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<nettime> The Weekender 086a
fokky on Thu, 13 May 1999 22:44:42 +0200 (CEST)


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<nettime> The Weekender 086a


   . 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 each weekend . into your inbox .
   . http://simsim.rug.ac.be/announcer/ for subscription info & help .
   . archive (separate msgs) http://www.egroups.com/group/announcer/ .
   ...................................................................



01 . ir-heath {AT} mail.netnames.net  . Synch or Stream - Network AV Summit.
02 . matthew fuller              . BREAK/FLOW 3
03 . andreas hagenbach           . ||||| 1,2 - 3 worlds |||||
04 . Marie Ringler               . SYNWORLD playwork:hyperspace,
                                   27th to 31st May 1999
05 . API- ludovic burel          . NO EVENT #2
06 . Gena Gbenga                 . LA SOCIETE VIRTUELLE
07 . Annie Abrahams              . 'I only have my name?'
08 . olia lialina                . About Location
09 . SchNEWS                     . "THE SCHNEWS SURVIVAL GUIDE"
                                   PUBLISHED 19/5/99
10 . villa arson                 . ::::HYPEX99-1:::
11 . S.M.A.K.                    . http://www.smak.org/
12 . Vesna Manojlovic            . dokumentarno vece / evening
                                   of documentary video




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

Date:  Sat, 8 May 1999 02:22:15 +0100 (BST)
From: ir-heath {AT} mail.netnames.net
To: Multiple recipients of <announcer {AT} simsim.rug.ac.be>
Subject:  ann! ...  Synch or Stream - Network AV Summit.

Synch or Stream - Network AV Summit.
Banff Centre for the Arts,
Canada.

Friday, May 14 - Monday, May 17 1999

A think-tank on networked audio visual media.

- Online audio festival hosted by The World Service.
  http://www.irational.org/radio/world_service/
  (provisional site)

- Streaming workshop hosted by Radio 90 - Cellular Pirate Radio.
  http://www.irational.org/radio/radio90/

- Presentations and discussions hosted by New Media Institute.
  http://www.banffcentre.ab.ca/nmi/

For further information please contact:

mailto:may99 {AT} irational.org





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

Date:  Sun, 9 May 1999 07:57:32 +0100
From: matthew fuler <matt {AT} axia.demon.co.uk>
To: Multiple recipients of <announcer {AT} simsim.rug.ac.be>
Subject:  ann! ...  BREAK/FLOW 3

BREAK/FLOW 3:  texts by Howard Slater. Drawn from the period June 97 -
February 99.

INCLUDES
Libreville: a counter-induction. Freedom is becoming something superfluous.
Evacuate The Leftist Bunker: on subjectivity and the Left. Or as Raoul
Vaneigem once put it, omitting the question-mark, "intersubjectivity and
coherence in revolutionary groups".
K2: On Kafka's Aphorisms And Short Stories. An examination of 'voluntary
servitude' and the inconsistent mix.
Outside The Castle, Inside The Unconscious: on Kafka's Castle.
Misconstrual,  communicatives and narrative closure.
Graveyard & Ballroom: on early Factory Records. Martin Hannett, Joy
Division, liberated-energies and the 'product' wars. A battle of leisure is
taking place.
A Silver Knife Striking A Wall of Glass: on Marcel Proust and music.
Confront the canonical with the help of music's semiotic interruption.
Become pre-articulate.
Abreaction: on music and the unconscious. Where desire? Where process?
Beyond the pleasure principle lies auto-theorisation.
Burnt MoneyWeekend. on schizo-masochism. Or as Deleuze said: "the personal
element turning, by reflection upon itself, into the impersonal".

Post-Media Operations available for £3.50 (inc. p&p) from: 89 Vernon Road,
Stratford, London, E15 4DQ, UK. Make cheques payable to Howard Slater. If
ordering from outside the UK please send a suitable number of International
Reply Coupons.





