 61 3 9925 3157 fax: 61 3 9639 1685
                                 web: http://cs.art.rmit.edu.au/adrian
                HyperText Project: http://cs.art.rmit.edu.au/hypertext
The not yet updated Chris Marker Site: http://cs.art.rmit.edu.au/marker


New Book Release:
Memory Trade: A Prehistory of Cyberculture
By Darren Tofts and Murray McKeich

The notion of "culture" is changing at the speed of information itself
Computer technology is creating a new kind of public, a Cyberculture
with all its utopian and apocalyptic possibilities. But is it that
new? Popular debate generally ignores Cyberculture's historical
context. The official history begins in the 19th century and tracks
the evolution of telecommunications, the egalitarian dream of the
global village, and the emergence of the military industrial complex.
However this omits the deeper, prehistory of technological
transformations of culture that are everywhere felt but nowhere seen
in the telematic landscape of the late-twentieth century. Cyberculture
is an extension, rather than innovation, of human engagement with
communication and information technologiesA work of archaeology,

Memory Trade scrapes away the surfaces of the contemporary world to
detect the sedimentary traces of the past. A past that inflects the
present with the echoes of ancient, unresolved philosophical questions
about the relationships between humans and technology, creativity and
artifice, reality and representations of reality.

Memory Trade is an exploration, in text and image, of the unconscious
of Cyberculture, its silent, secret prehistory. From Plato's Cave to
Borges' literary labyrinths, Freud's Mystic Writing-Pad, and Joyce's
reinvention of language in Finnegans Wake, Memory Trade is a
palimpsest of contemporary culture.

Darren Tofts is Senior Lecturer in Literature at Swinburne University
of Technology in Melbourne. His essays on theory, media arts and new
writing technologies have appeared in publications such as 21*C, World
Art, Mesh, Social Semiotics and UTS Review. He is a member of the
editorial board of Continuum and is a contributing editor to RealTime.

Murray McKeich is an award-winning digital artist who's work has
featured in such magazines as 21*C and World Art. He teaches digital
imaging in the Dept. of Creative Media at RMIT and has worked as an
advertising art director and illustrator.

Market: Anyone interested in cultural studies, alternative culture and
technology. A 21*C/Interface book. 132 pages, 24 duotone
illustrations, paperback. 265 x 245 min (10.5 x 9.5 in.). ISBN 90 5704
18 12. RRP $29.95. Publication date in Australia June 1998.

CRAFTSMAN HOUSE, Tower A, 112 Talavera Road, North Ryde, NSW 2113.

Phone: 61-2-9878 8222 Fax: 61-2-9878 8122

Memory Trade can be order on the Internet:



Blackchair Productions' "Independent Exposure 1999" Program

Seattle video and film artist, Joel S. Bachar founded Blackchair Productions
in 1992.  Due to the overwhelming lack of independent-oriented screening
venues, Blackchair Productions began the "Independent Exposure" microcinema
screening program in 1996.  This program, held every month at the Speakeasy
Cafe has presented the works of over 200 artists from 30 states, 65 cities
and 11 countries and has gained an enviable reputation in the network of
microcinemas around the country as well as around the world. 1999,  the
fourth season of the program, will be partially funded by the King County
Cultural Arts Commission which means the artists whose works are shown will
be paid an honorarium, a gesture that is practically unheard of in the
independent film and video arts.  "Independent Exposure" is fast reaching a
wider audience by being hosted at other microcinemas throughout the world
and has been seen hundreds of times in 33 cities, 15 states and 13
countries!  Some of the hosting venues have been: CinemaTexas (Austin, TX);
The Knitting Factory (New York City); School of the Art Institute of
Chicago; The Museum of the Rhode Island School of Design; The Mansion
Theatre (Baltimore, MD);  Arizona International Film Festival (Tucson, AZ);
Tortured Artists Film Festival (Tacoma, WA); Artist's Television Access (San
Francisco, CA); The Casting Couch (San Francisco); Eye for an I Cinema
(Boulder, CO); North Carolina Independent Filmmakers Association; The Can
(Tacoma, WA); Project304 (Bangkok, Thailand); The Terminal Bar (Prague,
Czech Republic); the  Vrij Media Cafe (The Netherlands) and The Soros Center
for Contemporary Art (Republic of  Macedonia); Split Film Festival (Split,
Croatia).  Arrangements are currently being made for  screenings in Los
Angeles, Melbourne (Australia), France, Denmark, Germany, Serbia, Croatia,
England, Northern Ireland and Winnipeg (Canada)! Additionally, the program
is netcast every month on The Sync (www.thesync.com). Ultimately, Blackchair
Productions, through their "Independent Exposure" screening  program and
other advoca= cy efforts, hope to expose, promote and distribute the
independent  video and film arts to the widest audience possible.

