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                   M/C - A Journal of Media and Culture

                          Call for Contributors

The University of Queensland's award-winning journal of media and culture,
M/C, is looking for new contributors. M/C is a crossover journal between
the popular and the academic. Initiated by cultural critic David Marshall
and supported by a variety of contributors from the University of
Queensland and elsewhere, it is a journal that is set to be a premier site
of cultural debate on the Net. M/C's incisive and insightful articles,
presented in a Website that is well-designed and easy to navigate, have
already won a number of Web awards.

M/C issues are each organised around a theme. Future issues will deal with
concepts such as 'end', 'future', 'audience', 'culture', and 'speed'. For
these issues, we're looking for article contributors -- please contact us
if you think you have an interesting contribution to make on any of these
topics. M/C is a blind- and peer-reviewed journal. Australian academics
should note that articles in M/C are classified in the DEETYA category
'C1', as long as they are connected to new research.

To see what M/C is all about, check out our Website, which contains all the
issues released so far, at <>. To find out how and
in what format to contribute your work, visit
<>. We're also welcoming submissions
to our sister publication M/C Reviews, an ongoing series of reviews
of events in culture and the media. M/C Reviews is available at

These are the upcoming M/C issues in 1999 and 2000:

'end' - article deadline: 8 Nov. 1999

The collective 'end' to the world as we know it is robust, diverse and
slippery in definition, frequently subject to the proximity of socially
mythologised dates. In the last century of the second millennium, popular
conceptions and approaches to the 'end' have been represented in public
forums whose disciplines range from the phobic to the pathological, from
the earnest to the comical. The 'end' often reflects an apocalyptic
preoccupation with humanity's destruction. Those of the theological
persuasion, who describe the sequence of events leading to an 'end', use a
glossary which includes exclusive terms like New Jerusalem, Gog and Magog,
Mark of the Beast, Antichrist, Armageddon, Mystery Babylon, Judgment, 666
and the Great Seven Year Tribulation.

Yet the 'end' in both religious and secular dialogue has in times past been
associated with 1999/2000/2001AD, Russia, nuclear weapons, Prince Charles
of Wales (whose name adds up to 666 in Greek and Hebrew), Bill Gates III of
Microsoft (an ASCII 666 value), 1914 (the controversial date for the
'beginning of the end of this system of things' for Jehovah's Witnesses),
bar-codes, biochips, Mars, unidentified flying objects, the United Nations,
the European economic community, military MARC cards, the pope's title
'Vicarius Filii Dei' (a 666 addition in Latin values), middle-eastern
tensions, the Global Ethic, the Genocide Convention, the greenhouse effect,
Sunday worship, Saturday trading, the Club of Rome, Pine Gap, Canberra's
Deacon Centre, Adolf Hitler, cathode ray tubes, Barney (the American purple
dinosaur television icon), Y2K and subliminal imagery in Disney films.

But approaches to and perspectives on the 'end' exist also on a more
individual landscape of thought. All of us go through a journey of endings
-- the completion of childhood, schooling, work, relationships, eyesight --
yet all of these phases seem to mark beginnings too. Death tends to be
regarded as the ultimate personal end, which is not to deny the constructed
nature of death. This apparent biological end is also deemed a starting
point for the notion of an other-world and the transformed body in many
religious and secular readings. Besides this aspect, death is discussed
within a savoury array of concepts and issues including mortuary and
funerary practices, necrophilia, euthanasia, exsanguination, cannibalism
and forensic science.

