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fokky on Sat, 3 Apr 1999 23:14:50 +0200 (CEST)


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<nettime> The Weekender 080a



   . The Weekender ...................................................
   . a weekly digest of calls . actions . websites . campaigns . etc .
   . send your announcements and notes to announcer {AT} simsim.rug.ac.be .
   . please don't be late ! delivered every friday . into your inbox .
   . http://simsim.rug.ac.be/announcer/ for subscription info & help .
   ...................................................................



01 . David Metcalfe        . Call for Proposals - Digital Artist's 
                             Residency, 1999-2000
02 . Boston Cyberfest      . FACES OF TOMORROW
03 . Ellen                 . H O M E  B A S E  2 0 0 0
04 . honor                 . Information on Air Strikes in Yugoslavia
05 .                       . CUNY Conference Schedule
06 . Ed Noriega            . Teaching at Parsons School of Design
07 . Patrick Maun          . LEA Gallery presents Natalie Bookchin's BAD* 




   ................................................................... 01

From: David Metcalfe <dma.1 {AT} virgin.net>
Subject: Call for Proposals - Digital Artist's Residency, 1999-2000

Call for Proposals for Digital Artist's Residency at Arc,
Stockton-on-Tees, UK
May 1999 to April 2000
bursary			11,100 (fee)
timescale		May 99 - April 00, equivalent to 3 days per week
deadline		Friday 9 April
interview date		Monday 19 April
requirements		production of new sound-based work to be
			presented at Arc (and other partner venues);
			running professional training activities
provisions		materials / equipment budget, marketing and
			admin support, use of Arc Digital Studio

Please send proposals, including CV and documentation of previous works
(videos to be VHS PAL) to:
Frank Wilson
Arc
Dovecot Street
Stockton-on-Tees
TS18 1LL
England
or e-mail to arc {AT} tremens.demon.co.uk
(NOTE TO ORGANISATIONS: PLEASE DISPLAY / FORWARD TO ANY ARTISTS WHO MAY
WISH TO APPLY)
Apologies for any inappropriate or cross-posting

Introduction
An important component of the new Arc centre in Stockton-on-Tees is the
priority given to the use of digital technologies in the production,
presentation and documentation of the work shown in the building.
Digital facilities at Arc include a Digital Studio - a production suite
equipped for digital video, sound and multimedia - and an infrastructure
of cable networks throughout the public spaces to enable the screening
and recording of work in the most flexible ways.  These facilities
enable Arc to fully integrate digital technologies into its artistic
programme, enhancing the range, quality and imagination with which its
broad programme can be delivered.  This programme embraces film and
video, music, theatre, dance, comedy and club nights, as well as
artists work in new media.  Whilst the centre does not contain a
gallery, its three performance spaces, cinema, foyers and ISDN on-line
connection offer an exciting combination of possibilities and contexts
for producing and presenting work in new media that challenge,
compliment and recombine these established art forms and that open up
the programme to new audiences.

In order to begin develop the practice of, and audiences for new media
work in Stockton and its surrounding area, Arc is embarking upon a three
year programme of 12 month long artists residencies, funded by Northern
Arts.  Each artist will be involved in producing and presenting their
own work and in running training activities, and each residency will
address different fields of practice.  This initiative is key to Arc
achieving its aims in respect of audience development, artistic
development and raising its own profile as a major producer and
presenter of work in the digital domain.

Aims of the Project
 to fully integrate new media within the programme of Arc
Arc is a centre for production, presentation and education in a range of
art forms, encompassing performing arts, film, video and new media.  The
venue is designed such that there is flexibility about the ways in which
work is presented to its audience, and this will be particularly true in
the presentation of digital work.  A network of video, data and audio
cables throughout the public spaces enables the showing of work as
screenings in the cinema, on monitors in the foyers, within other events
such as club nights, performances and conferences in the Theatre, the
Point (music / cabaret / club space) and as installations in the Studio,
through the Internet or via video conferencing.

