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Announcer on Tue, 1 May 2001 22:43:28 +0200 (CEST)


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Table of Contents:

   infonoise in Belgrade   
"gordana novakovic" <ende {AT} EUnet.yu>   

   168 HOURS OF ELECTRONIC MUSIC  
park-o-bahn <parkobahn {AT} ata.org.pe>    

   SOYLOVE EXPOSURE #59 (SLX_59)  
Laila Mohammed <infogirl {AT} progirl.com> 

   Net Project: the phenomenom of Modification  
w p <prancek {AT} free.polbox.pl>   

   _parallax_ 18, _Economies of Excess_  
John Armitage <john.armitage {AT} unn.ac.uk>

   M/C - New issue 'mix' now online
Elissa Jenkins <mc {AT} api-network.com>   

   Moscow, Mayday, street-party   
"Oleg Kireev" <kireev2000 {AT} cityline.ru>

   Virtual Sit-In for a Living Wage, May 1-4, 2001 - Harvard University
"ricardo dominguez" <rdom {AT} thing.net>  

   Fwd: [AfroFuturism] HYPERDUB / DJ SPOOKY / NUBIAN MINDZ    
"Paul D. Miller" <anansi1 {AT} mail.earthlink.net>

   lecture / concert announcement 
"gordana novakovic" <ende {AT} EUnet.yu>   

   Survellance Camera Players Event
molly hankwitz <mollybh {AT} netspace.net.au>

   <genome> 1.1--online    
"Kenji Siratori" <white-b {AT} d4.dion.ne.jp>

   HYPERDUB / DJ SPOOKY / NUBIAN MINDZ   
"Katasonix" <data {AT} katasonix.demon.co.uk>

   mediawork 16 | Print Post Print
"Peter Lunenfeld" <peterl {AT} artcenter.edu>

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

Date: Sat, 28 Apr 2001 11:59:08 +0200
From: "gordana novakovic" <ende {AT} EUnet.yu>
Subject: infonoise in Belgrade

infonoise in Belgrade

Interactive installation, performance/lecture presentation, live video
stream.

An international collaborative work by Gordana Novakovic (London), Zoran
Milkovic (Belgrade) and Rainer Linz (Melbourne).

30.4.01 12.00hr Student Cultural Centre SKC
performance/lecture presentation & press conference.

4.05.01 18.00hr Rex Cultural Centre
Installation opening.

9.05.01 20.00hr Rex Cultural Centre/Webbar
Live internet video stream to Paris & Marseilles' Webbar.

Details in english/french/serbian at http://www.arteshok.com/infonoise/

This project has been assisted by the Australia Council for the Arts.


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

Date: 	Sat, 28 Apr 2001 18:12:03 -0500
From: park-o-bahn <parkobahn {AT} ata.org.pe>
Subject: 168 HOURS OF ELECTRONIC MUSIC

                        [sorry for cross-postings]
                        [spanish version below]
 
ATA [Alta Tecnologia Andina], the city of Miraflores and Ricardo Palma
University in occasion of the 5 Festival Internacional de
video/arte/electrónica (http://www.ata.org.pe/festival) is glad to invite
you to participate in a public space experience with the use of electronic
music during one continuous week that will be carried out from the 24:00
hours (midnight) of Sunday 29 of April until the 24:00 hours (midnight) of
Sunday 6 of May, for 168 continuous hours in the Central Park of Miraflores
(Park 7th of June):


MODULAR 12°06´S 77°01´W
Park - O - Bahn

168 hours of continuous sound based on original electronic compositions of
more than a dozen of Peruvian creators to obtain a complementary sonorous
ambientation taking part during one week in the life of the Central Park of
Miraflores, seeking to encapsulate the pedestrian space sonically to create
a psychoacoustic effect.

Participating musicians:

Jose Javier Castro: general coordinator of the project; has participated in
diverse groups of music and experimental rock, today dedicating himself
exclusively to the research in electronic music.

