| nettime_announcer on Sun, 14 Nov 1999 13:35:28 +0100 (CET) |
[Date Prev] [Date Next] [Thread Prev] [Thread Next] [Date Index] [Thread Index]
| <nettime> announcer 99.46 [c] |
- - - - - - -
| 9 9 . 4 6 |
- - - - - - -
|
<nettime> announcer | a
| b
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | c <<
|
- - - -
Jason Skeet <jason@artec.org.uk> : make some fucking noise | 1 9 |
- - - -
Stephanie Tasch <sttasch@yahoo.com> : Zhang Peili 2000 Project | 2 0 |
- - - -
Diane Dodd <diane.dodd@mx4.redestb.es> : Update New Media | 2 1 |
- - - -
Dean Kansky <dkansky@hotmail.com> : Web art homepage | 2 2 |
- - - -
Ivo van Stiphout <ivo@stations.org> : join the 2K Worldwide Handshake | 2 3 |
- - - -
Jean-Philippe Halgand <jean-philippe.halgand@aecom.org> : SOLIDARIDAD | 2 4 |
- - - -
NY Arts Magazine <nyartsmaga@aol.com> : #37, November Issue | 2 5 |
- - - -
Thundergulch <tgulch@artswire.org> : November presentations | 2 6 |
- - - -
IOTE <iote@cult-lab.de> : Radioplay "Illusion of the End" | 2 7 |
- - - -
Kirsten Lavers <kirsten@everyday.demon.co.uk> : Millennium Collection | 2 8 |
- - - -
|
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - |
|
delivered each weekend into your inbox |
|
mailto:nettime-l@bbs.thing.net |
|
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 1 9 |
- - - -
<earshot> is free software that creates endless mixes of the web's acoustic
spaces. Type in a URL, or a word or phrase, and <earshot> begins to crawl
through the web by following links between sites, searching for audio files
and streams which the user can play with and manipulate. Found sounds (as
well as files on the local hard disc) can be played by loading them into an
'audio field', which fills the screen. Each sound file is represented as a
rotating stick - by moving the stick around the screen volume and pitch is
changed. A range of keyboard commands apply additional functions including
the muting, reversing, pausing and deleting of sounds.
<earshot> transforms the web into the world's biggest sample library and a
vast sound machine for unique performance and compositional possibilities.
<earshot> can be downloaded for free from: <http://www.deepdisc.com/earshot>
<earshot> is a standalone Java application, and is now available to run on
MacOS 8 and windows 95 or better. <earshot> requires a java runtime
environment and quicktime 4 - follow the installation instructions on the
<earshot> download page.
What follows is a text that forms part of the 'readme' document for the
software, and which attempts to explore some of the motivations behind the
project.
<make some fucking noise>
<earshot> is an experimental software application that explores, navigates
and composes with sound from the web. Built by a team of just two people
(1),we approached the development of <earshot> as users of the web and of
music software who wanted to extend and explore ideas about the way the web
is used and possible applications for digital audio. The nature of this
collaboration, and the development of the software, is an on-going process
- and one which also responds to feedback from users.(2) A tool, a toy and
a musical instrument, <earshot> engages the user on many different levels
at once.
<earshot> plugs into the vast amount of sound that exists on the web -
samples for download, embedded sounds, roll-over noises and audio streams.
<earshot> trawls through web sites by following hypertext links, searching
for audio which can then be played and manipulated. <earshot> does not push
the user into a pre-determined experience; it does not differentiate
between sound sources, but generates opportunities for randomness, chance
and play (experiences that connect with the processes involved in making
music, as well as the complex subjectivities of listeners).
<earshot> is built using two distinct pieces of software that were produced
during the project's research and development phase. The first,
_soundProbe_, is a software agent that can use three search strategies
supplied to it. Firstly, the user can type in web page addresses, sending
it to specific locations to search outwards for sound files, by following
links between web pages. Secondly, if the user types a word or phrase into
this URL window, this will be sent to conventional search engines, the
results of which are used to take <earshot> to new sites to scan for audio
files.