Given the bias towards performance and cinema within the venues
facility, the digital artists residencies, and the digital programme as
a whole, will reflect collaborative and inter-disciplinary practices,
rather than purely gallery-focused work.
 Audience development
The engagement of new audiences for work in the digital media is a
priority for the residency programme.  This will be achieved by
tailoring specific marketing initiatives to target audiences appropriate
to each project, as well as targeting the existing attenders for other
art forms.  Additionally, community training and participation of local
groups in projects may form part of each artists residency to enhance
and expand Arcs existing educational work in other fields.
 Video documentation of performance work
Arcs digital production facilities will be made available to incoming
performing arts companies to enable them to produce high quality
documentation of their work.  Where possible and appropriate, Arc hopes
to encourage collaboration between these companies and the digital
artist in residence to explore creative and innovative means of
documentation for use by the company, the artist and by Arc.  In
addition, whilst relatively few companies may choose to make use of this
facility, Arc will document much of the activity of the building, and
the artist in residence will be given opportunities to be involved in
this process.
 Supporting the development of artists at international, national and
local levels
The residencies provide development opportunities both for the resident
artists, and for a wider regional and national constituency of
practitioners through skills-based training, collaborations,
opportunities for commissions and presentations of work.  Each residency
involves partnerships with other venues and producers and this allows
for the distribution of the resulting art work nationally and
internationally.  In  addition, Arc will offer its own administrative,
marketing and networking resources to support wider dissemination of the
work.
 To establish Arc within the national and international network of
>major producers, presenters and development agencies for electronic
media art works.
The residencies will enable Arc to engage, from the outset, with
established artists, and with other producing organisations in the new
media field.  Over the three years of the programme, opportunities will
arise to collaborate closely with, and learn from, a range of key
partners, and to build for Arc a reputation as a well resourced,
innovative and valuable addition to the sector.

The Programme
The three one-year residencies will run as follows:
1. May 1999 - April 2000		Volume		sound-based work
2. May 2000 - April 2001		Telepresence	work using
communication
							technologies such
as the web or
							video conferencing
3. May 2001 - April 2002		Lumenosity	video-based
residency

These residencies are targeted at artists who have some experience and
level of national recognition, but who would also benefit from the
access to technical and administrative resources to further develop
their practice.  The residencies will be best delivered by artists with
the confidence, flexibility, sensitivity and resourcefulness to work
collaboratively with others, to offer support and training, to manage
their own creative work and to work within a busy institution with
multiple priorities and opportunities.

Each resident artist will be selected from applications, and each will
present an existing work early in the residency.  Towards the end of the
residency Arc will present the work made by the artist at the centre.
The artist each year will also be required to deliver some training
activities, aimed at professional artists.  Training targeted at local
communities, either be run as courses or integrated into the production
of the artists own project, would be welcomed though are not required.
The details of these activities will be agreed each artist at the time
of appointment, in response to their own proposals for the residency.
For further background information, please see the Educational
Activities section.

Details
Each residency will offer its artist:
1. a bursary of 11,100.  This is equivalent to a fee of 18,500 per
annum, pro rata for 3 days per week.
2. access to facilities and studio time for the creation of the artists
own work (both for Arc and for other venues) - see below.
3. a presentation of the artists existing work at the beginning of the
residency and
4. a presentation of the resulting work towards the end of the residency
5. other developmental opportunities to be involved in curating
programmes of work and documenting performances, depending upon the
artist
6. support from Arc in the production of projects (advice, assisting
with regional contacts, fund-raising, use of Arc spaces and office
facilities) and marketing of projects (advice, contacts, networking,
production of print if projects are linked to Arc programme)
7. formal support structure for the artist within the organisation.

The resident artist will be commit the equivalent of 3 days per week to
working at Arc, divided between:
1. training and other activities (e.g. documentation) for Arc
(approximately 72 days in total)
2. their work on their own production and presentations (approximately
72 days in total)
The organisation of this time is flexible across the 12 months of the
project.

Facilities
The technical facilities in the Digital Studio are outlined below.  This
list does not include the sound and lighting equipment installed in the
performance spaces and in the recording studio, which may also be used
if required and available.

There is an Avid Media Express video editing system (AVR 77 standard
with 36Gb storage), two G3 Apple Macs designated for design with 194 and
96 Mb of memory, one G3 video machine with 196 Mb of memory and AV hard
drive, and one G3 Internet machine with 96 Mb of memory and ISDN card.
The design software includes Photoshop, Illustrator, Infini-D, Premier,
After effects and Cyber studio.  Sound software is Cubase VST 24.  All
the machines are on an Ether network and have an ISDN link to the
internet.

The studio also houses three Sony DV cameras, a DV mastering deck, an
SVHS machine, sound mixing desk, scanner and colour laser printer.