All this and more at the end of 1999. Why don't you contribute your own

        issue release date: 1 Dec. 1999

'future' - article deadline: 27 Dec. 1999

As every ending is a new beginning, what better time to look into our
crystal balls and toward the future than in this, the first post-Y2K issue?
Providing that the Internet, or global technology in general, hasn't failed
completely, we'll engage with the concept of 'future'. What will the 2000s
bring? With most of the fin-de-siècle anxiety behind us, will rational
thought take hold again? Will there be a new era of global cooperation? Or
will this be the millennium in which humanity terminates itself, through
wars, ecological destruction, or biological devastation? Will technology
save us, or destroy us? Will there be a remake of 2001: A Space Odyssey,
with Bill Gates as the voice of HAL? One thing is certain, at least: there
will be another volume of M/C.

           issue release date: 13 Jan. 2000

Further topics for the year 2000 are:

'audience'    (deadline 7 Feb. / release 8 Mar.)
'culture'     (deadline 3 Apr. / release 3 May)
'speed'       (deadline 29 May / release 28 June)
'chat'        (deadline 24 July / release 23 Aug.)
'game'        (deadline 18 Sep. / release 18 Oct.)
'festival'    (deadline 13 Nov. / release 13 Dec.)

We're looking forward to your articles !

(If you would rather not receive announcements such as this, please drop
us a line at

                                                          Axel Bruns

M/C - A Journal of Media and Culture        
The University of Queensland            

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for ALPHABET CITY's Issue on the Theme of "Lost in the Archives"

"For more clarity they chose as a mnemotechnic base their own house, their
home, and attached to each of its elements a distinct fact; -- so the
courtyard, the garden, the surroundings, the entire countryside no longer
had any other point than to aid their memory.  Boundary markers out in the
fields delimited certain epochs, appletrees were genealogical diagrams,
bushes were battles, the world became a symbol.  They looked on walls for
all sorts of absent things, wound up seeing them, but no longer knew the
dates they represented."
                                        --Flaubert, _Bouvard et Pecuchet_

In the middle of Bebelplatz in central Berlin, between the National Opera
and the former Royal Library, Micha Ullman has installed a memorial to the
Nazi bookburning on that site in 1933: a negative monument, a submerged
chamber lined with empty shelves and provided with a transparent ceiling
flush with the level of the square.  Meanwhile the political careers of
former East Germans aspiring to office in the unified Bundestag have been
held hostage to kilometres of freshly exhumed Stasi files, detailing in
meticulous minutiae the banality of surveillance; and in the Kulturforum
near Potsdamer Platz, a major exhibition of archival practices in modern
art proposes a celebration of those same technologies.  Can we read in
these three uses of the archive--empty tomb, unquiet mass grave, and raw
aesthetic stuff--a reminder of the dangers to which memory is susceptible,
an index of the memorialist's dilemma at the end of this viciously
forgetful and obsessively documenting century?  And, just what is an
archive?  What is today, when the capacities for storage, classification
and circulation of information have increased astronomically?  While the
spread of data retrieval networks may be rendering obsolete both the
monumental institutions of the nineteenth century and the romance of the
collector, what continues to be at stake is nothing less than control over
the means of production of the past.

The word "archive" takes us back to its double root, as beginning and as
command (arche), and in this way engages the very essence of philosophy in
its simultaneously legislative and foundational self-understanding.  This
issue of Alphabet City undertakes to address the abiding philosophical
problematic of the archive in the context of recent debates in
psychoanalysis, historiography, literary theory, history, and architecture,
and in the light of new technologies of information storage and retrieval.
Contemporary protocols for archiving and accessing increasingly vast
amounts of materials (textual, visual, scientific) present unprecedented
possibilities and problems for the production, classification, and use of
knowledge.  We propose to interrogate the newly problematic status of the
archive, and the issues this raises for questions of memory, history, art,
representation, and the institutions of knowledge.

Issue Editors are Rebecca Comay and Rafael Newman.

Toronto-based multidisciplinary annual publication that encourages
submissions to the editorial board in all disciplines and genres.  They
should be received both on hard copy and on disk.  While the editorial
board will comment on proposals, final decisions will be made only on the
basis of completed works, i.e. creative writing, artist's projects, and
articles.  Completed works are due by the end of December, 1999.

For more information or regarding any questions or tentative proposals,
please contact me either by email or by mail at the address below.


Ger J. Z. Zielinski,
B.Sc., M.A., M.F.A., (D.A.A.D. Stip.)
Assistant Professor of Film and New Media
Associate Editor for Alphabet City

t: 416.979.5000 x7587              School of Image Arts
f: 416.979.5139                    Ryerson Polytechnic University
o: R253B, 122 Bond Street          350 Victoria Street
u:     Toronto, ON CANADA M5B 2K3

Our knowledge will take its revenge on us. -- Friedrich Nietzsche

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My friend from mentioned that I should contact you and ask you to
take a look at our site:

Please let me know what you think.