A third search strategy can be set in motion as soon as <earshot> is
started, by connecting it to the <earshot> home site, where it can interact
dynamically with the <earshot> server which provides it with a changing set
of samples and lists of web sites for it to trawl. So <earshot> starts to
make a noise almost as soon as it is fired up, and there are different
levels of feedback between the user and the application. The user
immediately starts to generate results, even if everything that <earshot>
is doing is not immediately understood.(3)
A second component to <earshot> is called Noise/machine. This is the
interface and audio engine that opens up and plays sound files and streams.
Noise/machine utilises Quicktime 4 technology, and is able to play nearly
all common sound files, quicktime streams and static movie files.(4)
This interface completely disregards any conventions of music software
(there is no tempo or time signature setting, no musical grid within which
to place sounds, and no musical notation of any kind). Sound files are
loaded into an audio spike on the left side of the screen, from where they
can be dropped into an audio field that comprises the rest of the screen,
where they can be dragged around to change their pitch and volume (moving
to the left slows the sound and its pitch down, to the right speeds the
sound and the pitch up, moving to the top of the screen increases volume,
and moving to the bottom decreases volume).(5)
If left on its own, <earshot> will generate its own mix. <earshot> is ready
to go into this mode as soon as it is fired up, and then will do so if the
user does not touch the keyboard for two minutes. This mix is determined by
filtering chaotic patterns into events that occur within the audio field.
This generator can also be started by hitting the 'S' key, and stopped by
pressing any key.
Using <earshot>, the web is transformed into a vast sound machine. This
develops the practise of sampling, processing and mixing sound which has
become central to various strands of contemporary musical production.
<earshot> is a software that DJs and musicians can create multiple uses
for. As a performance tool <earshot> can be used both for 'live'
improvisations and as a studio instrument. As a composition tool <earshot>
enables real time arrangement of sound. <earshot> is a search engine that
turns the web into a massive sample library. And it is an audio browser
that crawls the web by following links, exploring the web as an acoustic
space full of unexpected discoveries and chance encounters.
Our <earshot> promotion campaigns have identified various potential
audiences. We have promoted <earshot> in a range of cultural environments -
both as a sound toy and tool. We know that there are various net-based and
music software audiences that will be interested. We want to bring together
these different audiences; we hope that the collision of responses will
stimulate ideas which can then be fed back into the project. But beyond any
consideration of possible target audiences, we have other ideas for
<earshot>. These are concerned with the social and technical connections
made by the project.
<earshot> understands how culture is always collectively generated.
<earshot> is a tool that releases the creativity of its users. It explores
the web as a network of simultaneous and parallel spaces, where every
composition and performance produced by <earshot> is also a collective
cultural production of the web. <earshot> plugs into these collective
energies that form the net. <earshot> reveals how the web is under constant
construction; a space which can be endlessly remixed, where every sound
path that <earshot> creates is both a unique performance and composition.
<earshot> is also an investigation into acoustic space, the spaces we
listen to, and the connected experience of superimposition and
simultaneity. Acoustic spaces are capable of resonance; in other words, the
relationships and connections that are set up in an acoustic space can
respond to each other in a non-linear process. <earshot> is a tool for
exploring and producing acoustic spaces.(6)
<earshot> is inspired by technologies that have transformed the means of
musical production. For example, a dynamic and heterogeneous dance culture
has developed over the last decade, with different genres of electronic
dance music that have all been made possible by the availability of cheap
music technologies. The effect of this on the music industry has been far
more profound than that of punk a generation before. Any strict
categorisation between 'avant-garde' and 'popular' is now impossible. In
the context of music production and consumption, <earshot> makes its own
contribution to challenging this particular binary code. Turning <earshot>
on, the user becomes both producer and consumer, creating endless mixes of
the web's acoustic spaces without the need for establishing finished
products.
<earshot> has evolved because of an optimistic determination to explore how
much is up for grabs across what is outlined for our cultural consumption,
the web included. <earshot> wishes to contribute to an experimentation that
embraces the fact that technologies can enable possibilities not known or
controlled by those who originally developed them. Indeed, this was the
point at which we began to speculate about the possibilities for creating
our own software.
Notes:
(1.) Other projects that we have worked on have also fed into the design of
<earshot>. Andi Freeman worked on a research project developing a web
browser capable of sampling text from the web and processing it according
to various pre-defined specifications. Jason Skeet is involved with the
experimental dance label Ambush.
(2.) When downloading <earshot> from the <earshot> web site, the
opportunity is given to subscribe to an <earshot> electronic mailing list.