For those interested, here is our 1999 Call for Works (which differs from
previous years):

Blackchair Productions is accepting video, film and computer-art submissions
on an ongoing basis  for their monthly screening program called "Independent
Exposure."  1999 begins the program's  fourth year and we want to include
you in the show!  Artists will be paid an Honorarium!  We are looking for
experimental, narrative, humorous, dramatic, erotic, subversive, animation
and underground works, but will review anything for a possible screening.
Works selected will, in most  cases, continue on to national and
international venues for additional screenings. Submit a VHS  (or S-VHS)
clearly labeled with name, title, length, phone-number along with any
support materials  including photos!  Also include a US$5.00 entry fee which
will be returned to you if your work is not selected! Include an SASE if you
wish the work(s) returned. We will get back to you!

Send submissions to: Blackchair Productions, 2318 Second Ave., #313-A,
Seattle, WA, 98121, USA.  Info/details: 206-568-6051, joel {AT} speakeasy.org,


Next 5 Minutes 3
Festival for Tactical Media
Amsterdam & Rotterdam, 12-14 March, 1999

The third Next 5 Minutes, an Amsterdam based conference on tactical
communications culture, featuring DIY media, dissident art and electronic
media activists, from around the world, will take place on the 12, 13 and
14 of March 1999.

The net as a medium has by now been well established, both in discourse as
well as practice. N5M3 will move beyond the mere assertion of this new
medium and question what the wider social, cultural and political impact
is of the fact that virtually all media are now turning digital, and of
the new political and economic constellations that evolve around the new
(global) information and communication structures. This subject matter
will be taken on at two levels: a structural examination of empowering
strategies in the new informational environments which focuses on the
notion of 'Tactical Networks', and a more intrinsic analysis which
concentrates on the idea of 'Electronic Borders'. The latter refers to the
fact that in the information societies, social, political and also
cultural divisions are increasingly drawn along the lines of electronic

N5M3 is centered around four topics for discussion:

1. The Art of Campaigning

The 'Art of Campaigning' focuses on the media strategies employed by
groups around the world who are fostering their social and political aims
via media campaigns. There are a number of examples of such campaigns that
use highly diverse strategies and types of media, like the Clean Clothes
Campaign and the Bandwidth campaign at the Hybrid Workspace during
Documenta X in the summer of '97 in Kassel, Germany. Campaigns and the
specific media strategies they employ will be an important topic for N5M3.

2. How Low Can You Go

In the 'we want bandwidth' campaign (summer 97), the economic and
political structures of access were investigated. The reduction to a
technical term ('bandwidth': the transmission capacity of an electronic
information system) revealed how deeply political the construction of
technology is, and how dramatic its social effects. The new movements for
the promotion of low-tech, i.e.  cheap, established and accessible
technology, will be presented, discussed, and developed at N5M3.

3. Tactical Education

Besides the formal learning institutions, education is happening all the
time in cultural and social contexts where people exchange ideas and
experiences in a concentrated way. Art, culture and social action in the
field of new media technologies contribute in an important way to creating
awareness about the powerful effects of media, and help to raise
media-literacy N5M3 wishes to explore new models of education that can
play a critical role in processes of social and political change.

