| 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@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@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@mail.netnames.net
To: Multiple recipients of <announcer@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@irational.org
................................................................... 02
Date: Sun, 9 May 1999 07:57:32 +0100
From: matthew fuler <matt@axia.demon.co.uk>
To: Multiple recipients of <announcer@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@thing.ch>
To: Multiple recipients of <announcer@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@t0.or.at>
To: Multiple recipients of <announcer@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@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@cnap-villa-arson.fr>
To: Multiple recipients of <announcer@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@cnap-villa-arson.fr
................................................................... 06
Date: Wed, 12 May 1999 00:11:01 +0100
From: Gena Gbenga <Gbenga@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@bigfoot.com>
To: Multiple recipients of <announcer@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@teleportacia.org>
To: Multiple recipients of <announcer@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@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@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@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@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@smak.org>
Subject: http://www.smak.org/
... STEDELIJK MUSEUM VOOR ACTUELE KUNST . GENT . BELGIUM ...
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... STEDELIJK MUSEUM VOOR ACTUELE KUNST . GENT . BELGIUM ...
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... STEDELIJK MUSEUM VOOR ACTUELE KUNST . GENT . BELGIUM ...
OPENING 08-09/05/99
__________________ PRESENTEERT _ PRESENTS __________________
__________ONLINE EXHIBITION _ PERMANENT COLLECTION__________
http://www.smak.org/ __________________ http://www.smak.org/
_ http://www.smak.org/ ______________ http://www.smak.org/ _
___ http://www.smak.org/ __________ http://www.smak.org/ ___
_____ http://www.smak.org/ ______ http://www.smak.org/ _____
_______ http://www.smak.org/ __ http://www.smak.org/ _______
___________________ mailto:info@smak.org ___________________
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From: Vesna Manojlovic <becha@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@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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