(3.) <earshot> can also be configured to explore the local hard disc or
network, since the directory structures found there are similar to those on
the net.
(4.) <earshot> requires Quicktime 4, and is built using the Java for
Quicktime development kit.
(5.) Keyboard commands are used for the deleting, muting, reversing,
pausing, rewinding and looping/unlooping of sound files in the audio field.
(6.) In contrast to the non-linearity of acoustic space, the invention of
perspective was not merely a technique for visual representation, but also
enabled the development of linear and sequential structures for organising
thought and perception. This engendered specific subjectivities; the visual
self, the self-contained, atomised individual of western society. For more
on this notion of acousticspace and how it relates to our use of electronic
media, see 'Acoustic Cyberspace' by Erik Davis
------------------------------------------------------------
<earshot>
exploration, navigation and composition of sound on the web
<http://www.deepdisc.com/earshot>
------------------------------------------------------------
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 2 0 |
- - - -
Collecting Global TV News at the Turn of Century
Call for participants in a global collaborative project devised by video
artist Zhang Peili.
As the century comes to a close, the night of 31 December will be the
most awaited time of the year world-wide.
It will be an unique and epoch-making event, full of explicit and
implicit meanings and a moment of both retrospection and anticipation.
Television media around the globe will use different voices and
perspectives to talk about the same issues, the end of the twentieth
century, and expectations for 2000.
AIMS AND OBJECTIVES.
* To find collaborators for each participating country and to ask them
to videotape the main television news program broadcast at 7 p.m. in
the evening of 31 December.
(In most countries the evening news is shown at 7 p.m. Should this not
be the case, the collaborator should record the program according to
the standard evening news time of his/her country).
* Once recorded I will collect all the participating countries TV news
and display it in a video installation,with a channel for each TV set
and a TV set for each country
* The countries whose TV news are needed for the project should fall
within one or more of the following categories :
-countries with international or regional influence;
-countries possessing a distinctive character or representing a
different perspective than Western mainstream in terms of politics,
religious beliefs, style of life or cultural aspects;
-countries playing an important role in regional conflicts.
* The recording should begin a little before the program so to make
sure that the opening titles are included.
* The length should include the whole broadcast of the news, including
the weather forecast at the end, in case this should follow immediately
after.
(Therefore it is safe to assume it will need a 180 minute
videocassette.)
* Each program will be kept in its original language and the contents
will be translated into Chinese, English, Arabic and Russian in an
accompanying brochure to be distributed to the public.
RECORDING FORMAT
The accepted format for the video-tapes are : VHS, SVHS, Hi8, Mini
Digital Cassette, U-Matic or Betacam. The program can be taped directly
through any means offered by the public television network. The content
should be continuous and complete, and the sound and image should as
clear as possible.
PARTICIPATION IS STILL NEEDED FOR THE FOLLOWING COUNTRIES:
ASIA: Pakistan, Iran, Iraq, Kuwait, Turkey, Lebanon, Palestine, Saudi
Arabia, Jordan, Syria, Philippines.
EUROPE: Northern Ireland, Yugoslavia, Greece, Romania, Poland, Ukraine,
Russia.
AFRICA: Angola, Nigeria , Somalia, Rwanda, Uganda, Congo, Central
African Republic, Zambia, Libya, Algeria, Guinea, Cameroon, Sudan,
Mozambique.
AMERICA: Mexico, Panama, Honduras, El Salvador, Guatemala, Cuba,
Colombia, Venezuela, Brazil, Argentina, Peru, Uruguay.
OCEANIA: Fiji.
ACKNOWLEDGMENTS
The names of all participants will be printed in a special brochure
presented together with the piece, unless you prefer to remain
anonymous.
The documents generated in the process of obtaining each
video-cassette will also be exhibited with the work after receiving
permission from each collaborator.
EXPENSES
I will reimburse each collaborator for the expenses encountered for the
taping and shipping of the cassettes.
The success of the project relies upon our collaboration
Thanking you in advance for your support.