Felix Arias - student of the National Fine Arts School of Lima with diverse
experiences in environmental and electronic music.

Ensamble - one of the pioneering groups of electronic music in Peru
integrated by Jorge González, Edgar González, Carlos González and Luis
Torres. 

5 Esquinas - experimental group of graphic and audio-visual arts
professionals such as Juano Castillo and Carlos González.

Johnny Collantes - musician graduated in sound engineering with two
outstanding electronic productions under the titles of Chuchek and
Kollantes. 

Omar Lavalle - musician graduated in sound engineering with manifold and
recognized experiences in sound and composition for dance and theater.

Theremyn_4 - name of the acclaimed electronic project of the local musician
José Gallo (http://www.cyberturf.com/theremyn4).

Unidad Central - outstanding and perhaps the most well known Peruvian group
of electronic music (http:// www.unidadcentral.com).

Naylamp - name of the advertising profesionals and musicians Rolando
Roncallo and Rafael Santillán, working in the experimental musical scope
since the 80´s. 

Ivo Draganac - one of the most recognized graphic artists of Lima with an
active participation in the scope of electronic music.

Christian Galarreta - musician with ample development in electronic music
thanks to his project Evamuss.

Kiko Mayorga - electronic musician known under the name Jollytroncher,
leading independent production.


- --- An outdoor project of the Gallery of Contemporary Art Luis Miro Quesada
Garland (Lima, Peru)
- ------- Produced by ATA [Alta Tecnologia Andina] http://www.ata.org.pe


- ------------------[SPANISH VERSION]--------------------------------------


ATA [Alta Tecnología Andina], la Municipalidad de Miraflores y la
Universidad Ricardo Palma con motivo del 5 Festival Internacional de
video/arte/electrónica (http://www.ata.org.pe/festival) tienen el agrado de
invitarte a participar de una experiencia de ambientación en espacio público
con el uso de música electrónica durante una semana continua que se llevará
a cabo a partir de las 24:00 horas (medianoche) del domingo 29 de Abril
hasta las 24:00 horas (medianoche) del domingo 6 de mayo, por 168 horas
continuas en el Parque Central de Miraflores (Parque 7 de junio):


MODULAR 12°06´S 77°01´W
Park - O - Bahn

168 horas de sonorización continua basada en composiciones electrónicas
originales de más de una docena de creadores peruanos para lograr una
ambientación sonora complementaria interviniendo durante una semana la vida
del Parque Central de Miraflores, buscando embovedar sónicamente el espacio
pedestre para crear un efecto psicoacústico.

Músicos participantes:
Jose Javier Castro - coordinador general del proyecto, ha participado en
diversos grupos de música y rock experimental, dedicándose ahora a la
investigacion en música electrónica.

Félix Arias - estudiante de la Escuela Nacional de Bellas Artes con diversas
experiencias en la música ambiental y electrónica.

Ensamble - una de las agrupaciones pioneras de la música electrónica en el
país integrada por Jorge González, Edgar González, Carlos González y Luis
Torres.

5 Esquinas - agrupación experimental formada por profesionales de artes
gráficas y audiovisuales como Juano Castillo y Carlos González.

Johnny Collantes - músico y creativo graduado en ingeniería de sonido con
dos producciones electrónicas destacadas entre lo mejor del medio bajo los
nombres de Chuchek y Kollantes .

Omar Lavalle - músico graduado en ingeniería de sonido con múltiples y
reconocidas experiencias en sonorización y composición para el circuito de
danza y teatro.

Theremyn_4 - nombre del aclamado proyecto electrónico del músico local José
Gallo.
Unidad Central - tal vez la agrupación de música electrónica más destacada
del medio nacional.

Naylamp - nombre del dúo de músicos/creativos publicitarios conformado por
Rolando Roncallo y Rafael Santillán  con  experiencias  en el ámbito musical
experimental desde los 80´s.