4. The Post-Governmental Organisation

NGO's (Non Governmental Organisations) have become important actors in the
arena of international and global politics, but at the same time they have
also become bureaucratic structures that act as a 'state without the
state'. The PGO debate concentrates on new ways of organising social,
cultural and political action, often on an international level, beyond the
politics of the nation state as well as beyond the NGO. The tactical use
of networking technologies has proven to be a powerful tool to develop
effective strategies for these new types of post governmental
organisations. Many examples of the new PGO type of organisations and
networks will be presented at N5M3.

Structure of the Event

N5M3 will be a working conference, which will consist of a focused public
program surrounded by many smaller scale working sessions, seminars and
workshops. The focus of the event will be on exchange of ideas,
experience, working methods, and the construction of long-term
partnerships and network structures.

For more information please contact:
The Next 5 Minutes
email: n5m3 {AT} waag.org

Office: Society for Old and New Media
Nieuwmarkt 4, 1012 CR Amsterdam, The Netherlands
Phone: +31-20-5579898, fax +31-20-5579880


Liebe Berlin Besucher, um die vielfaeltigen kunstbezogenen Aktivitaeten
waehrend des "Berliner Kunstherbstes" ein bisschen uebersichtlicher zu
machen, haben wir folgende Informationen zusammengetragen, damit sie ggfs
fruehzeitig planen koennen.

Wir selbst werden eine Ausstellung mit Thomas Demand am Samstag, 26.9.
beenden, ab Dienstag, 29.9. eine Ausstellung mit Liam Gillick beginnen
sowie auf dem "Art Forum Berlin" vom 30.9.- 4.10. teilnehmen.

Bei der "Berlin Biennale fuer zeitgenoessische Kunst" werden Arbeiten der
folgenden von uns vertretenen Kuenstler zu sehen sein: Dominique
Gonzalez-Foerster, Carsten Hoeller, Christoph Keller, Ugo Rondinone und
Thomas Demand.

Im Rahmen der Ausstellung Nonchalance- Junge Schweizer Kunst -wird eine
Leuchtroehren-Arbeit des von uns vertretenen Kuenstlers Ugo Rondinone an der
Brandschutzmauer des ehemaligen Gaestehauses der DDR, (Johannishof,
WMF-Club, Johannisstrasse, sichtbar von der Auguststr. /Ecke
Oranienburgerstr.) zu sehen sein.

Das Projekt "Style Games" von Christopher Roth/Franz Stauffenberg wird n=
zwei Veranstaltungen in den Raeumen der Galerie nun mit einer inszenierten
Wahlparty mit Videoclips ueber Michael Naumann, Wolfgang Thierse und Thomas
Krueger in Kunst-Werke am 27.9. von "18.00 bis vorlaeufiges amtliches
Endergebnis" die 40.Kalenderwoche eroeffnen. Selbstverstaendlich wird auf
diversen mitgebrachten Monitoren der Verlauf der Wahl mit aktuellen
Prognosen von Ulrich Deppendorf verfolgt werden koennen. Die Kunstszene wird
Farbe bekennen und jeder einzelne zeigen ob und wo er politisch steht.

Am Dienstag, 29.9. praesentiert das Designer Duo Vogt+Weizenegger mit dem
wir mehrfach zusammengearbeitet haben, ihr Kooperationsprojekt mit Andrea
Zittel im Montagsclub in den Kunst-Werke, Vorderhaus, erste Etage.

Das offizielle Programm:

berlin biennale fuer zeitgenoessische kunst e.v. "Berlin/Berlin"
29. September 1998 bis 3. Januar 1999
Ausstellung von mehr als 70 KuenstlerInnen, ArchitektInnen, MusikerInnen,
FilmemacherInnen, die die Berliner Kunstszene der 90er Jahre beeinflusst
-Postfuhramt, Oranienburger Strasse / Tucholskystrasse
-Akademie der Kuenste, Pariser Platz 4
-Kunst-Werke Berlin, Auguststrasse 69
Di.- Do. und Sonntag 10.00 - 20.00 Uhr Fr.- Sa. 10.00 - 24.00 Uhr

Sensation - Young British Artists from the Saatchi Collection
30. September 1998 bis 17. Januar 1999
Hamburger Bahnhof, Tiergarten, Invalidenstrasse 50/51
10.00 - 18.00 Uhr Di. - Fr. 11.00 - 18.00 Uhr Sa.- So.