INTERESTED PARTIES CONTACT
Zhang Peili
October 1999,
Hangzhou,
China
Mail Address:Hangzhou Arts and Crafts School
Hangzhou 310016
People's Republic of China
Telephone/fax number: 0086-(0)571-6955193
E-mail: Zpeili@163.net
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 2 1 |
- - - -
NEW MEDIA: Working Practices in the Electronic Arts
Please see the research results which are now posted on our web site at:
www.lse.ac.uk/depts/gender/newmedia
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 2 2 |
- - - -
I want to set up a web page with my art work. I do not want to use my own pc
as a server, however, I would love a web site with my own domain name. Does
anyone know how to get this?? If not, does anyone know a good place to get a
web page space from. I want to pay for the space as I do not want ads on my
site.
Thanks,
Dean
New York City
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 2 3 |
- - - -
please send me your hand.
http://www.stations.org/2Khands
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 2 4 |
- - - -
-----Message d'origine-----
De: Alban Saporos [SMTP:alban.saporos@theobvious.zzn.com]
Date: mercredi 10 novembre 1999 11:58
Objet: SOLIDARIDAD con NETWORK ART Chain Campaign - SNA CC
Chers confreres, dear partners
La net.art fatigue fait les gros titres sur la plupart des mailing-lists de
la communaute artistique.
Devant pareille urgence, j'ai decide de lancer aujourd'hui la
the net.art tiredness makes the headlines on the majority of the
mailing-lists of the artistic community. In front of similar urgency, I
have decide to launch today the
SOLIDARIDAD con NETWORK ART Chain Campaign - SNA CC
Parce qu'elle prend ce qu'il y a de meilleur dans l'hacktisme et dans
l'economie de l'information pour lever des fonds de soutien, cette campagne
ne vous coutera absolument rien et pourra aider un net artist a recouvrer
la sante.
Because it takes the best of hacktism and of the economy of information to
raise funds of support, this campaign will cost you absolutely nothing and
will help a Net artist to recover health..
[COMMENT AGIR ?]
Faites-suivre cet appel, diffusez-le le plus possible, ne coupez pas la
chaine et rappelez-vous le SUBJECT, c'est important.
Soyez le chainon manquant !
[HOW TO ACT?]
Forward this call, as much as possible diffuse it, do not cut
the chain and point out you the SUBJECT, it is significant
Be the missing link!
MERCI DE VOTRE GENEROSITE.
THANK YOU FOR YOUR GENEROSITY.
Votre YOU
Alban Saporos
Information Charity Business Chairman
-------------
Alban Saporos
critique d'art et commissaire d'exposition.
"L'art a l'epreuve de l'information" conseil aux artistes et licence de
Systeme Nerveux Artistique.
Stating the Obvious. All meta, all the time. <http://www.theobvious.com/>
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 2 5 |
- - - -
NY Arts Magazine
http://nyartsmagazine.com
----------------------------
November issue!
Get the full art world picture right now while it's happening!
(The printed version is on the newsstands).
Don't forget you can use our chat page at http://nyartsmagazine.com/bbs/
and post; openings, news, events, questions and debate the issues.
Join the international art community and NY Arts in its rapid expansion on=20
the web and in print at http://nyartsmagazine.com
-------------------------------------------------------------------------
NY Arts Magazine #37, November 1999 issue features:
7 Mob RuleShows: Art Moving, Bingo Hall, Eyewash, Flip Side, Leo Koenig, =20=
=20
Momenta, Pierogi 2000, Star Sixty-Seven.