Ivo Draganac - uno de los más reconocidos artistas  gráficos de nuestro
medio con activa participación en el ámbito de la música electrónica.

Christian Galarreta - músico de formación y estudioso con amplio desarrollo
en la música electrónica gracias a su proyecto Evamuss.

Kiko Mayorga - creativo y músico electrónico conocido bajo el nombre de
Jollytroncher abocado a la producción independiente.



- --- Un proyecto extramuros de la Sala de Arte Contemporáneo Luis Miró
Quesada Garland.
- ------- Producido por ATA [Alta Tecnologia Andina] http://www.ata.org.pe


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

Date: Sun, 29 Apr 2001 01:25:59 -0400
From: Laila Mohammed <infogirl {AT} progirl.com>
Subject: SOYLOVE EXPOSURE #59 (SLX_59)

- -------------
SOYLOVE EXPOSURE #59 :
HARLEM - NYC - MAY 5TH 2001

http://www.restlessculture.net/soylove/
http://www.restlessculture.net/soylove/
http://www.restlessculture.net/soylove/
http://www.restlessculture.net/soylove/

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

SOYLOVE EXPOSURE #59 IS THE IDEA OF THE ART-PARTY INSTEAD OF THE ART-PARTY
ITSELF.  PARTICIPANTS WILL BE EXPECTED TO ENGAGE IN ACTIVITIES FOR THE
EXCLUSIVE PURPOSES OF DOCUMENTATION, ARCHIVE AND PUBLICATION.  THIS EXERCISE
WILL RESULT IN ART DOCUMENTS OF CONVICTION AND PURPOSE AT BEST ALLOWING A
POST ADMISSION ON BEHALF OF THE PARTICIPANTS THEMSELVES (VIA LOOSENED
MEMORY) THAT "SOMETHING" REALLY DID HAPPEN.


** 10-14 PARTICPANT LIMIT FOR X59 ***
** CONFIRM YOUR INTENT TO PARTICIPATE BY MAY 1 **

INSTRUCTIONS: 
GO TO http://www.hotmail.com
AND LOGON WITH USERNAME: soylove59 {AT} hotmail.com AND
PASSWORD: exposure59 THEN SEND AN EMAIL FROM THAT ACCOUNT TO
info59 {AT} restlessculture.net WITH A SUBJECT HEADING OF X59 AND YOUR NAME AND
PERSONAL EMAIL ADDRESS IN THE BODY OF THE EMAIL. THEREAFTER YOU WILL BE
NOTIFIED OF EXACT TIME, LOCATION AND CORRESPONDING URL FOR THIS EXPOSURE.

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


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

Date: Sun, 29 Apr 2001 14:17:54 +0200
From: w p <prancek {AT} free.polbox.pl>
Subject: Net Project: the phenomenom of Modification 

Hi

I looking for .txt/.jpg/.gif/html of Modification 

Net Project:
The meeting inspired with the phenomenom of Modification 
more info: http://free.art.pl/czas/news.html


Best wishes

Waldemar Pranckiewicz
Wroclaw. Poland
http://free.art.pl/czas
prancek {AT} polbox.com

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

Date: Mon, 30 Apr 2001 12:47:06 +0100
From: John Armitage <john.armitage {AT} unn.ac.uk>
Subject: _parallax_ 18, _Economies of Excess_


Dear nettimers
After a long delay, I thought some folks interested in Bataille and related
theorists might like to know that:

_parallax 18, _Economies of Excess_., has been published in the last week.