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

Date:  Tue, 11 May 1999 13:47:00 +0100
From: andreas hagenbach <aah {AT} thing.ch>
To: Multiple recipients of <announcer {AT} simsim.rug.ac.be>
Subject:  ann! ...  ||||| 1,2 - 3 worlds |||||

-------------------------------------------------
cactis. organization for motion and interactivity
Santa Clara, CA US 95054
Salzburg, Austria 5020

www.cactis.org
-------------------------------------------------


a period with contrasts:

---------
Approaching across the shimmering lagoon, one saw a city that might
have been sumoned by Alladin's lamp, its arches and colonnades, towers
and turrets, flags and flagpoles, reflected upwards in the frency of mirage.
But there was little sign of the magic once ashore. The palace was an
unpretentious
affair of white-washed stucco; beside it, guarded by a rusty cannon and
half in ruins,
stood the fort built by his father, Sultan Sayid ...
Beyond this Oriental city was a vast African shanty town where tens of
thousands
of slaves and ex-slaves lived in indescribable squalor. In short, the city
was closer in spirit
to Liverpool than Venice.
Maybe Zanzibar has always underperformed its billing.
---------


at least the story isn't described bit-wise (on/off, good/bad, 0/1). It at
least leaves an open ending
and a pretty "no-end". In despite of highly-socialized state-communities
the present situation
exhibits same observations. winners vs. loosers. black vs. white. no unity.
neither in the net that
keeps trying to categorize domain holders' purposes. is it a way of find
confidence in technologies
that work barefoot in our dreams? as long as we don't feel the net as a
confident partner in our daily lives
it remains a place of cyber-junkies. the net provides the information
interchange between countries that
could transfer information also without the net. It is a rich-rich
info-connection. A connection between
1st world and 2nd world. I always thought there're 3rd world countries? Has
anybody asked if they also want
to take part in our "net" of cultures?
Maybe our evolution and its implications could profit from these 3 (in
words: three) cultures.
Mix em up!!
---------


the net still needs people thinking.
---------


WANTED: no-sense stuff to let our site suffocate of net-litter
---------


I'm always trying to think how it all works. and - apart from that - how
long it keeps working?
---------

man's live is to be "over-sensed". In contrast to the 86's recent
men-of-world try to announce a
competitive "no-sense" award. their live must be pretty cool :-)



---------
Phil E. Haindl

Since some supporters have been clamoring and petitioning for a unique art
site with special emphasis
on fne art we now can announce weary . . . "cartoon aided network", with
cartoons and widespred art
activities focusing on fine art, photography and calm computing. it will be
filled with mainly artists contribution (hope
assigning some of you ...) and stuff received from anybody who dares to
exhibit his works.
the opening of the site will be separately announced in the net and in
papers. hope getting you there.





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

Date:  Tue, 11 May 1999 19:54:07 +0100
From: Marie Ringler <marie {AT} t0.or.at>
To: Multiple recipients of <announcer {AT} simsim.rug.ac.be>
Subject:  ann! ...  SYNWORLD playwork:hyperspace,  27th to 31st May 1999

*******************************S****Y****N****W****O****R****L****D*********
***********************
SYNWORLD playwork:hyperspace 				      27th to 31st
May 1999
http://synworld.t0.or.at
Museumsquartier Vienna, Austria

Exhibition
Symposium
Events


SYNWORLD is an interactive exhibition which invites the public to discover,
explore and play with the newest virtual game worlds and simulations in
art, science, industry and electronic entertainment.

SYNWORLD showcases 3D applications from well-known artists and game
developers, and interactive visual representations from architecture,
medicine and industry.

SYNWORLD opens new playful possibilities to interactive learning
environments with an emphasis on the artistic approach towards hypermedia
worlds and participative virtual environments.

SYNWORLD offers a comprehensive program with lectures, installations,
multimedia presentations and games stations.

Organized by Public Netbase t0. In cooperation with Architektur Zentrum Wien.
Co-hosted by the Austrian Federal Minstry of Science and Transport.


*******************************S****Y****N****W****O****R****L****D*********
***********************

<blink>  : S : Y : N : W : O : R : L : D : </blink>

SYNWORLD playwork:hyperspace           26.-31.5.1999
http://synworld.t0.or.at                      synworld {AT} t0.or.at

*******************************S****Y****N****W****O****R****L****D*********
***********************





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

Date:  Tue, 11 May 1999 21:18:09 +0200
From: API- ludovic burel <api {AT} cnap-villa-arson.fr>
To: Multiple recipients of <announcer {AT} simsim.rug.ac.be>
Subject:  ann! ...  NO EVENT #2



    NO EVENT #2


///-----------------------------------------------------------

    SPECIAL -> MERCHANDIZING
    1. manufrance.com
    2. Rotaprint

///-----------------------------------------------------------


  1.  T h e   c i t y   o f   m a n u f r a n c e . c o m

  A city rich in skills inherited from its industrial past,
  Saint-Etienne ranks today as the second largest urban
  conglomeration in the Rhône-Alpes region. With its ambition to
  conduct extensive economic projects.