Kristopher Krug

*spark - exploring electronic consciousness...


the clash of ideas brings forth the *spark of truth....

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Blackout - architecture, warfare and noise
A project by Disinformation

Across the British landscape are scattered thousands of abandoned
military installations, from pill-boxes to former nuclear bunkers,
structures above and below ground that are now redundant architectural
legacies of a century of conflict. This month sees the launch of an
interactive artwork made by Disinformation in response to some of these
structures. Titled Blackout, the project is to be exhibited in galleries
and on the internet, opening on MONDAY 18 OCTOBER at the Broadway Media
Centre, Broad Street, Nottingham and at

Blackout marks the end of a century during which technological
innovation and the brutalities of war have gone hand in hand.

Like immersion in darkness, experiences of danger place individuals in
heightened states of physical awareness. The nervous system increases
its sensitivity to a broad range of environmental information. Through
military research and development, this simple fact of animal psychology
assumes concrete form.

The evolving technology of early warning systems has extended human
perceptions dramatically in terms of distance, subtlety and bandwidth.
But with the onset of tactical or technical obsolescence, these devices
are abandoned or dismantled. Blackout uses photography, video, virtual
reality, sound and text to allow viewers to explore the architecture and
atmosphere of a number of such installations.

Blackout is exhibited from:
Monday 18 to Saturday 23 October, 3-9pm. Admission free
Broadway Media Centre, Broad Street, Nottingham, UK.


Wednesday 10 to Saturday 13 November, 11am - 5pm. Admission free
Waygood Gallery, 2nd Floor, 39 High Bridge, Newcastle upon Tyne, UK.
+ Special Events:-
Opening event with sound installation by Disinformation, Tuesday 9
7 - 9pm, Waygood Gallery
Discussion with Joe Banks of Disinformation and Nick McCamley, author of
Secret Underground Cities, Thursday 10 November at 7pm, Fine Art Lecture
Theatre, The Quadrangle, University of Newcastle.

Blackout is available for further exhibition during 2000.

Produced by David Metcalfe Associates in collaboration with Artec,
Northern Architecture and Now Ninety9. Funded by the Arts Council of
England and Northern Arts.


Forthcoming DMA Projects :
for information only - not for publication
[Blackout - Disinformation]
Available for exhibition throughout 2000. Please see above details.

[Over Easy - Simon Herbert + Alan Read]
A publication about Richard Wilson’s first permanent sculptural work
produced by DMA for Arc Arts Centre in Stockton-on-Tees, UK. The book
places the work into the wider contexts of Wilson’s inspirations,
influences and past works, as well as discussing the processes and
problematics of artist-architect collaborations.
Published by Black Dog Publishing, November 1999. ISBN 1 901033 71 6

[Heresy - Fiona Wright and Ben Ponton]
The final project in Hidden, a year-long series of site-specific art
works commissioned by DMA and Globe Gallery, North Shields, UK. The
central theme of the works has been the interaction between the “public”
and the “private” in those communal or civic spaces that are a part of
everyone’s life. (Previous works in this programme have occupied a
former Registry Office, the Childhood Memories Toy Museum and 2 million
tickets across the Metro rail network on Tyneside).

Heresy is a performance work devised for the pedestrian tunnel under the
River Tyne. It is a collaboration between performance/dance artist Fiona
Wright and sound artist Ben Ponton, founder member of :zoviet*france: 18
& 19 December 1999, [to be confirmed].

[Ryoji Ikeda / :zoviet*france: tour]
This multi-media concert tour is a double-bill of high quality
electronic music. Ryoji Ikeda’s use of sine waves, pure tones, clicks
and hums makes a sparse but beautiful new music from electronic sources.
His performance is accompanied by intense imagery created with video
projection and lighting. He is best known as a member of the Japanese
performance group dumb type and has recently installed a new work at the
Millennium Dome, Greenwich, UK.