The contents page is below.

best wishes

John
 
====================================================================
Parallax a journal from Routledge, part of the Taylor & Francis Group

Volume 7, Number 1 (dated January 2001)  of:

Parallax a journal from Routledge, part of the Taylor & Francis Group

Economies of Excess 1 - 2
John Armitage

Friendship 3 - 15
Georges Bataille

Effects of the Unknowable: Materialism, Epistemology, and the General
Economy of the Body in Bataille 16 - 28
Arkady Plotnitsky

'Uuummmm, that's a tasty burger': Quentin Tarantino and the Consumption of
Excess 29 - 47
Fred Botting; Scott Wilson

Flesh Trade 48 - 63
Alphonso Lingis

Material Excess and Aesthetic Transmutation 64 - 75
Katya Mandoki

Virtual Bataille 76 - 80
Michael A. Weinstein

Engulfed by the Surf 81 - 84
Michael Richardson

Excess: An Obituary 85 - 91
Zygmunt Bauman

The Re-Generation 92 - 99
Cathryn Vasseleu

The Excesses of Globalisation and the Feminisation of Survival 100 - 110
Saskia Sassen

Dromoeconomics: Towards a Political Economy of Speed 111 - 123
John Armitage; Phil Graham

======================================================================


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

Date: Tue, 01 May 2001 00:12:31 +1000
From: Elissa Jenkins <mc {AT} api-network.com>
Subject: M/C - New issue 'mix' now online

FOR IMMEDIATE RELEASE - April 30, 2001

The Media and Cultural Studies Centre at the University of Queensland
and M/C Online are proud to present issue two in volume four of:

M/C - A Journal of Media and Culture - http://www.api-network.com/mc/

'mix' Issue editors Jason Ensor and Carolyn Hughes

1. Editorial
2. List of articles

1. Editorial:

'Social Dexterity: Manoeuvring through the Mix' By Jason Ensor and
Carolyn Hughes

It would be fair to say that in our day to day negotiation between the
personal and the public, we encounter and process cultural, material and
symbolic products in all strata and sections of society. In our homes
and in our workplaces, we appear to manage multiple senses of
timekeeping and contrasting time-frames with fluid unconscious
dexterity. In our forms of entertainment and relaxation, from print to
television to cinema or from html to Mp3s to DivX, we juxtapose like and
unlike metaphors/images/products/text in a post-Frankensteinian
assemblage of innovated cultural meaning - for example, The Phantom
Menace and Austin Powers are commentaries on our visual eclecticism,
from mixing mythological elements from feudal times in a space opera to
our nostalgic enjoyment of presenting the old sixties' "style" as
renewed, millennium-way; Napster is a logical extension of file-sharing
which reflects a globalising trend towards the distribution of all
content worldwide while meeting the specific requirements of individual
taste (that is, the do-it-yourself musical cdrom drawn from thousands of
international mp3 libraries).

Likewise, in our trade of human utterances and syntax, multiple meanings
become attached to words and sentences simultaneously in a variegated
exploitation of interpretative dissonance. Oxymora abound and debates
over interpretation form the contents of a great number of publications
or the motivation behind short-circuiting dominant meanings. For
example, in the oxymoron play with language, there exist useful
combinations of opposite terms like "Original Copy", "Pretty Ugly",
"Genuine Imitation", or "Microsoft Works" which have a commonsense use
in daily exchanges.  Or, in dialogues on the power behind mutual
intelligibility, a term like 'sex', which means one thing in gender
discussions, can be used in other contexts or moments
to indicate the erotic. Through such language manoeuvres in the fields
of meaning-application and interpretation, persons are accepted or
discriminated where power differentials are predicated on difference of
understanding.  Where interpretative practices differ, or where
intelligibility is definitely not mutual, misunderstandings and
resistance breed.  In this way, in our millennium of revealing
society's mixture of meaning, the instrumentalities of master narratives
are being unmasked in voicing these moments (and rules) of
misunderstanding and resistance.