Support Structure for the Artist
The resident artist will be supervised and supported by Michelle Plews,
Arcs Local Arts Officer.  In addition, the artist will be able to call
upon the venues technical team for assistance, and Arc will take
responsibility for the overall project management of and fund-raising
for the residency.  In addition, at the beginning of the residency, a
schedule of quarterly review and planning meetings involving the artist,
senior Arc staff and members of the selection panel (Northern Arts and
co-producers) will be agreed.  This forum will enable the artist to
discuss any problems or concerns in a formal setting, and will allow
Arc, the co-producers and funders to assess progress.
 Arc - Facilities
Opened in January 1999, Arc is the Lottery funded redevelopment of the
former Dovecot Arts Centre, and as such is Teesides first new arts
building for 30 years.

Across its four floors Arc contains:
 a 130 seat cinema
 a 275 seat theatre
 a 100 seat studio theatre
 a 600 capacity music / club space (The Point)
 a dance studio and health club
 a recording studio
 a rehearsal room
 the Digital Studio
 cafe-bars on 3 floors

As well as programming these spaces, Arc also runs the Stockton
International Riverside Festival each summer, Britains leading festival
for international visual and street theatre.

Arc - Educational Activities
Arc has a long established education policy, which combined community
access to arts with professional led work.

Arc has active performance based education and training for young people
and children aged  from 7 to 18 years, covering drama, movement and
singing . It runs extensive dance classes for children and adults, and
hosts a very active adult performance group. Arc also hosts North East
New Music and Windjammer, two very different music based groups. Arcs
youth theatre does a great deal of peer education work with outside
agencies such as the health service and tackles some controversial
topics like teenage pregnancy and eating disorders.

Arc has a close association with the local college of further education
with whom it promotes a number of adult courses. One of these is a new
digital video course for part time students wanting to develop more
professional video skills. These students  document some of Arcs live
events and will feed into and support the new Community TV Pilot
training scheme.

This scheme is funded by the EU, Stockton Borough Council, Sony TV and
Video and McMillan UK and will encourage young unemployed to develop TV
skills.  Working 2 days a week the training scheme will initially cover
equipment familiarisation and TV format and production styles. After 4 
5 months training the students will then be expected to deliver a 30
minute programme weekly to be aired on the community cable channel. The
programme will have a strong arts base and cover events taking place at
Arc and other projects initiated by Arc.  Students will cover all
aspects of running a community TV channel including programme scheduling
and research. The training will be led by two tutors, one of whom will
be a full time employee of Arc and will double as technician for the
course and manager of the Digital Studio. A second tutor will be
appointed on a freelance basis as will a technician. This training
programme is scheduled to run for 18 months.

Contact
Please send proposals, including CV and documentation of previous works
to:
Frank Wilson
Arc
Dovecot Street
Stockton-on-Tees
TS18 1LL
England
Tel 44 (0)1642 666600		Fax +44 (0)1642 666668
or e-mail to arc {AT} tremens.demon.co.uk

For further details please contact Michelle Plews at the above address
or David Metcalfe at the address below.



--
david metcalfe associates
PO Box 637, Newcastle upon Tyne, NE99 1JF, England
Telephone +44 (0)191 230 4646, Fax +44 (0)191 230 4545,
E-mail dma.1 {AT} virgin.net

http://www.fastandwide.net
DMA curated digital programme for Broadway Media Centre, Nottingham





   ................................................................... 02

Date: Fri, 26 Mar 1999 09:09:15 +0100
From: festinfo {AT} world.std.com (Boston Cyberfest) (by way of John Hopkins)
Subject: for the nettime digest...

FACES OF TOMORROW
http://www.cyberfaces.org
For more info contact: cyberfest {AT} world.std.com

The Boston Cyberarts Festival
announces the launch of "Faces of Tomorrow"
a Web Site that is aimed at involving young people ages 8-18 in the worlds
of art and technology. "Faces" can be accessed at
http://www.cyberfaces.org.
It is a web-based project that invites youth to submit self-images in the
form of photos, digital images, drawings, and combinations of media.
These images, which can be provided by kids anywhere in the world, are
incorporated into a continually changing quilt of faces.

In addition to being  available on the website, "Faces of Tomorrow" will
be on display during the Boston Cyberarts Festival May 1-15 on a video
wall
at CyberArtCentral, the Festival's headquarters, which will be located at
the
Computer Museum in Boston.