:zoviet*france: create richly textural music from electronic and
acoustic sources. Their improvised performances owe more to the Indian
raga tradition than to improvised jazz, creating an immersive experience
for the audience. Their performances will be accompanied by an abstract
video work commissioned from Ravi Deepres. Titled still.moving, this
will be released subsequently as a DVD single and will be available for

The tour opens at the Queen Elizabeth Hall, London on Tuesday 18 January
00, then continues to Saturday 29 January. Further details at

still.moving will be released on DVD in late March 00. Both projects
produced by DMA.

david metcalfe associates
PO Box 637, Newcastle upon Tyne, NE99 1JF, England
Telephone +44 (0)191 230 4646

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dear Comrades,

celebrating the 25th birthday of TNI (TransNational Institute) , we organize
a TransNational Festival in Amsterdam NL from November 11 till 13th.
"At The Edge, Prospects for a 21st Century Internationalism."
It will be the first big scale coming-out of TNI, the well-respected
institute that bravely struggles for a better world(government).
There will be exclusive lectures and briljant debates on world peace and
war-economy in all its appearances (NATO, nukes, WTO, etc.) paralleled by
some cultural extravaganzas (program details will follow later: ).

More informal and off-stage  will be a TEMPORARY AUTONOMOUS ZONE
in the small blue space. Here a variety of concrete projects, actions,
campaigns, initiatives, etc. will be presented live to the vistors and to
eachother. Each project will have 10 to 15 minutes to freely flow
information. It only has to be live, possibly supported by slides, audio,
video or website.  We envisage a surprising gallery of solidarity, as stream
of consciousness, a cakewalk of campaigns. Between 8 and 11 pm both Thursday
and Friday evenings.

Groups from abroad are invited to participate virtually (weblinks,
powerpoints, a video). Suggestions are welcome. They will be mixed with the
live program.
This is a first round of invitations to some tens of groups, networks and
fringe media active in global solidarity, peace activism, no nukes, economy,
migration, gays, etc.).

We hope to hear soon
if you’re interested,
if you prefer Tursay or Friday
what technical requests you may have
and what other prjects you suggest!

I will try to coordinate things a bit.


Jo van der Spek
tel. 020-6718027

tel. 66126608
(especially for web-based presenatations)

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On 2nd November 1999, Experimenta Media Arts will launch MANIFESTO, a
salute to new possibilities within media arts culture and a celebration
of artworks and artists who will be invigorating the media arts in the
next millennium.

The event will include the following components:

Time Capsule, an exhibition of a diverse range of eight digital media
artworks by leading Australian and International artists at Span
Galleries, Melbourne, alongside a purpose built stainless steel time
capsule which will then be housed in a museum for opening in one hundred
years; Zen Cinema, a screening program which will survey and celebrate
definitive experimental films and videos produced throughout the 20th
Century; and the launch of Mesh 13: Cyberbully, Experimenta Media Arts
online journal

Also as part of the MANIFESTO event, hothouse will be an internet media
laboratory to facilitate discussion and action for artists, critics,
cultural activists and other interested people working at the threshold
of technology and the 21st Century.  This will start with a discussion
list from 25th October and will run alongside a web-based media lab at from 2nd November.

The question that underpins MANIFESTO is:
"What are the issues that will be delighting and troubling artists
working in media arts culture in the next 100 years?" Like the
MANIFESTO event, which effectively spans nearly two hundred years, this
question implies a review of media arts in its many forms as it has
developed this century as well as its current state and potential for
the next hundred or so years.  While new media technologies and
innovation in their artistic application is frequently lauded, critical
discussion around the relationship between past, present and future
media forms is often overlooked.

We would like to invite you to participate in hothouse as we think that
you could contribute some useful ideas and commentary to this dialogue.

>From 25th November you can subscribe to hothouse by sending an email to:
in the body type:
subscribe hothouse

This is a visionary project intended as an opportunity to contribute to
a media arts MANIFESTO for the 21st Century.  hothouse will be archived
at in the year 2000.