What was once predominantly treated as a text or object  -- sometimes
exhaustively studied in isolation from various social and historical
contexts, other times as cultural products facilitated by processes of
production and consumption -- is now examined within or alongside
different contexts and meanings. It is more contemporaneously sensitive
towards our wonderfully elaborate and diverse mix of interpretative
practices to situate cultural products and interpretative orders in
relation to other social practices, political structures of dominance
and exploitation, and cultural hierarchies like race, class, gender and
cyber. The implication of this approach is that the meanings of material
and symbolic products
are no longer stable nor replicated in identical fashion within cultural
dna. Society instead is transmitted from generation to generation with
mutations, and unlike cultural artefacts conjoin in new births of
meaning. The mix gene, it would appear, is widely dispersed in intricate
and novel ways.

The articles in this publication by M/C serve to illustrate the
significance of 'mix'  for reshaping cultural products, social ideas,
even learning pedagogies, in ways that dramatically affect how we
perceive and interpret the world.  The interpretations of 'mix' by
contributors were diverse, as expected by the broad uses of the word
'mix'.  Popular culture, however, remained a dominant aspect of culture
for analysis, and this is reflected in the mix of articles we have
chosen.  These articles demonstrate that the fine lines separating
genres can be smudged and shaded, and that meaning can be created from
blending and swirling rather than only through linearity.

Our feature article, "Digital Transformations: The Media is the Mix" by
Lori Landay talks about the digital media and its hybrid form and
content.  This article thinks through "how digital narrative emerges
from the mix of interactivity and nonlinearity" - this makes for a
non-traditional narrative in both its structure and the way meaning is
derived from it. The recombinations draw the spectator into the
mix, where the mix is the content.

Owen's Chapman's "Mixing with Records" follows Landay's article in the
sense that the linear format of the vinyl record, both in its
constitution and the way it is played and listened to, is disrupted by
the dj practice of "mixing" to create a new audio product.  This new
sound is created by the interaction of the dj and the choices of
sounds, and how these sounds are put together in a new 'mix'.

Toby Daspit's "The Noisy Mix of Hip Hop Pedagogies" responds to a
familiar parental request - "Turn down that damned noise!!!" - in an
engaging examination of educational experiences, epochal shifts and the
wider implications of incorporating hip-hop aesthetics and recombinant
textuality into schooling pedagogies. Daspit's discussion over a
fundamental reorientation to educational pedagogies is a timely piece
which resonates well within the 'mix' imperative.

The mixes evident through narrative are also investigated by Jody Mason,
though her article on Bharati Mukherjee's Wife looks more at thematic
mixes within an individual literary character's life, rather than mixes
of meaning, structure and format.  Mason's article looks at the mix of
cultures and the impact of that mix upon a female
character.  It seems, through an analysis of Wife, that different
components and subject positions don't always mix well, if indeed at
all.

Cutting up narrative, and cutting up sound, mixing it up and creating
something new.  These two distinct media are twisted together in Jeff
Rice's article, "They Put Me in the Mix: William S Burroughs, DJs, and
the New Cultural Studies".  The article itself cuts and pastes three key
cultural events to prepare an argument that
questions the methods of cultural studies regarding new media
practices.  

Mark Pegrum takes a theological perspective on 'mix' in "Pop goes the
spiritual", and interrogates society's increasing trend towards
religious eclecticism via an assortment of contemporary examples of
religious references made by Western pop stars. Pegrum introduces us to
this relatively new phenomenon by looking at the dizzying admixture of
religions to be found in the songs and words of artists
and groups worldwide.

Todd Holden analyses the intriguing semiotic processes within Japanese
advertising in "Resignification and Cultural Re/Production in Japanese
Television Commercials". 
Advertising in Japan is characterized less and less by attention to
product.  Instead, the endless stream of Greek myths, Hollywood movies,
political references, pop music, scientists and novelists comprise a
major corner of audio-visual space. Holden examines the place of
Japanese commercials as cultural historian, entertainer,
social commentator or hawker.

Collectively, these articles demonstrate how dynamic meaning is
intimately linked to the idea of 'mix' and is concerned with questions
of meaning and value, of culture and philosophy. To rework a tired
cliché, no meaning is an island to itself but is an integral part of a
shifting, fluid, and unusual combination of cultural,
material and symbolic products in various 'mixes'.