George Fifield, Director of the Boston Cyberarts
Festival, discussed the rationale and unique features of the site.&nbsp;
"This project will be the first opportunity many kids have to put
something onto the Web for others to see. It will reinforce the notion
that the Web is not just a place to browse and gather information - it can
be a place to create and communicate as well." For more information
about the Boston Cyberarts Festival, go to http://www.bostoncyberarts.org.

"Faces of Tomorrow" was developed by a working group
of teachers, youth group leaders, and arts administrators. The site
was designed and hosted by Imagicians Interactive, Inc., a
full services Internet development agency. (http://www.imagicians.com).
The
site will continue to grow and accept submissions
after the Boston Cyberarts Festival as well.

For questions about the project, contact
Sarah Smiley, Program Coordinator
VisionSpace, Inc. c/o Faces of Tomorrow
9 Myrtle Street
Jamaica Plain, MA 02130
617-524-5084
cyberfest {AT} world.std.com


There is also an email list that you can subscribe to, which will keep you
informed about participating. To subscribe to this list, send a message to
majordomo {AT} world.std.com
In the body of your message, put subscribe
cyberfest-faces.
You will get a confirmation message telling you that you
have subscribed.


FACES OF TOMORROW CALL FOR WORK!
---------------------------------------------------------
Calling all Artists under 18!!!
ADD YOUR FACE TO A GROWING COLLECTION OF
DIGITAL PORTRAITS ONLINE!

Submit your face, your hopes and dreams, your curiosities and
questions, your wonderings and speculations - in the form of
a face. Take a picture of you - one that you've drawn, or a photograph
 - and change it somehow. Make a collage with other pictures of the
things you like or add color, try anything! Just make sure your picture
looks like a face somehow. What makes a picture look like a face?
What makes YOU look like YOU? Great questions!!

The Boston Cyberarts Festival is collecting these
digital faces from young people far and wide and is exhibiting them both
online and in person. Cutting edge technology is being used to
collect the entries and store them in a database accessable
on the World Wide Web.  Faces of Tomorrow is being organized by
VisionSpace, Inc., the organization that is coordinating the
Boston Cyberarts Festival. For more information about the
Festival and VisionSpace, Inc., go to the
web site at http://www.bostoncyberarts.org.
Submissions collected by April 20, 1999 will be eligible faces to be
displayed
in a composite and changing "digital quilt" at the Boston Computer Museum,
the headquarters for The Boston Cyberarts Festival.

The Faces of Tomorrow project welcomes schools, art classes,
community resource centers, and any organization that works
with youth to participate.  VisionSpace, Inc. reserves the right
to not display all entries, due to the number of submissions,
or to the appropriateness of the submission.

Eligiblity Requirements:
	% Participants and their parents must sign a completed
Grant and Release form (Available on the web site, or through
participating teachers).
	% Entries must be digital and submitted via the FACES OF TOMORROW
website:
	 http://www.cyberfaces.org
	% The faces must have facial features in some configuration
(eyes, nose, mouth, may be 	profile, straight on, upside down,
but must be recognizable as "facial")
	% The face files must be 360 pixels by 360 pixels.
	% They must be 72 DPI.
	% They must be saved as a .jpg
	% They must not exceed 50 k per image.
	% The images may not be unchanged photographs of the creator -
they
must be manipulated 	in some way.
	% Words are welcomed within the confines of the 360 X 360 square.

----------------------------------------------------
Web Services provided by
Imagicians Interactive, Inc. (http://www.imagicians.com).

VisionSpace, Inc., is the non-profit organization which is producing the
Boston Cyberarts Festival, and the Faces of Tomorrow project.
However, Faces of Tomorrow would not have happened without our sponsors
and all the people who helped make this happen. First, we would like to
thank Imagicians Interactive, Inc, for donating server space and designing
the Faces of Tomorrow web site and interface. We would also like to thank
the Cambridge Arts Council for its in-kind donations and support.

In addition, this program is supported, in part, by a grant from the
Boston Cultural Council, a municipal agency supported by the
Massachusetts Cultural Council, a state agency.

VisionSpace, Inc., and the Boston Cyberarts Festival are funded in part
by the Massachusetts Cultural Council, a state agency.

VisionSpace, Inc would also like to thank the hard work of the
Youth Committee for the Boston Cyberarts Festival, whose
organizational and conceptual skills have brought this project together.