Tel.: 030-39 78 34 - 0

30. Sept im Aktionsraum
ab 21 Uhr Gilbert & George "The singing Sculpture" Videoprogramm mit Filmen
zur " Singing Sculpture"
ab 22 Uhr Big Bottom, Performance der 5 koepfige Bassgitarrenband u.a. Susan
Stenger, Angela Bulloch

Art Forum Berlin:
Eroeffnung: Mittwoch 30. September 1998, 16-21 Uhr (Presse ab 12 Uhr)
Vip-Lounge im Funkturm
Dauer: 1.-4. Oktober 1998, 11-20 Uhr, am Samstag, 3.Oktober bis 22 Uhr
Weitere Information und Liste der teilnehmenden Galerien:
European Galleries Projektgesellschaft                  Tel.: 030-88 55 16

Gala-Buffet und Eroeffnung fuer Aussteller, geladene Kuratoren und Kritiker
im International Club,
Verleihung des Paul Cassirer Preises 1998
an Monica Bonvicini und Liam Gillick
Vergabe durch Frank Schirrmacher und Nicolaus Schafhausen

Freitag, 2. Oktober
Empfang des Hauptsponsors der Bankgesellschaft Berlin im Brueckenfoyer der
waehrend der "Nocturne" des "Art Forum Berlin", geoeffnet bis 22 Uhr=

20-21.30 Begruessungsrede u.a. von Buergermeister Diepgen, ab 21.30 Buffet u=

"Congress 3000"
1.  (abends), 2., 3. und 4. Oktober 1998 rund um die Uhr
Haus der Kulturen der Welt John- Forster-Dulles-Allee 10
u.a. mit Beitraegen von, Malcom McLaren, Christoph Schlingensief, Michael
Rutschky, Andrea Zittel, TRESOR, "Style Games" Christopher Roth/Franz
Stauffenberg u.v.a.

Weitere Informationen:
berlin biennale fuer zeitgenoessische kunst e.V.
Auguststrasse 69, 10117 Berlin
Tel.: +49/30/28 59 91 48
Fax: +49/30/28 59 91 50
e-mail: office {AT} berlinbiennale.de     internet: www.berlinbiennale.de

Informationen und Anmeldungen fuer Gruppen bei art:berlin
Tel.: +49-30-85728182/ 85726229
Fax: +49-30-8545099

Berliner Galerienrundgang
Galerienrundgang Charlottenburg
2.  Oktober 1998
verlaengerte Oeffnungszeiten bis 22.00 Uhr

Sonnabend, 3. Oktober 1998
Kooperation der Akademie der Kuenste mit dem Buero Friedrich, Berlin
ab 21 Uhr Musikveranstaltung u.a.mit Georgina Starr, Annika Stroem,
Roberta and Bob Smith u.a.zum Ende der Ausstellung Nonchalance
Johannishof (WMF-Gebaeude) - Johannisstr. 10  10557 Berlin
Tel.:  030- 201 65115

Galerienrundgang Mitte
3.  Oktober
verlaengerte Oeffnungszeiten bis 21.00 Uhr

u.a. mit:

Galerie Mehdi Chouakri:         Isabell Heimerdinger
Contemporary Fine Arts:         Daniel Richter
Galerie Gebauer:        Thomas Huber
Galerie Max Hetzler:Christopher Wool
Klosterfelde: Nader
Neu: Sean Snyder
neugeriemschneider: Franz Ackermann
Eigen+Art: Maix Mayer
Wohnmaschine:   Florian Merkel
Schipper und Krome:Liam Gillick
Projektraum Berlin: Rivke Rinn
Barbara Thumm: Twin Gabriel
Buero Friedrich:         "Books" Gillick,Grubinger, YvonneTrapp +
                Artimo Books, Liza May Post u.a.

