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      Cary Peppermint <mint@progirl.com> : re-collection at year's end   | 0 1 |
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             Alan Sondheim <sondheim@panix.com> : notice about my work   | 0 2 |
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                nmherman@aol.com : A Poem for the Would-Be Generalists   | 0 3 |
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                  nmherman@aol.com : The Genius 2000 January 1 Website   | 0 5 |
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         Sven Spieker <spieker@humanitas.ucsb.edu> : new in ARTMargins   | 0 6 |
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   Lee Wells <starflyer2012@yahoo.com> : make a wish and make it count   | 0 7 |
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   KOGO <ga2750@i.bekkoame.ne..jp> : Lectures @ Rotten Damned Festivals   | 0 8 |
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              Valery Grancher <vgranger@imaginet.fr> : Valery Grancher   | 0 9 |
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  Stepen Perrella <haptic@columbia.edu> : Hypersurface Architecture II   | 1 0 |
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       Kevin Murray <kmurray@mira.net> : GOODBYE KIND WORLD now online   | 1 1 |
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http://www.artnetweb.com/peppermint/exposure171.html
http://www.artnetweb.com/peppermint/exposure171.html
http://www.artnetweb.com/peppermint/exposure171.html
http://www.artnetweb.com/peppermint/exposure171.html
http://www.artnetweb.com/peppermint/exposure171.html


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Internet Philosophy and Psychology -                              Jan. 00


This is a somewhat periodic notice describing my Internet Text, available
on the Net, and sent in the form of texts to various lists. The URL is:
http://www.anu.edu.au/english/internet_txt/ which is partially mirrored at
http://lists.village.virginia.edu/~spoons/internet_txt.html. (The first
site includes some graphics, dhtml, The Case of the Real, etc.)

The changing nature of the email lists, Cybermind and Fiction-of-Philoso-
phy, to which the texts are sent individually, hides the full body of the
work; readers may not be aware of the continuity among them. The writing
may appear fragmented, created piecemeal, splintered from a non-existent
whole. On my end, the whole is evident, the texts extended into the lists,
part or transitional objects.

So this (periodic) notice is an attempt to recuperate the work as total-
ity, restrain its diaphanous existence. Below is an updated introduction.

-----

The "Internet Text" currently constitutes around 80 files, or 3500 print-
ed pages. It began in 1994, and continues as an extended meditation on
cyberspace, expanding into 'wild theory' and literatures.

Almost all of the text is in the form of short-waves or long-waves. The
former are the individually-titled sections, written in a variety of sty-
les, at times referencing other writers/theorists. The sections are inter-
related; on occasion emanations appear, avatars possessing philosophical
or psychological import. They also create and problematize narrative sub-
structures within the work as a whole. Such are Julu, Alan, Jennifer, and
Nikuko, in particular. Overall, I'm concerned with virtual-real subjectiv-
ity and its manifestations, in relation to various philosophical issues.
Recently I've been working with body issues through consideration of ava-
tars and ballet (Nikuko and Doctor Leopold Konninger), as well as issues
of philosophy in general; some of this has been produced as a series of
videotapes through the Experimental Television Center in Owego, NY. I have
also been intensively working on a diary for trAce, the online writing
community; see the URLs below.

The long-waves are fuzzy thematics bearing on such issues as death, love,
virtual embodiment, the "granularity of the real," physical reality, com-
puter languages, and protocols. The waves weave throughout the text; the
resulting splits and convergences owe something to phenomenology, program-
ming, deconstruction, linguistics, prehistory, etc., as well as to the
domains of online worlds in relation to everyday realities.

I have used MUDS, MOOS, talkers, perl, d/html, qbasic, linux, emacs, Cu-
SeeMe, etc., all tending towards a future of being-and-writing, texts
which act and engage beyond traditional reading practices. Some of the
work emerges out of performative language such as computer programs which
_do_ things; some emerges out of interferences with these programs, or
conversations using internet applications that are activated one way or
another. And some of the work appears out of collaboration or video, the
latter with Azure Carter and Foofwa d'Imobilite, leading to another series
of texts.

There is no binarism in the texts, no series of definitive statements.
Virtuality is considered beyond the text- and web-scapes prevalent now.
The various issues of embodiment that will arrive with full-real VR are
already in embryonic existence, permitting the theorizing of present and
future sites, "spaces," nodes, and modalities of body/speech/community.