   ................................................................... 03

Date:  Sat, 27 Mar 1999 19:43:50 +0100 (MET)
From: Ellen <ellen {AT} luna.nl>
To: Multiple recipients of <announcer {AT} simsim.rug.ac.be>
Subject:  ann! ...  H O M E  B A S E  2 0 0 0

                            \"/; _
                           \_/,_^^^{
                           ;;? {AT} (*\\
             ~\-,          /_.?/--(
       _   ;/,",\           >;\\/~\
     _/;)}/-: " ;}           .
    {;^:^ ^=_-,;/__~\
     \_;;*-' {AT}  {AT} \#; ; >
       \*_( {AT}  {AT}  {AT} |? ; ;      http://home.luna.nl/~ellen
       /=+\_ {AT}  {AT} ))! _;/
      (+-;- /;? .\                Update HOMEBASE
      {-+--#\{;;::}                 Spring 1999
       \~>/   \_;~>       _ ;/"\
                .        {^^^_,/_\
                         \\*( {AT}  {AT} ?;;
                          (--/?._/
                          \~/\\;>
                               .

Ellen, Architect of Change





   ................................................................... 04

Date:  Sat, 27 Mar 1999 19:44:21 +0100 (MET)
From: honor <honor {AT} va.com.au>
To: Multiple recipients of <announcer {AT} simsim.rug.ac.be>
Subject:  ann! ...  Information on Air Strikes in Yugoslavia

Dear Friends,

As the situation in Yugoslavia worsens, and many of us start to question
in
earnest the effectiveness of NATO air strikes, a group has been founded to
try and ensure the distribution of information relating to the situation
in
Yugoslavia.  This group is called Help B92, in honor of one of
Yugoslavia's
most important media entities, Radio B92.

As expected, the mainstream media in most countries has failed in
providing
a balanced picture of what is happening with regards to the air strikes,
and thus referring to alternative information channels is essential at
such
a time.
http://helpB92.xs4all.nl

The Help B92 team in Amsterdam, the Netherlands, have begun to compile an
archive of news stories in text and in audio to try and ensure that
accurate and up-to-date information is available.  This resource can be
accessed at:
http://b92.klari.net/b92/journal/default.asp?rubriek=4

There is also an excellent BBC news story about the situation at:
http://news.bbc.co.uk/hi/english/sci/tech/newsid_304000/304767.stm

Raising awareness for the effects of war on Yugoslavia is very important
at
this time.  If you work for a media organisation, a newspaper, a radio or
television station, or have a website, you can assist very directly.  Link
to the Help B92 website; Lobby your editors to feature information such as
the news stories presented at the Help B92 website.  You can also help out
in one of the four ways outlined below.

Thank you for any assistance you can offer at this difficult time.

Best wishes

Honor Harger
r a d i o q u a l i a


HELP B92

B92 is the backbone of the independent news service in Yugoslavia.
Without
immediate financial support this last source of independent news for the
inhabitants of this region is endangered. A fund raising campaign is being
started by the support group, with the objective of sending money and
equipment to B92 and other independent radio stations in Serbia and
Kosovo.

There are four key ways that you can assist the group in its support of
B92.

1) Link to the website: http://helpb92.xs4all.nl
by using the logo from the website and promote the spreading of this logo
in any way you can. Also link to the B92 website: http://www.b92.net

2) Help raise funds for B92 and other endangered independent news services
from Serbia and Kosovo. The special account number that has been opened
for
donations is 7676.

International money orders are payable to:
Press Now
Kleine Gartmanplantsoen
10  1017 RR Amsterdam
the Netherlands

International bank transfers can be sent to:
Postbank Amsterdam
Swift address:
INGBNL2A Account number: 7676
in the name of: Press Now  Kleine Gartmanplantsoen
10 1017 RR Amsterdam, the Netherlands

3) Distribute the press release about the fundraising campaign to your
local media.