  B i r t h p l a c e   o f   t h e   i n d u s t r i al   e r a

  Saint-Etienne started booming right back in the 16th century,
  becoming prosperous through the manufacture of furnishing
  trimmings and weapons. Then, in the 19th century, the city
  really began to build its industrial reputation, largely through
  coal-mining, and the industrial revolution turned Saint-Etienne
  into one of France's leading cities. The famous "Ecole des
  Mines" (national school of mine engineering) was founded there
  in 1816, and it is no coincidence that France's first railway
  line had a terminus in Saint-Etienne in 1827. In the mid 19th
  century, the city prudently began to diversify its activities
  and develop new industries. It was then that the
  mass-distribution specialist Perrachon, today known as "CASINO,"
  was founded, as well as the famous "Manufrance" company selling
  arms and cycles. Coal-mining was at its peak. With the 20th
  century emerged new economic models: the leisure industry was
  born, and .Saint-Etienne built its theatre, stadium and museums.
  Building on its past heritage, the Saint-Etienne of the year
  2000 is developing by adjusting to the new demands of the
  present.

  A   s u c c e s s f u l   c o n v e r s i o n

  Former capital of the arms, fashion accessory and
  cycle industries, Saint-Etienne has rapidly built
  up a reputation for its expertise in sub-contracting and
  mechanics. Today, close to 400 small and medium-size businesses,
  grouped in industrial "poles" (including industrial automation,
  medical technologies and optical engineering) make up the city's
  economic fabric and provide its driving force. With top-class
  higher education institutions (Ecole des Mines, and colleges for
  fine arts and architecture), the city is also home to 700
  researchers and is a major venue for scientific conventions.

  T h e   c i t y   o f  a r t   a n d   c u l t u r e

  Known in the past for the expertise of its craftsmen,
  Saint-Etienne is now a lively artistic centre. A large
  number of shows are held every season at the Comédie Jean Dasté
  and the Esplanade Opera House. The Modern Art Museum houses the
  second largest public collection of French contemporary art,
  after Paris. The Museum of Art and Industry is about to receive
  a unique collection of weapons, while the Coal-mining Museum and
  the Planetarium, among others, constitute cultural landmarks in
  a city that also welcomes nearly 400 authors every year at the
  Book Fair.

  A n   exceptional   e n v i r o n m e n t   to   l i v e  i n

  But Saint-Etienne is also known for its natural environment,
  and has received much acclaim for its quality of life. With
  60,000 hectares of protected green areas, the region offers a
  wide range of outdoor activities for nature buffs.
  From the very outset, Saint-Etienne grasped the
  importance of hosting the Football World Cup in 1998, and was
  quick to involve its whole population, making the success of the
  event a goal for everyone.

  I m a g e - b u i l d i n g ...

  Looking beyond its regional borders, Saint-Etienne has also
  embarked on a billboard campaign in six French cities, with
  a view to enhancing its image and restoring its reputation as a
  city of grandeur and excellence.

  M o r e   i n f o r m a t i o n :

  http://campus.ensba.fr/infozone/manufrance/index.htm


///-----------------------------------------------------------


    2 .  R o t a p r i n t

    « Dans quelles conditions, dans une société qui proclame les
    idéaux de liberté etd'égalité, la domination des uns sur les
    autres se reproduit-elle sans cesse à nouveau ?» *

    L'intérêt nominaliste porté au terme de « reproduction »,
    provient du fait qu'il aligne à lui seul les trois domaines
    du vivant, du travail et du langage, conçus comme disjoints
    dans la conception moderne de l'économie politique. Penser
    leur co-affluence dans la société bio-politique actuelle
    entraînerait pourtant à coup sûr de nouvelles transformations
    dans l'organisation du pouvoir productif et, en conséquence,
    dans l'organisation du pouvoir politique.

    Mon entreprise consiste donc à montrer comment en officiant
    dans le strict champ épistémologique, le terme unique de «
    reproduction », nous amène à des considérations immédiatement
    ontologique et communautaire. Montrant donc en cela, que la
    création de savoir influe directement sur « la reproduction
    des conditions de production », en innervant substantiellement
    les ensembles démographiques actifs, à travers l'éducation bien
    sûr, mais aussi l'assistance, la santé, les transports...