Steven Ball
Project Co-ordinator

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As (I hope) some of you are aware, PACSF continues to exist as a forum which
seeks to create a platform for discussing issues and exchanging ideas
relevant to Pacific Asian issues vis-a-vis British Cultural Studies.  As a
part of our new activities, we have established a discussion group called
'Pacific-Asia-Cultural-Studies'. This e-mail is to inform you of its
existence and to encourage you to become a subscriber.  Henceforth, we will
publicise any PACSF activities on this discussion group, and we hope that
you will all benefit from this internet space to exchange ideas and advise
amongst yourselves more frequently.

To subscribe, please go to:

and click on the icon 'join'.

Kaori Tsurumoto

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For Further Press Information Contact:
William Murray at 212.254.1357 or



(New York, NY) -- RE:PLAY a five-week, online intensive debate
organized by Eyebeam Atelier at <>
from July 19 - August 20, 1999 about the past, present, and
future of games has now become a "live" event. The ‘live" event
will be held at the New School for Social Research's Tishman
Auditorium on Saturday, November 13th. Admission is Free! The
Tishman Auditorium is located at 66 W. 12th Street, New York,

RE:PLAY unites online digital theorists, game developers, media
critics, computer scientists, scholars, researchers, hackers,
and professional game players in a discussion about digital game
design and game culture.

RE:PLAY Participants Include:

Greg Costikyan, Game designer and writer; Dennis "Thresh" Fong,
Professional Gamer; Richard Garfield, Creator of Magic: The
Gathering; J.C. Herz, Interactive media critic, The New York
Times; Henry Jenkins, Director, Comparative Media Studies
Program, MIT; David Koenig, Founder, Gigawatt Studios; Frank
Lantz, Creative Director, R/GA Interactive; Marc LeBlanc, Senior
Computer Game Developer, LookingGlass Studios; Miltos Manetas,
Artist; Warren Spector, Project Director/Game Designer, ION
Storm; McKenzie Wark, Senior Lecturer, Media Studies, Macquarie
University, Sydney, Australia; Bernie Yee, Director of Games
Programming, Sony Online Entertainment; and, Eric Zimmerman,
RE:PLAY Director, Independent Game Designer, Artist, and
Professor at Parsons Digital Design Dept. & NYU ITP.

The RE:PLAY Conference is presented by Eyebeam Atelier and the
Parsons School of Design Digital Design Department.  Additional
support provided by the Miller Freeman Game Group.

About RE:PLAY:

RE:PLAY is a multi-part event about game design and game
culture.  The three components of RE:PLAY are:

- An Online Forum (held July 19 - August 20, 1999)
A five-week Internet symposium of heated debate between gaming
industry leaders and the public at

- Conference (November 13, 1999, 12-5:30 p.m.)
A real-world event that includes screenings of game graphics,
live videogame play, and a face-to-face continuation of the
online debate. Events include: RE:PLAY panelist Miltos Manetas
will be presenting his digital artwork "Abstract SuperMario" in
the conference lobby;  Game Designers and RE: PLAY panelists
Greg Costykian and Frank Lantz will be presenting a game they
designed especially for the RE: PLAY conference audience; and,
Katie Salen, RE:PLAY Visual Designer and the  Director of the
annual Conduit Digital Film festival in Austin, TX, will be
screening curated graphics from computer games.  Computer and
video games  will also be available for the audience to play
during the conference event.

- Book Publication (Spring 2001)
An in-print edited version of the crucial discussions of the
online forum and conference.

About the conference:

The goal of the RE:PLAY conference is to bring together the
participants from the online forum for face-to-face discussion.
With debates already begun on the RE:PLAY Web site, there
remains much to be examined.  Similar to the online forum, the
focus of the conference will be less on prepared presentations,
and more on question-and-answer dialogue between the
participants and the public.

Eyebeam Atelier <> is a not-for-profit
arts organization dedicated to the digital arts.  Founded by
filmmaker John S. Johnson in 1996, Eyebeam Atelier was
established with the vision that all artists using or desiring
new media tools should receive education, support, and access to
create new, innovative works using cutting-edge technology.  The
Atelier creates innovative opportunities for artists, students,
scholars, and the public through its educational programs,
Artist-in Residence program, internships, apprenticeships,
partnerships, online forums, and public events.