Nonchalance - Junge Schweizer Kunst
28. August bis 4. Oktober 1998
Ausstellungsort: Akademie der Kuenste, Hanseatenweg
Ausstellung u.a.m. Pipilotti Rist, Ugo Rondinone, Sylvie Fleury und Stefan
Akademie der Kuenste - Hanseatenweg 10 . 10557 Berlin
Tel: 030- 390 76 - 0

"Die Macht des Alters - Strategien der Meisterschaft"
3. September bis 11. November 1998
Ausstellungsort: Kronprinzenpalais, Unter den Linden, Berlin-Mitte
u.a. mit W.Buettner, K.Fritsch, C.Hoeller, J.Immendorf, Th. Ruff, R. Trockel,
F.E. Walther
9.00 - 18.00 Uhr taeglich ausser mittwochs        Tel.: 030-20304-410

Cinema Project
17.September bis 18.Oktober
Ausstellungsort: Kuenstlerhaus Bethanien

Ausstellung zeigt Positionen der 90er Jahre, die sich auf Film/Kino
beziehen, ohne dabei auf das Medium selbst zurueckzugreifen
u.a. mit: Cindy Bernard, Dominique Gonzalez-Foerster, Douglas Gordon, Cindy
Sherman, Andy Warhol

Klee aus New York in der Sammlung Berggruen
4. Juni bis 18. Oktober 1998
Westlicher Stuelerbau, Charlottenburg, Schlossstrasse 1 a
 Di. - Fr.10.00 - 18.00 Uhr; Sa.- So.11.00 - 18.00 Uhr
Tel.: 030-32 69 58 - 11

Lyonel Feininger - Von Gelmeroda nach Manhattan
3. Juli bis 11. Oktober 1998
Neue Nationalgalerie, Tiergarten, Potsdamer Strasse 50
Di.- Fr.10.00 - 18.00 Uhr Sa.- So.:11.00 - 18.00 Uhr
Tel: 030- 266-2651

Fontane und die bildende Kunst
4. September bis 29. November 1998
Neue Nationalgalerie, Tiergarten, Potsdamer Strasse 50
Di.- Fr.10.00 - 18.00 Uhr; Sa.+ So.11.00 - 18.00 Uhr
Tel.:030- 266-2651

Neuer Blick auf alte Meister.
Gemaeldegalerie am Kulturforum
Berlin-Tiergarten, Matthaeikirchplatz
Di.- Fr.10.00 - 18.00 Uhr;  Sa.-So.11.00 - 18.00 Uhr
Tel.: 030-20 90 - 55 55

Katharina Sieverding, Arbeiten auf Pigment
vom 19. September bis 4. Oktober 1998
Deutsche Guggenheim Berlin
Unter den Linden 13-15 . 10117 Berlin
11.00 - 20.00 Uhr taeglich geoeffnet
Tel.:030- 202093-0 (-14)

"Martha Rosler"
vom 25. September bis 31. Oktober
INIT Kunsthalle
Chauseestr. 119/120, 10115 Berlin
Di.bis So.: 12.00 - 18.00 Uhr Fr./Sa.: 12.00 - 20.00 Uhr
Tel/Fax: 030-28385278

"Ulrich Rueckriem"
vom 16.September bis 31. Januar 1999
Neue Nationale Galerie
Postdamer Strasse 50, 10785 Berlin
Dis bis Fr 10-18 Uhr; Sa 11-18Uhr

Zeitgenoessische Fotokunst aus Frankreich
vom 29. August - 11. Oktober
Chausseestr. 128/129,10115 Berlin
Di. - Fr. 12.00 - 18.00 Uhr ;Sa-  So.: 12.00 - 16.00 Uhr
Tel: 030-2807020/21