2. List of articles

Feature Article:

Digital Transformations: The Media Is the Mix
By Lori Landay

Articles:

Mixing with Records
By Owen Chapman

The Noisy Mix of Hip Hop Pedagogies
By Tobi Daspit

Rearticulating  Violence:  Place and Gender in Bharati Mukherjee's Wife
By Jody Mason

They Put Me in the Mix: William S. Burroughs, DJs, and The New Cultural
Studies
By Jeff Rice

Pop Goes (the) Spiritual! or Remixing Religion in Western Pop Music
By Mark Pegrum

Resignification and Cultural Re/Production in Japanese Television
Commercials
by Todd Holden

M/C - A Journal of Media and Culture - http://www.api-network.com/mc/

N.B. We like to keep our custom mailing list up-to-date so please inform
us if you change your e-mail address! Also, feel free to contact us if
you'd like to be removed. However, please be aware that you may be
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else's list, but only our own. Thanks!

- -- 
Elissa Jenkins 
Co-ordinating Editor 
M/C - A Journal of Media and Culture 
mc {AT} api-network.com 
http://www.api-network.com/mc/


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

Date: Mon, 30 Apr 2001 19:07:00 +0400
From: "Oleg Kireev" <kireev2000 {AT} cityline.ru>
Subject: Moscow, Mayday, street-party

Tomorrow the second Russian street-party will take place. The first one was
a year ago, organized by the "SVOI 2000" ("OWN 2000", or "OUR OWN 2000")
movement. A column of carnival-like dressed people under orange flags
followed an official Communist party & red satellites columns in their
moving through the very center of the city. There were a "gangsta-jazz
orchestra" with trumpets and a dancing group of girls in a head of the
column, megafones and a plenty of slogans on the banners which could not be
understood in any language. The "SVOI 2000" column followed the reds till
the Moscow river embankment and turned aside then, crossed the center and
went through Gogolevsky boulevard and Arbat.

TOMORROW "SVOI 2000" WILL GO TO THE STREETS WITH THE ADVERTISING BANNERS.
THESE BANNERS WILL ADVERTISE THE PARTICIPANTS THEMSELVES AND EXPLAIN WHAT
THEY DO AND WHO THEY ARE. A COLUMN WILL FOLLOW AN OFFICIAL COMMUNIST COLUMN
FIRST AND MAYBE CHOOSE ITS OWN ROOT LATER.

Holiday is something what concerns happiness. It's tied to the happiness
with invisible needles; we see happiness looking at the needles. When
looking at the Mayday needles in Soviet times, people saw a global happiness
of communism. Now people don't believe in such a happiness, they dream of a
small and very concrete  happiness, to find a well-paid job, for example.
Everybody imagines some kind of an ideal job. A Mayday demonstration may
concern such a happiness: everybody dreams of his ideal job, and the dream
is expressed, as it usually happens, by the use of an advertising banner.


EVERYBODY IS WELCOME
at Kaluzhskaya square (Oktyabrskaya metro), under the Leninn's monument, at
9.00


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

Date: Mon, 30 Apr 2001 15:23:53 -0400
From: "ricardo dominguez" <rdom {AT} thing.net>
Subject: Virtual Sit-In for a Living Wage, May 1-4, 2001 - Harvard University 

Virtual Sit-In for a Living Wage, May 1-4, 2001


10:25AM-NOON AND 10:25PM-MIDNIGHT

Why a Virtual Sit-In?

- -To support the demand for a Living Wage of $10.25/hr for all Harvard
University employees,
- -To add the sudden invisible weight of our virtual bodies to that of the
flesh bodies of nearly 40 students who have been occupying Harvard
administrative offices for over a week,
- -To send a message to Harvard University that we will not stop until a
Living Wage exists for all Harvard employees,
- -To demonstrate to the University and the Harvard Corporation, and to all
Universities and Corporations, that our power of collective action is
stronger than their power of greed.