11 letter to Giuliani by Mark von Schlegell
13 Other Considerations:"SENSATION" a conversation with Charlotta Kotik =20=
=20
by Horace Brockington
14 Minimalia: Reduction, Phenomenology, and Essence
by Robert C. Morgan
17 Visiting Joan Jonas with Rachel Yuens
19 Sensation by H. Zinnes
20 SVA digital Salon 60 students/artists
22 Art: Nature or counternature by Wolfgang Becker
24 BRITISH UNDERGROUND FILM OF THE LATE 90=92s=92
by Jane Gang
27 Whitney and MoMA Look Ahead Into the Past =20
by Harriet Zinnes
29 What=92s =93Old-Fashioned=94? by Piri Halasz
33 Art (Out) of This Century by H. B.
34 Narratives. by M. Meikle
37 The Transcendental.. by James Kalm
38 MICHAEL ST. JOHN by Jane Gang & Millree Hughe
40 Daze on Muralists
42 Stray Dog: The photographs of Daido Moriyama by James Trainor
45 Cuba
46 Balthus George Saru by Valery Oisteanu
48 ARTISTS SPEAK FOR THEMSELVES
49 centerfold with Elaine Reichek
52 The Constellations of Francesco Clemente =20
54 Downing Project by Shin Yi
55 Children of Berlin
57 Andre Masson
59 E.W. Godwin: Aesthetic Movement Architect and Designer.
by Ana Maria Torres
60 Chilean Architecture: Mathias Klotz
63 The Essl Collection of Contemporary Art=20
64 From New York to Tel Aviv by Lori Nozick
66 Issey Miyake Making Things by A. M. Torres
67 Letter from Paris by Nina=20
Zivancevic
68 Dazzling by Design: by Theodore Bouloukos
69 Reviews/previews
Ron Ehrlich @ Stephen Haller,
NY2K: A Cultural Survival Kit for the New Millennium @ CHARAS/ el Bohio,=20
Another City for Another Life: Constant's New Babylon @ The Drawing Center
Joan Jonas Videos @ Pat Hearn Gallery
Thoughts in Sculpture @Montclair State University
Trevor Winkfield @ Tibor de Nagy
Drawing in the Present Tense" @ Parsons School of Design Gallery -
Janet Kusmierski =93Paintings=94 @ Elizabeth Harris Gallery,
Yuri Kuper @ Yoshii Gallery
Mara Held @ Christiane Nienaber Gallery,
Eckhard Etzold, @Au Base
"Why Draw a Landscape?" @Karen McCready Fine Art
Photic II with @ Eyewash
Carrol Dunham @ Metro Pictures
John Currin @ Andrea Rosen
Alex Katz @ Brent Sikkema
John Wesley @ Jessica Fredericks Gallery
Kiki Lamers @ CRG
iki Smith @ Pace Wildenstein
Justine Kurland @ Patrick Callery Gallery
Jerry Kearns @ P.P.O.W.
=93In black and white=94 @ Admit One Gallery
Andreas Slominski @ Metro Pictures=20
Tim Steele @ Rare Gallery
lem Crosby & Ulrich Wellmann @ Patricia Sweetow Gallery
Masami Teraoka @ Catharine Clark Gallery
Juan Sanchez @ El Museo del Barrio
"The Lottery" @ The Rotunda Gallery
Kuni=E9 Sugiura @ Leslie Tonkonow Artworks and Projects
Julie Roberts @ Sean Kelly Gallery
"Cildo Meireles" @ The New Museum of Contemporary Art
"Inverted Odysseys" @ Grey Art Gallery, New York University
Cocktails" @ Sotheby=92s
Robert Creely @New York Public Library
83 Picks Christopher=
=20
Chambers
90 Krzysztof Wodiczko -Critical Vehicles: Writings, Projects, Interviews=
=20
LISTINGS
98 the photo of the month
-Copyright =A9 NY Arts Magazine, 1999.=20
...and more on our web site....
-------------------------------------------------------
http://nyartsmagazine.com
e-mail:nyartsmaga@aol.com
NY Arts Magazine
473 Broadway, 7fl
New York, NY 10013
tel:1-212-274-8993
fax:1-212-226-3400
USA
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 2 6 |
- - - -
Thundergulch reminder of November events
1-3. Next week -- Two public presentations followed by another the
following week
Note: Various locations and times
4. Plus video installation by Thundergulch Artslink resident from last
season -- Krassimir Terziev @ The Kitchen
5. Plus videos still on view @ Rockefeller Center
1. Monday, November 15 -- <italic>More and Less</italic> (interactive
exhibition & artists' talk)
12:30 pm @ ITP
Interactive Telecommunications Program, Tisch School of the Arts,NYU
721 Broadway, South Elevators to 4th floor, NYC
An exhibition of pioneering interactive multimedia projects at the
intersection of art and technology, featuring the work of the NYU
Interactive Telecommunications Program Interval Research Fellows: Dan
O'Sullivan, Camille Utterback, Daniel Rozin, and Emily Weil. Viewing of
exhibition followed by artists' talk @ 1:30 pm.
(Seating limited for artists' talk; open to first 50
people) www.itp.nyu.edu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2. Tuesday, November 16 -- SVA's 7th Annual New York Digital Salon
8 pm @ VOID, 16 Howard Street, NYC (corner of Mercer)
Featuring <italic>Composite Cells</italic>, a solo A/V performance by
Jarryd Lowder and <italic>Les Jaseurs</italic>, a performance by G.H.