    "Ce que veulent les institutions, c'est que nous les
    approvisionnons, que nous renouvelions leurs stocks, que nous
    les maintenions en vie par nos innovations"**. C'est en ce sens,
    que le travail intellectuel immatériel produit directement et
    indirectement de la richesse en assurant la pérennité de la
    réalité économique productive.

    Les photos d'imprimantes offset présentées sur ce site constituent
    des objets théoriques, hypothétiques au sens fort. Ils figurent
    des intuitions premières qui, étant donné la forte extension
    sémantique d'un mot comme reproduction, a drainé derrière lui
    un ensemble de détermination (politiques incluses...). En un
    sens, la fiction théoriciste s'est alignée sur la plastique,
    en un tour proche de ce que mentionne L.W.*** à propos de la
    notation. (« Dans nos notations, il y a bien quelque chose
    d'arbitraire ; mais ce qui n'est pas arbitraire, c'est que,
    lorsque quelque chose a été arbitrairement déterminé, alors
    quelque chose d'autre doit avoir lieu. (Ceci résulte de l'essence
    de la notation.))

    Plus précisément, les objets reproduits ici affichent haut et
    fort leur vérité authentiquement inactuelle, apagogique, en
    démontrant leur appartenance au monde caduque de la production
    industrielle moderne, où les machines -ces mastodontes du secteur
    et de l'ère secondaire- incarnaient le capital fixe auquel étaient
    assujettis les couches salariées de la société ; avant qu'elles
    n'intériorisent l'outil de production, à l'époque postmoderne qui
    est la nôtre, sous la forme du cerveau-machine (dont le W3 est
    encore la meilleure représentation, mais c'est là un autre débat).
    (« Le travail, aujourd'hui, n'a plus besoin d'instrument de travail
    qui soit mis à sa disposition par le capital. Le capital fixe le
    plus important, celui qui détermine les différentiels de
    productivité, désormais se trouve dans le cerveau des gens qui
    travaillent : c'est la machine outil que chacun de nous porte
    en lui. » ****)

    L ' a n g e   d u p l i c a t e u r

    D'un point de vue esthétique, est-ce tout à fait hasardeux si la
    première commande de P.L.***** se rapportait au duplicateur Gestener;
    ce dernier devant inaugurer la première ère du design industriel...
    Ne faut-il pas plutôt y voir la célébration de la magnificence de
    l'outil, son éclat et sa générosité; afin de le parer dans sa course
    à la mondialisation -en sanctifiant son impérialisme conquérant par
    son aspect glamour !-. (Il est parlant de voir comment l'auteur se
    dédouane de toutes vélléités de reproduction : "C'était une machine
    de bonne construction qui reproduisait honnêtement tout ce qu'on
    pouvait avoir le désir de reproduire (désir que, personnellement,
    je n'ai jamais éprouvé)).

    M o n e y - m a k i n g  m a c h i n e

    Économiquement parlant, ce qui est vrai de la machine offset ne
    pourrait être dit d'un moulin un café, ni même d'une grue... En
    affichant directement, comme un argument actif de vente, sa capacité
    de rendement -autant de feuilles à l'heure-, il donne l'impression
    de permettre un calcul quasi instané des taux d'actualisation
    (permettant la comparaison d'un revenu futur et d'un revenu actuel).
    Cette aptitude fait d'elle une véritable money-making machine, selon
    qu'elle réduit ou élargit la pro£itability... C'est pour ces
    raisons, que le domaine de la reprographie incarne, plus qu'aucun
    autre, cette ère industrielle où, pour atteindre une productivité
    toujours accrue, il convenait, suivant la conception fordiste, de
    comprimer les coûts de production et les dépenses assurant, au strict
    nécessaire, la reproduction des ensembles démographiques actifs.
    Ce qu'il convient de faire valoir aujourd'hui, c'est au contraire,
    « qu'un salaire garanti est la condition de reproduction d'une
    société dans laquelle les hommes, à travers leur liberté,
    deviennent productifs... » ****


    * Louis Althusser in Sur la reproduction
    ** Bertolt Brecht in Sur la radio
    *** Ludwig Wittgenstein in Tractatus logico-philosophicus
    **** Toni Negri in Exil
    ***** Pierre Loewy in La laideur se vend mal


    http://www.491.org/projets/api/offset


///-----------------------------------------------------------







---> diffused by API

---> Application
---> Programming
---> Interface

---> api {AT} cnap-villa-arson.fr






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

Date: Wed, 12 May 1999 00:11:01 +0100
From: Gena Gbenga <Gbenga {AT} blast.org>
Subject: LA SOCIETE VIRTUELLE