Werkschau David Lamelas /Marguerite Duras
5.+6. Oktober Filme und Vortraege
Deutsches  Architekturzentrum
Koepenickerstr. 48/49, 10179 Berlin
organisiert von Ch. Rattemeyer und Marc Gloede in Zusammenarbeit mit dem
Infotel: 030-2787340

ausserhalb aber gut: Leipzig

"weather everything"
Galerie fuer zeitgenoessiche Kunst, Leipzig
Gast Kurator Eric Troncy
U.a.mit J.Armleder, A.Bulloch, Cesar, L.Gillick, D.Graham,H.Haacke,
A.McCollum, P. Parreno u.a.


Date: Fri, 18 Sep 1998 14:32:03 +0300
From: chris paul <idea {AT} mcr1.poptel.org.uk>
Subject: Re: Die Kunst vs. revolting

Martin Vincent wrote:


> The Unofficial Launch Party of Analogue Autumn 98


You should also know that the Church of the Utterly Ridiculous
project >>> THE MASS PROPER in the TERRORDOME <<< is nearing
TRANSUBSTANTIATION with more performances tonight (on higher
ground to Die Kunst vs Revolting - and all evening) and a final LIVE 
performance >> BAPTISM of CHOIR << scheduled for 7 pm Saturday 19. 

COMMUNION from 6 pm before this LAST RITE only. 

The piece revolves in a geodesic dome enclosing raked seats which
are at the epicentre of a 36-source hi-fidelity installation
with non-music-noise-talk-sound addressing the issues of REVOLUTION,
TERROR, FEAR and DOUBT. A holy MARRIAGE of prepared soundscapes 
with live interventions.

Duration - 30 minutes, in total darkness throughout. 

Pushing the boundaries of digital decency.

Power to the correct people!

The Devotees of the C.U.R. invite YOU to make witness.

EXODUS to Die Kunst's GENESIS and Revolting's ACTS and REVELATIONS


Adele Myers piece "12 O'Clock Flight" flies onwards in the catacombs
until the evening's done. Last chance to see this top FACT commission.

The piece is a tube of corrogated perspex enclosing a steel platform 
with a circle of sound-loaded sonars. The tube receives two video
projections at right angles creating a cheapskate holographic
environment. Active audience members investigate sonar treats and
effectively 'dance' in the process, as passive audience members observe
and listen to the soundscape created. 

Sounds and visuals reflect real life in Liverpool and Manchester.

Imagine Transporter Deck, imagine Orgasmatron, imagine "12 O'Clock
Flight" ...



> Manchester's leading avant-garage art surf prog rock power trio DIE KUNST
> will be playing guitar, bass and drum music  {AT}  LABORATOIRE MEDIUM REVUELTOS
>   --------------------TODAY--------------------------
> starting sometime after 8PM
> on web : http://www.yourserver.co.uk/revolting
> on air : 106.5 FM
> on earth : DADI, 135 Grosvenor Street, Manchester, England.
> Press:
> Die Kunst have been described as 'Manchester's leading fake Kraut Rock band'
> in important webzine Furball www.nipperland.demon.co.uk
> John Robb has said some nice things about them in Melody Maker, offering
> Pavement and Television as reference points.
> City Life magazine said they had copied everything from the worst Pixies
> album.

   {AT}     {AT} 
   \ /
 {AT}  -  {AT}  -  {AT} 
   / \
   {AT}     {AT} 

chris paul | innovation in digital and
electronic arts limited | c/o fine arts
manchester metropolitan university | m15 3br 
mailto:idea {AT} mcr1.poptel.org.uk
tel 0161 247 1907 fax 247 6818


Date: Fri, 18 Sep 1998 08:38:28 +0200
From: valery grancher <vgranger {AT} imaginet.fr>
Subject: Please answer to these questions: it is an on line performance....

What do you feel ?
Do you know what I'm looking like ?
How old am I ?
a girl, a boy or both ?
What do you think ?

Valery Grancher
vgranger {AT} imaginet.fr
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