Hovagimyan and Peter Sinclair,as well as animations, from this
international exhibition of computer art organized by the School of
Visual Arts in NYC. (On view at the Visual Arts Museum at the School of
Visual Arts from November 8-December 15) www.sva.edu/salon
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3. Monday, November 22 -- Thundergulch/World Views
6:30 pm @ Harvestworks, 596 Broadway, Suite 602, NYC
New media work created by some recent residents from LMCC's World Views
residency program that takes place on the 91st floor of the World Trade
Center. Featuring Jennifer & Kevin McCoy's long term, multiple media
project, Airworld (www.airworld.net), sponsored by the Walker Art Center
and a selection of digital video work by Paul Pfeiffer.
````````````````````````````````````````````````````````````````````````````````
4. Multimedia Bulgarian artist, Krassimir Terziev, who was an Artslink
Fellow with Thundergulch last year, has a video installation on view at
The Kitchen:
<italic>Reader/Everything Seems to Be Alright
</italic> Through November 27: Tuesdays-Saturdays, 2-6 pm
@ The Kitchen
512 West 19th Street (between 10th & 11th Avenues)
212-255-5793
www.thekitchen.org
--------------------------------------------------------------------------------
5. Thundergulch @ Rockefeller Center
Extended through the month of November
"Arts Interlude" Video Wall Program
@ 1251 Avenue of the Americas
Mondays and Wednesdays: 12 - 2 pm
(between 49th-50th Streets, east Concourse)
Thundergulch was approached by Ark Restaurants Corporation (owners of
Lutece, the Bryant Park Grill, and scores of other first-class
establishments nationwide) to curate a program of artists' videos and
animations for a new restaurant called
Z-DIM that will open in Southfield, Michigan later this fall.
(www.arkrestaurants.com) In order to celebrate this arts/business
partnership and to showcase some of the artists' work in the New York
area, Thundergulch has selected a sampling of the full program to
showcase as a "sneak preview" to the opening of the restaurant.
[ . . . ]
Programs organized by Thundergulch Director Kathy Brew
Thundergulch, c/o LMCC, 5 World Trade Center, Suite 9235, NYC 10048
tgulch@artswire.org www.thundergulch.org 212-432-0900, ext. 223
Thundergulch is a program of the Lower Manhattan Cultural Council.
Funding for Thundergulch is provided by the AT&T Foundation, the Bell
Atlantic Foundation, the City of New York Department of Cultural Affairs,
Heathcote Art Foundation, Media Arts Technical Assistance Fund, the
National Endowment for the Arts, Electronic Media and Film Program of the
New York State Council on the Arts, the May and Samuel Rudin Family
Foundation, and the Andy Warhol Foundation for the Visual Arts.
Thundergulch is also grateful for support from the Alliance for Downtown
New York, the Chase Manhattan Foundation, J.P. Morgan, the New York
Information Technology Center, Rudin Management, the Port Authority of
New York & New Jersey, Parsons School of Design, and Harvestworks Digital
Media Arts.
_____________________________________________________________________________
Thundergulch
c/o Lower Manhattan Cultural Council
5 World Trade Center, Suite 9235
New York, NY 10048
tel (212) 432-0900
fax (212) 432-3646
email: tgulch@artswire.org
http://www.thundergulch.org
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 2 7 |
- - - -
On the 18. December 1999 between 8 and 9 pm German (GMT+1) time we will
create a Live Broadcast Audio-Art Sculpture on stage in Cologne/Germany.
You are invited to join us by sending some of your thoughts (max. 99
words) or sounds (Audio-Files max. 18 seconds) by E-mail during this time.
The hour will be dedicated to:
"Illusion of the End"
" Tithonos, son of Laomedon, was carried off by the Godess Eos because of
his incredible beauty. She begged Zeus for his imortality and he granted
this wish, but Eos had forgotten to ask for eternal youth as well. So
Tithonos grew soon old, but could not die. Transformed into a cricket you
can still hear his longing songs today."
"Illusion of the End" is a multimedia radioplay, which will be recorded
and broadcast live.