LA SOCIETE VIRTUELLE :
Reves et cauchemars des nouvelles technologies de l'information

Table ronde
Avec la participation de

FRANCIS BALLE, Professeur de Sciences Politiques a Paris II, Directeur
de l'Institut de Recherche et d'Etudes sur la Communication (IRECC),
auteur de _ Medias et societes. De Gutemberg a Internet_ (Ed
Montchrestien 1997).
EDMUND  COUCHOT, Professeur et Directeur de recherche et de travaux a
Paris VIII, auteur de _La technologie dans l'art. De la photographie a
la realite virtuelle_ (Ed Chambon 1998) ;  _Images - De l'optique au
numerique_ (Hermes 1998).
JORDAN CRANDALL, artiste, theoricien des medias, Professeur Invite a
l'Ecole Nationale Superieure des Beaux-Arts, organisateur des evenements
sur la toile, fondateur et directeur de l'X Art Foundation, New York.
Auteur de _Suspension_ (Documenta X, 1997) et de _Bodies, Machines, and
Images_ (a paraitre en fevrier 2000).
FRANK HARTMAN, enseignant de la philosophie des medias a l'Institut de
sciences des medias a l'Universite de Vienne et au Centre de Publishing
et du management des medias a l'Universite du Danube, Krems, auteur de
_Cyber Philosophy. Medientheoretische Auslotungen_ (Passagen, Wein
1996), _Denker Denken Geschichte. Erkundungen zu Philosophie und
Nationalsozialismus_ (Passagen 1994).

Lundi 31 Mai 1999
20h00
Maison Heinrich Heine
Fondation de l'Allemagne
Cite Internationale Universitaire de Paris
27c, Bd Jourdan, 75014 Paris
Tel 01 44 16 13 00  Fax 01 44 16 13 01





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

Date:  Wed, 12 May 1999 11:45:14 +0200
From: Annie Abrahams <anniea {AT} bigfoot.com>
To: Multiple recipients of <announcer {AT} simsim.rug.ac.be>
Subject:  ann! ...  'I only have my name?'

For those interested in 'identity'

Report of the irc project 'I only have my name?' on

http://www.multimania.com/abrahams/beinghuman/irc.htm





   ................................................................... 08

Date:  Wed, 12 May 1999 12:46:58 +0200
From: olia lialina <olialia {AT} teleportacia.org>
To: Multiple recipients of <announcer {AT} simsim.rug.ac.be>
Subject:  ann! ...  About Location

http://art.teleportacia.org


Do you know that modern and media art museums are collecting net art?
Have you visited recent on line net art exhibitions or competitions?
Did you notice the curators have a tendency to present works of net art
in a window with the specification  location="No"?
Why do you think they want to hide the location field and URL of the
work?
Maybe they think location bar contains only technical information and
has nothing to do with art?*
Maybe they think net art is a browser adopted version of interactive
art?
Is net art simply animated gifs, JavaScript's and hyperlinks?
Do they want to neglect the only parameter which protects copyright?
What do you think?
Do you want to participate in an exhibition which emphasises the nature
of net art?
Will the integrity of your artwork be compromised if it is exhibited
offline?
Is the artwork complete if it exists only "inwindow"?
Will it lose any meaning if location="No"?
Do your artworks experiment with networked technologies other than the
WWW?
We're producing a show called: Location="Yes".
 Do you have any proposals?

_______________________
*with life and love? but look zuper.com + entropy8.com =
entropy8zuper.org





   ................................................................... 09

From: SchNEWS <schnews {AT} gn.apc.org>

FROM JUSTICE? AND SCHNEWS IN BRIGHTON
"A single act of defiance is worth more than a thousand angry words."
Tel/Fax 01273 685913 Email schnews {AT} brighton.co.uk

Monday 10 May 1999

PRESS RELEASE: FOR IMMEDIATE RELEASE
------------------------------------

"THE SCHNEWS SURVIVAL GUIDE" PUBLISHED 19/5/99
==============================================

READ ALL ABOUT IT...

Genetic crop sites get a good kicking; streets reclaimed all over
the world; docks occupied in protest at death at work; protestors
trying to put a spanner in the works over multinational plans for
world domination...

Justice? in Brighton, who produce SchNEWS, the UK's weekly direct
action newsletter, publish their fourth book on Wednesday 19th May.