The Virtual Sit-In will take place between the hours of 10:25AM and noon,
as well as between 10:25PM and midnight, on May 1st, 2nd, 3rd, and 4th.
During these times, please join the Virtual Sit-In for a Living Wage simply
by pointing your browser to:
http://209.192.192.125/action/virtual_sit_in_info.html

Join us in an act of electronic civil disobedience, as thousands of data
bodies occupy the Harvard University Human Resources website
(www.workingatharvard.org) with requests for the nonexistent pages:

/living_wage

/10.25/hr

For more about the Living Wage Campaign please go to
http://www.livingwagenow.com


*This action is undertaken by the Progressive Student Labor Movement with
support from the Electronic Disturbance Theater.  If you have questions
about the electronic action please contact Sasha Costanza-Chock,
sasha {AT} bostoncyberarts.org, 617.968.5273.*

******************
WE DEMAND A LIVING WAGE
******************


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

Date: Mon, 30 Apr 2001 16:32:38 -0400
From: "Paul D. Miller" <anansi1 {AT} mail.earthlink.net>
Subject: Fwd: [AfroFuturism] HYPERDUB / DJ SPOOKY / NUBIAN MINDZ

>Status:  U
>X-eGroups-Return: 
>sentto-94262-11293-988544665-anansi=interport.net {AT} returns.onelist.com
>X-Sender: steve {AT} kode.demon.co.uk
>X-Apparently-To: afrofuturism {AT} yahoogroups.com
>To: <afrofuturism {AT} yahoogroups.com>
>X-Priority: 3 (Normal)
>Importance: Normal
>From: "Kode9" <steve {AT} kode.demon.co.uk>
>Mailing-List: list afrofuturism {AT} yahoogroups.com; contact 
>afrofuturism-owner {AT} yahoogroups.com
>Delivered-To: mailing list afrofuturism {AT} yahoogroups.com
>List-Unsubscribe: <mailto:afrofuturism-unsubscribe {AT} yahoogroups.com>
>Date: Sun, 29 Apr 2001 12:44:20 +0100
>Reply-To: afrofuturism {AT} yahoogroups.com
>Subject: [AfroFuturism] HYPERDUB / DJ SPOOKY / NUBIAN MINDZ
>
>New from the Hyperdub Softwar Agency
>
>Uncut interview with Colin Lindo/Nubian Mindz/Alpha Omega
>The 'dark star', the 12th planet, planet X, Nibiru, or Rylo7 to the
>scientists investigating it, is a self-sustaining mothership, 3 times the
>size of planet earth. According to some sources, the beings of Nibiru have
>kinky hair and dark reddish brown complexion and their children are earth
>bound Nubians or blacks. We have found evidence to suggest that Rylo7
>operatives have been active in Earth's northern hemisphere since the early
>1990s, deploying wave after wave of sonic warfare against a planetary
>populous inflicted by overpowering audio inertia. One crew which goes under
>the name of 'the Reinforcers' now claims to be well into the 2nd wave of its
>strategic mission. Audio forensics experts have tracked down 2 key cells in
>the megalopian sprawl of London. They have detected devastating signals
>emanating from a Rylo7 lab in West London, and a sustained attack from
>Dollis Hill (Norf London). As we entered the 21st century, one double agent
>seemed particularly active. Oscillating between the avatars Alpha Omega and
>Nubian Mindz, this agent's weapon of choice is twisted breakbeat techno. We
>sent our Hyperdub Softwar Agent out on his trail to find out more about his
>polytempo assault. . .read on. .
>http://www.hyperdub.com/softwar/nubianmindz.cfm
>
>
>
>www.hyperdub.com
>
>----------------------------------
>SOUNDCLASH EVENT : SPREAD THE WORD
>DJ Spooky(NYC) vs. the Hyperdub Kru
>FRIDAY 4TH MAY
>Trams Bar (formerly Jaegos)
>28-30 Rivington Street
>Shoreditch
>London EC2A 3DZ
>6-2am
>
>Mood Modulators:
>DJ Spooky
>kode9
>Dirty Sanchez
>Generation 4
>--------------------------------
>
>
>To change subscription settings: 
><http://groups.yahoo.com/group/afrofuturism<b></b>>
>
>AfroFuturism|Website
>Created and maintained by Kali Tal
><http://www.afrofuturism.net<b></b>>
>
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------------------------------