The announcer utters the cancelation. Muscians perform "The Big Bang".
Monolog's of possible beginnings sound of the stage. Several
video-monitors project the "Talking Heads", giant pictures of modern
fairy-tellers, speaking of beginnings, ends, immortality and
transitoriness. The musicians collect sounds without the illusion of ever
hearing their endings. The internet serves as an ear through which live
Audio-Files and speech-converted e-mails are heard. On stage a
sound-installation, a box, from it emit voices telling of crickets and
timekeeping. The "Big Crunch" reverberates from the instruments. The
renouncer proclaims the anouncement.
Performer: Dr.Hartmut Dedert and Grace Yoon Internet-Remix Charly
Jungbauer Musicians: Alexandr Alexandrov, Blixa Bargeld, Roman Bunka,
Jeanne Lee, Serguei Letov, Youri Parfenov, Mal Waldron
Talking Heads (on Video): Doris Dörrie, Marusa Krese, Malachi Favors,
Oskar Pastior, Ulrike Trüstedt, Bernhard Waldenfels, Hermann de Vries
Sound-Boxes: CULT-LAB Mona Göschel & Charly Jungbauer
Hope to hear from you,
Grace Yoon and the I.O.T.E. team
If you have a sound or a thougth but you are unable to send us mail during
the above time frame you can also send it in advance to:
e-mail: iote@cult-lab.de web: www.cult-lab.de/iote.html
- - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 2 8 |
- - - -
Hoping that members of this list won't feel that the following is
innappropriate:
The idea that something is proposed as not worth keeping sparks debate;
some more serious, some more quirky, some invested in political opacity,
and some in humour. Why do we keep what we keep; what attachments,
preferences, habits and beliefs do these 'things' reveal? What do we (both
as individuals and social bodies) collect? What do our collections say
about 'us'? What do our rubbish bins say about us?
At the moment that these 'things' are given, they pass into a liminal space
of indeterminate value, that might or might not resolve itself through the
processes of representation and interaction. Values for 'us' - values for
'them', social values, personal values, notional values, national values,
commodity values, mnemonic values. Value-transitions, rather than
value-fixities, are implied and intended by the project's title, our
collaborative approach, the work and the work's frame.
Things Not Worth Keeping (a collaboration between artist, Kirsten Lavers
and poet/publisher, cris cheek) is realising itself through what we have
come to call 'occurrences'; installations, works in video, bookart and
hypertext - still more are planned. Many of these are interactive and
participatory. Aspects of occurrences to date are documented / presented on
this website
http://thingsnotworthkeeping.com
To coincide with the website's *launch* we're offering the opportunity for
about 10 readers of this list (we're sending this to several lists - so
apologies herewith cross posting in advance) to take part in our
forthcoming *occurrence* 'Millennium Collection', which has been
commissioned by The Small Acts At The Millennium Consortium. We're wanting
to allot 100 places on the mailshot list from the various e-communities
with which we've been involved over the past few years. We'll have to
operate it by taking the first 10 - ish responses from each. So be quick,
first come first in.
A total of 1000 people will be invited by targetted (snail) mailshot to
propose a thing of their own that they consider to be 'not worth keeping',
and to suggest why this might the case, on or about December 31st 1999.
Approximately 100 things will be chosen and photographed to form a
'millennium collection'. The collection will subsequently be redispersed
amongst the contributors - each person receiving a thing donated by someone
else and a souvenir catalogue.The project will culminate in a virtual
collection website, distribution of the catalogue and documentation in The
Small Acts For The Millennium book to be published by Black Dog (London).
If you would like to be involved in this project please e-mail your name
and snail mail address to: collection@thingsnotworthkeeping.com. Deadline
for inclusion: December 1st 1999
But anyway,enjoy 'thingsnotworthkeeping.com' and we'd welcome any feedback
or responses.
Kirsten Lavers
cris cheek
'millennium collection' is commissioned by Small Acts At The Millennium, a
series of time based projects funded by the Millennium Commission and the
Arts Council of England. This project has also received support from
Eastern Arts Board.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | | | |
# distributed via <nettime>: no commercial use without permission
# <nettime> is a moderated mailing list for net criticism,
# collaborative text filtering and cultural politics of the nets
# more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body
# archive: http://www.nettime.org contact: nettime@bbs.thing.net