The fourth book comprises issues 151-200 plus photos, cartoons and
other articles to help you to party, protest and survive into the
new millenium. Also included is a comprehensive database of over
500 grass-roots organisations.

LAUNCH PARTY!

To celebrate we will be having a book launch at Bar Centro, Ship
Street, Brighton with the dub-diddily dance sounds of HeadMix
Collective and others. Admission is just £2 and the fun starts
at 7pm (till 11pm).

TO ORDER "THE SCHNEWS SURVIVAL GUIDE" AND OTHER SCHNEWS BOOKS

SchNEWS Survival Guide (Issues 151-200) £6.00
SchNEWS Annual         (Issues 101-150) £5.00
SchNEWS Round          (Issues 51-100)  £4.00
SchNEWS Reader         (Issues 1-50)    Sorry,  Sold out!!!

Write to Justice?, PO Box 2600, Brighton BN2 2DX, enclosing
a cheque made payable to "Justice?", and a self-addressed envelope
with stamps for 93p to cover postage.

** Or get all three books for just £14 including postage **

IN CASE YOU'RE WONDERING

SchNEWS is the free weekly direct action news-sheet that gives you
the news the mainstream media ignores. Run on a shoestring budget by
volunteers for the past four and a half years, worldwide readership
is estimated at around 25,000 a week.

SUBSCRIBE TO SCHNEWS

Keep SchNEWS free! Just send 1st class stamps (eg. 20 for the next
20 issues) or donations payable to Justice?. A year's subs costs us
just over £15, including postage. Ask for 'originals' if you can make
copies and help de-centralise! Postage is free to prisoners.

---------------------------------------------------------------------
"If you go on one demonstration and then go home, that's something,
but the people in power can live with that. What they can't live with
is sustained pressure that keeps building, organisations that keep
expressing their opposition, people that keep learning and
progressing."
---------------------------------------------------------------------





   ................................................................... 10

From: villa arson <lascaux2 {AT} cnap-villa-arson.fr>

Nice, 12.05.1999

Dear friends,

>From June 25 to September 25, 1999 the Villa Arson will organize an
exhibition with the title Lascaux 2. During this period, all the usual
exhibition spaces will be closed to the visitors and replaced by an
internet site making up the exhibition and its catalogue in one.

The site will be divided into two parts.

In the first part ten young artists working in Nice are invited to create
a work for the site displaying simultaneously the gallery spaces. They
will be filmed in real time by WebCams (small video cameras connected to
Internet).

In the second part a certain number of key figures, known either as
determinant actors within the evolution of exhibition modalities over the
last 30 years - or for their actual engagement in the mutation of
exhibition practices - or again for their acknowledged competences in
observing and

analysing these transformations - are invited to answer our investigation
on the exhibition's actuality in the era of mass information.

We would be very pleased if you accepted to work on the second proposal
and we sincerely hope that you will consecrate some of your time to answer
our inquiry.

Yours friendly,

Michel Bourel
Director of the Villa Arson

lascaux2 {AT} cnap-villa-arson.fr

In charge of the project : Paul Devautour, JÈrÙme Joy Coordination and
realization : Ludovic Burel, Jens Gebhart Net Manager : SÈbastien Delisle

Note : the answers will be published on the site in their original
language and translated into French and/or English. Several publicity
advertisements will be made in French and foreign art magazines to
announce the project and communicate the appropriate Web Site address.





   ................................................................... 11

Date: Sun, 09 May 1999 23:08:15 +0200
From: "S.M.A.K." <info {AT} smak.org>
Subject: http://www.smak.org/



   ... STEDELIJK MUSEUM VOOR ACTUELE KUNST . GENT . BELGIUM ...
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                    OPENING  08-09/05/99


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   ................................................................... 12

From: Vesna Manojlovic <becha {AT} xs4all.nl>
Subject: dokumentarno vece / evening of documentary video

In de balie, amsterdam, on 25th of may, IDFA is organising evening of
documentary / home-made video and short films from yugoslavia, made DURING
the bombing. together with that, there will be the exhibition of grafic
works, posters, photos.. made about/during the bombing. this is invitation
for people from yugoslavia to send their work - transport of material is
organised through humanitarian organisations, contact points are existing
in belgrade and novi sad. for details, please contact Momir Stosic - Moki,
gast3 {AT} idfa.nl - he is a collector/selector of works. the aim is to
introduce dutch audience to the other side of the story, which is not
existing in their media. selection of works could be shown on vpro or
other tv stations.

love,
becha

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