4) Sign the guestbook on the website

The Help B92 Team is:
B92: 				http://www.b92.net/
De Balie: 			http://www.balie.nl/
De Digitale Stad: 		http://dds.nl/
Next 5 Minutes: 		http://www.n5m.org/
Press Now: 			http://www.dds.nl/~pressnow/
radioqualia (Australia): 	http://www.radioqualia.va.com.au/
De Waag (MONM): 		http://www.waag.org/
XS4ALL: 			http://www.xs4all.nl/

For further information, please contact:

email: helpb92 {AT} xs4all.nl
http://helpb92.xs4all.nl





   ................................................................... 05

From: mmenser {AT} broadway.GC.cuny.edu

Shaping Conflicts: Inhabiting Urbanized Space, Redefining Quality of Life

April 14 through 17, 1999, at the Graduate Center of the City University
of New York

A Multidisciplinary, International Conference of Activists, Intellectuals,
and Artists

Sponsored by the City University of New York Center for Cultural Studies,
the Autonomedia Publishing Collective,
and the Research Institute for Experimental Architecture New York/Vienna

Contemporary urbanism only begins to make sense when examined in terms of
the history of human social environments. Over the course of the last two
decades, both social and civil space have been collapsing in urban
environments. Regardless of recent transformations of political systems
and technological innovations, throughout the world civil liberty and
community are in crisis. While international public discourse focuses on
furthering economic growth and establishing fiscal security, local
communities struggle to defend and define themselves. It has been said
that in thirty years, half of the Earth's human population will be urban.
Which urban? Whose urban? The question of space is no longer just one for
the scientists and engineers. It is a question of being, of living and
thinking.

There are alternative futures, potential and in the making. "Shaping
Conflicts: Inhabiting Urbanized Space; Redefining Quality of Life" is a
gathering of scholars, activists, artists, and the interested general
public that investigates those futures. With scholars contributing
critical and intellectual instruments and the other conference attendees
providing practical and situational experience, we will survey the field.

One innovation we are introducing to the conference environment is to
reactivate the faded notion of the "Public Intellectual." There are
vigorous, critical, extra-institutional voices and experiences.
Unfortunately, the prevailing conception of a Public Intellectual has
devolved to center on media personalities. In the past, thinkers like Kay
Boyle, Paul Goodman, Hallie Flanagan, and Dwight Macdonald struggled to
represent the public good. Now the Tofflers, Newt Gingrich, and Bill
Kristol glibly assume the mantle of intellectual authority. For "Shaping
Conflicts" we have approached people both inside and outside academics
whose accomplishments, activities, and intelligence are influencing a
larger world. We are working to represent their positions in interesting
extra-institutional environments. We look for intelligent alternatives
that do not intimidate the general public, but engage and energize it.

MISSION--"Shaping Conflicts: Inhabiting Urbanized Space; Redefining
Quality of Life" has two dimensions. First, it provides a framework for
comprehending the current crises, processes, and conflicts that are
transforming life as it is lived in urbanized space-critically examining
the planned futures, both those that have been proposed and those already
in the process of implementation. Second, it will examine different models
for spatial production. It will encourage new concepts, strategies, and
tactics that open up other economic and ecological futures. The time has
come to recognize and empower both the existing alternatives and new
visions. In our view, the chief focus of the conference is to excavate the
imaginaries and articulate and extend social alliances. To accomplish
these tasks we are assembling an interdisciplinary group of academics
(including cultural critics, economists, environmental psychologists,
historians, sociologists, philosophers, and political scientists),
architects and urban planners, community activists and organizers, and
performers, visual artists, and writers. We want the urban planners to
engage the work of the artists, the activists to think with the theorists,
and the academics to consider the desires and ideas of communities
encountering the issues of our conference.

CONFERENCE ORGANIZATION--During a series of public forums scheduled for
the mornings and afternoons of April 14 to 15, the afternoon and evening
of April 16 in Room 207, and the afternoon of Saturday, April 17, in the
Proshansky Auditorium at the Graduate Center of the City University of New
York (33 West 42nd Street, New York, NY), presenters will explore the
following provisional schedule:

OPENING REMARKS 10AM

I. SECURITY. [Wednesday. 14 April--10:30-12:30; Room 207] A. The
increasing imposition of social control and the failures of planned
spatial production; B. New policing strategies and tactics, and public
safety. Mike Davis, moderator -- Alex Vitale (CUNY, Sociology); Ian
Douglas (Brown University, Watson Institute of International Studies);
Julia Nevarez (Queens College, Urban Studies), Stephane Tonnelat (CUNY-GC,
Environmental Psychology).