Please check the INDEX to find your way into the earlier body of the work.
The Case of the Real is a sustained work that may be the most useful text
of all. It is also helpful to read the first file, Net1.txt, and/or to
look at the latest files (le, lf, etc., which are still to be indexed) as
well. Skip around. The Index lists the files in which a particular topic
is described; you can then do a search on the file, or simply scroll down
(the files range in length from 30 to 50 pages in print). (Note: I have
stopped working on the index; for the later files, I suggest you skim.
Eventually, I need a site and a local search engine for the texts; at the
moment, I apologize for the awkwardness of it all.)

The texts may be distributed in any medium; please credit me. I would ap-
preciate in return any comments you may have.

I should mention you can find my collaborative activities at
http://trace.ntu.ac.uk/writers/sondheim/index.htm and my conference
activities at http://trace.ntu.ac.uk - both as a result of my virtual
writer-in-residence with the Trace online writing community.

See also:
Being on Line, Net Subjectivity (anthology), Lusitania, 1997
New Observations Magazine #120 (anthology), Cultures of Cyberspace, 1998
The Case of the Real, Pote and Poets Press, 1998
Jennifer, Nominative Press Collective, 1997

Alan Sondheim 718-857-3671
432 Dean Street, Brooklyn, NY, 11217
mail to: sondheim@panix.com


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++

Viz. the telephone-newspaper, how color TV created the world, Altoids' AE,
and the endings of things:  Here is one more poem by Dan Schneider, this for
Buster Keaton.  A paean to the unused internal electric.

http://www.geocities.com/~genius-2000/Electric_World.JPG

++


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++

The new millennium is almost here, hence the Genius 2000 Project is almost
over.  There are a few things people might like to know about our plans for
the next three days, and I'll try to cover most of them in one post.

1.  New Year's Website

The final website of the Project will be available instantly after the year
rolls over on the first of the year.  It's a special one, a finale which took
a lot of thought and effort, and I'm convinced it will serve as an admirable
resolution of all the stuff Genius 2000 contributors have been doing for the
last year-plus.  I cordially invite everyone to check it out.

2.  Archiving

After the first of the year, there will not be any new Genius 2000 material.
There will be archives however, which will include both on and offline
versions of Project-related text and video.  The First Edition will of course
continue to be available indefinitely, but the signed edition will be limited
to 100 tapes (only fifty left so act now, to make this the best new
millennium ever!).

3.  The Second Edition Video

The Project is still accepting footage for the Second Edition.  All footage
must be postmarked on or before the first of the year, so if you'd like to
contribute be sure to act fast.  I will be taping here in Minneapolis, but
footage from around the world is welcome.  All tape received before the
deadline will be sincerely considered.  The Project's mailing address is on
our site:  935 Washington Ave. SE, PMB 231, Minneapolis, MN 55414.  Editing
will begin with the new year and should be completed sometime in February of
2000.

4.  The current website

The site at www.geocities.com/~genius-2000 will remain online, but will only
be updated to include content created before the end of the year.  If you
would like to have a text included on the archive page, send it before the
deadline and be sure to express your desire for archival.  The site will
continue to provide Yes/No and the Genius 2000 Conference 1999 materials.
(Yes/No Ongoing will be the single exception to the rule of no new content.
Because Yes/No is a data-mapping project, new data is not precisely new.  In
any case, the Yes/No database will remain open to contributors throughout
2000, and will stay on the site in both its current format and new
configurations.)

5.  Works for sale

There are quite a few excellent pieces currently in the Genius 2000
Collection.  Notable are the Yes/No Video (suitable for gallery display or
museum display, in conjunction with the Yes/No Database) and a large number
of hard-copy images.  These works will be for sale at prices ranging from
$1.999 to $1,999,000.  Limited runs of archived video (i.e., footage not
included in either the First or Second Edition) may also be sold on a
selective basis.

6.  Max Herman's Future Plans

It's been almost too long that I've dedicated myself to a single
concept-project.  All the memories make it so worthwhile however, and I have
nothing but good feelings about what we have all been able to do in fractious
collaboration.  However, to preserve the identity of the Project and all its
achievements I will no longer be creating new Genius 2000 Project content
after the end of the year.  I'll be organizing the archival process but will
no longer call myself a contributor to Genius 2000.  It will be past history.
 I may or may not continue to work in the field of network art, but the most
likely outcome is a rest period followed by brand new initiatives.  I am
always open to new collaborations so don't hesitate to contact me if you've
got something in mind.