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part one:
cybersalon <>

"The radio would be the finest possible communication apparatus in public
life... if it knew how to transmit as well as receive, how to let the
listener speak as well as hear." bertolt brecht from old media to new media and back again

terry o'leary (interface)
dr. steve goodman (tmg)
rachel baker (irational)

plus: demonstration of new interactive work by members
of the antirom collective / romandson

part two:
wildlife records
the bombdroppers
skeewiff (fsuk)     manuka (wildlife)
ben james   ray stanley
d.j. trax

tuesday october 26, 6.30 ëtill late
venue: the end
18 west central street,
london wc1 1jj

cybersalon is a meeting place for people from the new media and music industry
cost: £2 before 9pm, £4 after

hypermedia research centre: <>
new media knowledge: <>
mute: <>
wildlife: <>
interface: <>
tmg: <>
irational: <>
bectu: <>

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Mediterranean and Balkan Art and Technology Festival
PENDULUM International Symposium
Athens, Greece

Fournos Cultural Center is organizing at the 10th, 11th and the 12th of
December 1999 the 1st Mediterranean, Balkan Art and Technology Festival
devoted to the new art and communication techniques at Athens with the
support of the Greek Ministries of Culture and Development and the support
and participation of the European Council.
With the aim and participation of CICV Pierre Schaeffer Montbeliard Belfort

Competition fields:
Video art
Feature-length video art
Computer animation
Interactive Art (CD-ROM, DVD)
Web art
corresponding fields for schools and students (with competition fields for
the above categories)

Deadline for Video Art, Computer animation, CD-ROM, DVD: October 25, 1999.
Deadline for Web-Art: November 12, 1999.    Email to
Works submitted to the Festival must have been produced after 1-1-1997.

The MEDI@TERRA Festival is a festival for:
 the study of the interaction between new-media and traditional arts
 the creation of new procedures in the art and communication field
 the support and promotion of independent new-media art production
 the support of new-media artists working in the Mediterranean and Balkan
 the effort to encourage energetic participation of the audience in
new-media art procedures
 the dialogue on the subject of cultural networks of the center and the
 the expansion of the idea of globalization through the development of local
 the provision of motives and opportunities for the initiation of
international cultural activities and new cultural production.

During the time of the Festival the International Symposium ''Pendulum''
will take place. The main objective of the Symposium, as well as of the
Festival, is to promote a creative cultural dialogue between opposite sides
and lead to the discovery of the unexpected.
Inspiration - Imitation,
Virtual - Real,
Universal - Local,
Space - Net,
Authority - Freedom.
Creativity and Technology
Geography of the New Media
Delimiting of a Liquid Art

The MEDI@TERRA FESTIVAL 10, 11, 12 December 99, on the field of Web Art, is
accepting web based artworks and projects for participation to a virtual
exhibition and competition.
Deadline for Web Art submissions: 12/11/1999
The exhibition intends to realize a map of artistic works and intentions of
the Mediterranean and Balkan area.
We want to have an approximate view of the complex artistic image of this
area. How is configured by the local artistic intentions, will and feelings
toward the international net-space.
What will emerge out of the submitted artistic works? well expressed
cultural differences or unavoidable net-homogeneity?

In order to participate to the net exhibition and competition the
participants must come from the Mediterranean and Balkan countries.
The works can be located anywhere in the net.
The works we are more interested in, are works that use the net as the raw
Independent and perverse works and projects based to the artistic (or
anti-artistic) possibilities of the net, are also welcome.
We are curious for works in local languages, related to the net space.
Commercial commissioned works will be excluded.

All the submitted and accepted works will be linked in the site of Fournos,
and exhibited during the three days of the festival. For that purpose, about
5 PC's and 5 Mac's and a projector for screening the works will be

Mediaterra festival and Pendulum symposium:
In Greek:
In French:
Contact and submissions:;

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