II. Mike Davis (1-2pm) (room 207)

II THE HOUSING PROCESS [Wednesday. 14 April--2pm--4pm; Room 207] A.
Deconcentration and gentrification, rents, zoning, property law,
homelessness; B. What happened to the housing movement? Stanley Aronowitz,
moderator -- Neil Smith (Rutgers); Colleen McGuire (NYC-based housing
advocate) Susan Saegert (CUNY-GC, Environmental Psychology), Nellie
Bailey, (Housing Activist, NYC)


III. [Thursday 15th, 10-12] PLACING THE UTOPIAN IMPULSE (3rd floor studio)
A. Self-organization -- theory, practice, histories,and futures; B. The
role of imagined spaces, communities, and social movements: Placing the
utopian impulse.  Jordan Zinovich moderator -- Geert Lovink (public
intellectual, Foundation for the Advancement of Illegal Knowledge,
Netherlands); Hans Plomp (public intellectual, Ruigoord organizer,
Netherlands); Manuel DeLanda (Columbia School of Architecture, Theorist)&
Peter Lamborn Wilson (public intellectual, NYC) on cities and theories of
self organization; George Caffentzis (Midnight Notes Collective) on the
New Enclosures.

IV. [Thurs. 15 April--afternoon (1-4)] HOMEPLACE AND HOUSEHOLD:
ANYBODY('S) HOME?  THE PUBLIC LIFE OF THE PRIVATE SPHERE. (Room 3rd Floor
Studio)  Nicole Rudolph & Aleksandra Wagner, moderators --Sylvia Federici
(Hofstra, Zero Work Collective) "Reprising the Wages for Housework
Movement"; Faith Wilding (Research Fellow, College of Fine Arts, Carnegie
Mellon University, ); Ghislaine Hermanuz (CCNY Architectural Center).


V. [Fri. 16 April--evening (5pm--7pm)] ECOLOGY AND ENVIRONMENTALISM (ROOM
207) A. The urban habitat and the ecology of built environments: from
green politics to green infrastructure; B. The social construction of
nature and the nature of social contruction; C. Environmental issues; D.
The garden as a radical site, parks. Mike Menser (Brooklyn College,
Philosophy) -- Tom Angotti (Pratt) "The American Metropolis: Waste, Place,
and Race"; Peggy Shepard, West Harlem Environmental Action (WE ACT).  -A
RECEPTION WILL FOLLOW THE COMPLETION OF THIS PANEL (7-9pm).

VI. [Sat. 17 April--12-2:45)] THE IMPERATIVES OF URBAN PLANNING
(Proshansky Auditorium) Kinds of planning? Less or more? What kind of
"Global" do we want? A. The nature and role of planning; B. Specific plans
for various metropolitan regions; C. Alternative globals. Tom Angotti,
moderator --Robb Burlage (Sociologist, Health and Social Policy, National
Council of Churches); Anthony Bale (Sociologist/Independent Scholar); Bill
Menking (Pratt) on Business Improvement Districts; Michael Henry Adams
(public intellectual, architectural historian, activist, president of the
Upper Manhattan Society for progress through preservation).

VII. Plenary on Radical Reconstruction (Saturday, April 17th, 3-5,
Proshansky
Auditorium): Lebbeus Woods (RIEAvico, Switzerland)
_____

ADDITIONAL EVENTS AND LOCATIONS

123 WATTS GALLERY will present "Incompleteness": curated by Josee
Bienvenu, Micke Menser, and Jordan Zinovich and featuring
conference-related photographs, architectural drawings and models, and
installations by Lou Heldens (Netherlands), Dolores Zinny and Juan
Maidigan (Argentina); Ming-Dye (Korea); and Lebbeus Woods
(NYC/Switzerland).

ABC NO RIO GALLERY will present the urban drawings and satirical cartoons
of Serbian artist/activist Miro Stephanovic, curated by Seth Tobocman
(World War III) and Indira Kajosevic.

La Monte Young's seven-year "Dream House" installation will be open to
participants throughout the conference.

ADDITIONAL ACTIVITIES

At times not yet specified, the "Prometheus Group" will workshop the
history and practice of pirate and community radio, and "Reclaim the
Streets" will workshop street interventions and illegal festivals.

Following the Wednesday sessions, Camillo Vergara will give a
slide-illustrated lecture on his Urban Documentation Project at 123 Watts
Gallery.

Following the Thursday sessions, ABC No Rio Gallery will hold an opening
for Miro Stephanovic's exhibition (5pm -- 8pm)

Following the Friday session, there will be a short reception in Room 207
at the CUNY Graduate Center.