7.  Thank You to All

I'd like to offer my sincere thanks to all the people online that I've
interacted with during the past year or so.  It's a good community with a lot
to be proud of; a lot to celebrate.  First Edition owners are of course at
the top of the list:  Laura Gingher, Terrence Kosick, Carter Herman, Ted S.
and Hope, Brad Brace, Pat Lichty, Brett Stallbaum, and Eryk Salvaggio deserve
many ups.  Carl DiSalvo and Steve Dietz at Shock gave me an early forum and
lots of leeway; Alex, Rachel, and Mark at Rhizome did the same after Shock
went the way of the dinosaur.  Other kids on the playground make it better:
Simon Biggs, Eric Dymond, Rob Murphy, MTAA and others may remember the good
old days.  I've also encountered a new bunch of writers on nettime, thingist,
and the Project listserv:  Mark Stahlman, Jenn and Kevin McCoy (where's the
review?!), Lee Kilpatrick, and Dooley LaCappellaine all have First Editions
and are all quite sharp in different ways.  Richard Rhinehart and coyoteyip
deserve mention:  $50 says it all!  Thanks also to RtMark, who I saw in a
filmfest before I even owned a computer so hats off to them.  Kjell and
Henrik at Pointproject were kind enough to show an early Yes/No version; C5
is a group out west I'd never have known about without Shock, and discovering
the work of Lisa Jevbratt is a good thing for anyone on the net.  Fee Plumley
at GMI, Virginie Pringuet at the Montreal Film Fest, Dan Schneider of
Minneapolis Town, and of course Dominique the Interviewer also deserve a nod
or two for asking much-appreciated questions and maybe even watching a tape.
And who could forget Fluxlist and all the other numerous follies; every one a
gem.  Kudos to all!  Excelsior!

Good futures to all in the New Year!

Sincerely,

Max Herman
The Genius 2000 Project


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++

You can check it out now at:

 www.geocities.com/~genius-2000/January_1_Website.gif

Not yet available in museums!

++


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ARTMargins
contemporary central and eastern european visual culture
http://www.gss.ucsb.edu/artmargins/

Happy New Year!
Please excuse the erroneous pre-post-2YK "test" messages we sent out last week.

For regular information on what is new in ARTMargins, please consider
signing the subscribers' list on the ARTMargins front page (no charge).

NEW in artmargins:

        ...features/

svetlana boym (cambridge) on obscenity and nostalgia in ILYA KABAKOV

sylvia schulte-sasse (berlin) on performance, politics, and
non-governmental action in moscow

        ...artistview/

ARTMargins presents Afrika, the former enfant terrible of the St.
Petersburg art scene

        ...review/

agnes kovacs (budapest) critiques the "Perspective" exihibition at the
Budapest Palace of Art

martha kuhlman (new york) on croation writer DUBROVKA UGRESIC's latest work

        ...interview/

ARTMargins talks to Polish conceptual artist ZBIGNIEW LIBERA about his
controversial concentration camp/Lego piece and related matters

----------------------------------

forthcoming: IMAGEVIEW--ARTMargin's very own image-base featuring
contemporary art from east-central europe. For more info, write to us:
ARTMargins@humanitas.ucsb.edu

dr. sven spieker
dept. of germanic, slavic and semitic studies&
        dept. of history of art and architecture
university of california, santa barbara
santa barbara, ca 93106
voice mail ++ 805-893.76.26
fax ++ 805.893.23.74
internet http://humanitas.ucsb.edu/~spieker/
_____________________________________________


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Launch date now
the mothership is calling.

http://www.lo-res.com/ifac/ifac.htm

Everyone please make a wish to the new millennium
The magic is strong.
Change the world for fun and freedom for all.
YOU are the ones to make it happen.
Happy New Year
Happy 2000
How to save humanity in 365 days or less.
It can be done if the right tasks are made.
RESTART Reality
Cheers and Love to all
Lee and Taylor


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*candy factory
Lectures @ Rotten Damned Festivals

Please put a sweet message or sing some local lullaby from you
to comfort visitors for all cultural festivals.
Send your message to "ga2750@i.bekkoame.ne.jp",
do some lecture yourself.
You can comfort or harass many art lovers
who will come those themeparks for their healing.
Now all cultural festivals is same function as some sanitarium for
your political correctness or urban design as a fake Disney land
with their damned utopia.

The history of western films and contemporary art are
sometime looks very similar as a genre picture.
First time, it was born with abstracted birth myth of nation in US.
And it was dead once for its political incorrectness of the legends.
Then first zombies born as some social realism
or some horror with overloaded stereotyped ironical technique in '70s,
And of course that was rotten over as its political correctness.

Now we're living as third zombies with Kun fu or samurai pictures
with exotic meditation for our healing.
You can find stereotyped same thinking in the many tourism
on going cultural activities projects or hollywood movies.

How can we proceed our zombies life?
We as one of dead genre called Media.

Idea of Art is a Western culture.
But Art is not culture in the Western culture.

Check our rotten
&
damned RIO BRAVO.

But here we don't need any professionals like Howard Hawks films.
Made with d-d utopia from the first , called WW2
as your brand new harassment calls.


A Video work
Lectures Remix @ Rotten Damned Festivals

will screen between 26 January and 6 February
in the  section of Film festival Rotterdam
Exploding cinema

collaborators
Annie Abrahams. Akira Mori. Omega Trouble. Mitsuhiro Okamoto + Tetsu Takagi
. Ethical Bros. Federico Baronello + Maurizio Leonardi. G.H.Hovagimyan + Pet
er Sinclair. John Miller . Takuji Kogo. Tina La Porta .
Kazunari Horiguchi. Mouchette. Michael Kosturos. Varely Grancher .Sachiko Iw
akami + Yukiko Kuroiwa.
Directed by


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Hello,

    I have the pleasure to announce and to invite you at my next show in
San Francisco in USA:
"Pos Pond" curated by Shmulik, a french collective show at the Refusalon
Gallery in San Francisco, USA:
opening on next January 6 2000 at 6.00 Pm

Refusalon Gallery
20 Hawthorne street
San Francisco, California
tel: 415 546 0158

artist list:
- Marie Ange Guilleminot
- Ange Leccia
- XFC
- Evelyne Koeppel
- Valery Grancher

I will also show in this context a specific piece on the gallery
website:
http://www.refusalon.com
on next january 6
In the physical space, you will be able to see one of my new photo
installation called "Matrix", a video installation called "Nowhere ever"
and the internet piece "Webscape" which will be hosted on the gallery
website.

Merry Xmas and Happy Y2K !!!!!


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Millenium Release: HYPERSURFACE ARCHITECTURE II, now available.

Dear Friends and Colleagues,
During these final hours of the 20th century as we drift toward the new
millennium, one may sense the uncanny experience of both looking forward and
backward simultaneously. The temporal displacement of this future/past is
perhaps indicative of having become immersed in the machinations of our own
technologies. Moving forward into the next century may have more to do with
becoming more "im-placed" than in being projected forward into social
progress. To be implaced or immersed, however, has tangibility. As we more
deeply commit to an epoch of information, we will also have to negotiate the
physical world. Herein lies the challenge.

The second issue of _Hypersurface Architecture_ (volume II) guest-edited by
Stephen Perrella has just been published by John Wiley & Sons in the Academy
Edition series: Architectural Design vol. 69 9-10/99, profile 141 (Available
through amazon.com or see ordering info below). We are excited to have been
able to continue a project that investigates new possibilities for
architecture/culture in the exchanges between the realms of architecture and
everyday consumer culture. This second issue reached for a greater focus on
work and theory that considers the interface between media and matter as the
new space-time of the forthcoming millennium.

Hypersurface theory argues that the deepening divisions between the real and
virtual are symptomatic of an inevitable implosion of dimensions into a
preexisting middle. We will not move ahead, but we will move into what was
once a vacuum of dualism. A brick and a picture of a brick now have equal
measure and this is a point of departure for any design understanding. The
proliferation of connections catalyzed by the pervasive use of technology
weaves an intersubjective fabric, that we may now consider the design
problem at hand. We no longer work in a vacuum; we create within a much
richer fabric of interconnected concerns. Who are we in this?

The first issue of _Hypersurface Architecture_ attempted to identify the
interdynamics of the co-present deterritorialization of both architecture
and consumer culture into new manifestations. For instance, what do we make
of the fact that consumer images are overtaking the surfaces of building
when at the same time, the forms of building are becoming topological, each
due to the increased use of technology. The second issue looks more closely
at two planes of immanence: consumption (hyper/media) and production
(surface/matter) as a means to identify the zones of exchange that elicit
hypersurfaces. In deconstructing the (consumer) media and contributing
toward variegation in (factory) production, a new and open politics of
possibility arises between the two. _Hypersurface Architecture II_
identifies the practitioners and strategies effecting this engagement. If
consumption and production are no longer isolated activities, what results
and how is it meaningful?