On the Saturday morning, there will be a workshop in the Map Division fo
the New York Public Library (the exact focus is not yet determined, but
participation will be limited to 20--25). That same morning Bill Menking
will lead a walking tour of the South Bronx, which will end at the Hunt's
Point community center.

On the Sunday following the conference Hans Plomp, Peter Lamborn Wilson,
and Ira Cohen will present an evening of poetry and performance at the
Zinc Bar.





   ................................................................... 06

Date: Fri, 19 Mar 1999 11:03:45 -0500
From: "Ed Noriega" <noriegae {AT} newschool.edu>
Subject: Teaching at Parsons School of Design


PARSONS SCHOOL OF DESIGN
A DIVISION OF THE NEW SCHOOL UNIVERSITY
DIGITAL DESIGN DEPARTMENT
FULL-TIME  FACULTY SEARCH

Parsons School of Design in New York is seeking applicants for
full-time faculty positions (Fall 1999) in the area of digital design.
Applicants are sought from the design arena and from the business
sector. Primary teaching responsibilities will be at the graduate level
in Parsons MFA Design and Technology program within the Parsons Digital
Design Department. Qualified individuals will have substantial academic
and professional experience in one or more of the following areas:

-- broadcast design
-- physical computing
-- interactive graphics programming
-- computer based animation
-- game design
-- cognitive psychology
-- multimedia
-- on-line and incommerce
-- human computer interface
-- sociology
-- philosophy of technology
-- artificial intelligence

Parsons MFA Design and Technology is a full-time graduate program that
links new and evolving digital technologies with the creative process.
This bridge between the designer and the technologist is central to the
philosophy of the program. Concentrations in Multimedia, Physical
Computing, Animation, and Broadcast Design allow for investigation of
the fertile relationship between technology and design, and between the
designer and society in general. Facilities are state-of-the-art.
Students participate in both individual and collaborative studios, and
real-world interface (internships and projects) forms a substantial part
of the curriculum.

Applicants should be comfortable in the studio critique environment.
Teaching commitments, administrative duties and salary will depend on
experience. A terminal degree (MFA) is required. Women and minorities
are encouraged to apply. Questions regarding the search may be sent to:
<digital.search {AT} parsons.edu>. Applications, resumes, brief statement of
purpose and examples of supporting work should be sent to:

Faculty Search
Digital Design Department
Parsons School of Design
66 Fifth Avenue
New York, NY 10011

Parsons School of Design is committed to maintaining a diverse
educational and creative community. Affirmative Action/equal opportunity
employer.





   ................................................................... 07

Date: Thu, 18 Mar 1999 21:45:20 -0600
From: Patrick Maun <butoh {AT} well.com>
Subject:  LEA Gallery presents Natalie Bookchin's BAD*

Leonardo Electronic Almanac Gallery presents Natalie Bookchin's BAD*


http://mitpress.mit.edu/LEA

The Leonardo Electronic Almanac Gallery presents a new work edited by
artist
Natalie Bookchin. BAD is a journal committed to
documenting acts of terrorism and agitation against the institutional art
world. Read about the recent takeover of an exhibition space in a major
Los
Angeles museum, the hacking of a reputable contemporary art magazine, and
the
theft of a highly respected art critic's identity. Also read about a
prominent
critic who appears to have been drugged by terrorists, causing him to
circulate a text that contained a misspelling of his own name,  promoting
an
artist collective he never heard of. Follow the heated debates about the
ethics
of such attacks in this nonpartisan attempt to document these disturbing
and
exciting incidents. Don't miss archival texts and never before viewed
photographs documenting some of the most controversial actions of our
time.

The Leonardo Electronic Almanac Gallery is a feature of "Leonardo
Electronic
Almanac," Leonardo/ISAST and MIT Press' electronic journal dedicated to
providing a forum for those who are interested in the realm where art,
science
and technology converges. The LEA Gallery archive includes works by Joel
Slayton, Carl DiSalvo, Tina LaPorta and Eugene Thacker. If you are
interested
in creating work for the Leonardo Electronic Almanac Gallery, please send
a
project description, C.V.'s of the main developers, and URL's of past web
and
non-web works to Gallery Curator Patrick Maun (butoh {AT} well.com).

*Burn the Art World Down

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