We invite you to consider this ongoing investigation, analysis and deeper
engagement with and into the fabrics of the new millennium and invite your
feedback as we launch the outline for the third issue, due
out in December of 2001. A new website is being established for the
Hypersurface project at www.hypersurface.net

All the best for a restful holiday and brilliant new millennium. And thank
you for your continued support.

Sincerely,

Stephen Perrella
architect/editor
Columbia University GSAP
& Hypersurface Systems, Inc.
haptic@columbia.edu

Daniel Pavlovits
Associate
HyperSurface Systems, Inc.
New York, Sydney
& Director
Foundation for Multiplicities Inc.
dpav@letterbox.com
ph.:(+61) - 2 - 9358.3496 (Syd)
ph.:(+1) - 212 - 894.3701 x 7222 (NY)

to order, either on-line at www.wiley.co.uk or from our main warehouses:

US customers:
John Wiley & Sons, Inc.
Distribution Center
1 Wiley Drive
Somerset, NJ 08875-1272

Phone: (732) 469-4400 or (800) 225-5945
Fax: (732) 302-2300
Email: bookinfo@wiley.com

UK/European customers

John Wiley & Sons, Ltd.
Customer Services Department (ref. DMW)
1 Oldlands Way
Bognor Regis
West Sussex
PO22 9SA
UK

Phone: +44 (0) 1243 843294
Fax: +44 (0) 1243 843296
E-Mail: cs-books@wiley.co.uk


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The final version of GOODBYE KIND WORLD is now online at www.kitezh.com/gkw.

Since your last visit, it has been smartened up and acquired a number of new
features, including:

* PETER HILL'S poignant tale of a lighthouse keeper re-assigned to his own
post during the millennial changeover
* Results of VISITOR contributions to exhibition (including smells,
memorials, coinage and a liquid paper tribute to a divinely saved monarch)
* Melbourne PHOTO diary of millennium's end
* Stunning PANORAMIC views of the RMIT gallery

As well as these new features, you can re-visit your favourite artists. See
Roseanne BARTLEY'S typewriter jewellery, Lisa CARROLL'S postal art, Susan
COHN'S olfactory register, Karen FERGUSON'S handkerchief phrases, Tony
HANNING'S Gippsland glass, Hamish HILL'S log book, Ruth HUTCHINSON'S
dicksticks, Sharon MUIR'S clay clocks, Miyuki NAKAHARA'S MSG tins, Humphrey
POLAND'S spike, David RAY'S clown food setting and Alex SELENITSCH'S toxic
egg.

WARNING: This web site contains anachronisms that may be harmful to the 21st
century

cheers

__
Forecast for Melbourne Issued at 0505 on Friday the 31st of December 1999
Partly cloudy with a brief shower or two, but mainly fine.  Fresh southerly
wind. Max 20 at www.kitezh.com/gkw.

Since your last visit, it has been smartened up and acquired a number of new
features, including:

* PETER HILL'S poignant tale of a lighthouse keeper re-assigned to his own
post during the millennial changeover
* Results of VISITOR contributions to exhibition (including smells,
memorials, coinage and a liquid paper tribute to a divinely saved monarch)
* Melbourne PHOTO diary of millennium's end
* Stunning PANORAMIC views of the RMIT gallery

As well as these new features, you can re-visit your favourite artists. See
Roseanne BARTLEY'S typewriter jewellery, Lisa CARROLL'S postal art, Susan
COHN'S olfactory register, Karen FERGUSON'S handkerchief phrases, Tony
HANNING'S Gippsland glass, Hamish HILL'S log book, Ruth HUTCHINSON'S
dicksticks, Sharon MUIR'S clay clocks, Miyuki NAKAHARA'S MSG tins, Humphrey
POLAND'S spike, David RAY'S clown food setting and Alex SELENITSCH'S toxic
egg.

WARNING: This web site contains anachronisms that may be harmful to the 21st
century

cheers

__
Forecast for Melbourne Issued at 0505 on Friday the 31st of December 1999
Partly cloudy with a brief shower or two, but mainly fine.  Fresh southerly
wind. Max 20



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