Date: Sat, 28 Apr 2001 12:21:21 +0200
From: "gordana novakovic" <ende {AT} EUnet.yu>
Subject: lecture / concert announcement


Announcing a lecture and concert performance by visiting
composer and sound artist Rainer Linz (Australia).

Student Cultural Centre Belgrade
May 8 2001

lecture begins 19.00hr
concert performance 21.00 hr

Music and the Body
A lecture/discussion on the subject of sound and the body. Topics to include
performance sound derived from body signals (EKG, EEG etc) such as is heard
in the work of Stelarc, as well as a consideration of how the body responds
to a range of sonic stimulation. The structure of  background music forms
will also be discussed, leading to a consideration of new music composition
based on the physiological parameters of the listener.

This is not a piano
A solo concert performance based on Linz's own electronic instrument design.
Using light, pressure and ultrasound sensors as well as a miniature
keyboard, it extends the concept of a keyboard instrument to provide
multitimbral possibilities in performance. A number of short piano-like
works will be performed.

http://edim.tafe.vu.edu.au/mportley/aimelb/wrain.htm


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

Date: Sun, 29 Apr 2001 14:18:13 +1100
From: molly hankwitz <mollybh {AT} netspace.net.au>
Subject: Survellance Camera Players Event

Hello, folks.

The Arizona SCP will be performing twice on Sunday, 6 May 2001.

1) 12-1 pm Arizona time (2 to 3 pm New York or Eastern Standard Time, which
is 8 to 9 pm Central Europe time), in front of a webcam operated by the
Tempe City government. http://www.tempe.gov

2) 8-9 pm Arizona time (10 to 11 pm NYC time, 4 am to 5 am Central Europe),
in front of a webcam operated in a bar.
http://www.azbarcams.com

Hotcha!


: ' )

****************************************************
Molly Hankwitz
archimedia/leonardo electronic almanac
Studio Instructor
QUT - ACADEMY OF THE ARTS - VISUAL ARTS
Lecturer in Digital Identities
GU - School of Visual Arts
mob: 0438 050759
m.hankwitz {AT} qut.edu.au
****************************************************


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

Date: Sun, 29 Apr 2001 09:54:09 +0900
From: "Kenji Siratori" <white-b {AT} d4.dion.ne.jp>
Subject: <genome> 1.1--online 

<genome> 1.1--online http://www.inter-zone.org/kenjigal.html 
                                   http://www.mp3.com/genome11


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

Date: Sun, 29 Apr 2001 12:47:46 +0100
From: "Katasonix" <data {AT} katasonix.demon.co.uk>
Subject: HYPERDUB / DJ SPOOKY / NUBIAN MINDZ

New from the Hyperdub Softwar Agency

Uncut interview with Colin Lindo/Nubian Mindz/Alpha Omega
The 'dark star', the 12th planet, planet X, Nibiru, or Rylo7 to the
scientists investigating it, is a self-sustaining mothership, 3 times the
size of planet earth. According to some sources, the beings of Nibiru have
kinky hair and dark reddish brown complexion and their children are earth
bound Nubians or blacks. We have found evidence to suggest that Rylo7
operatives have been active in Earth's northern hemisphere since the early
1990s, deploying wave after wave of sonic warfare against a planetary
populous inflicted by overpowering audio inertia. One crew which goes under
the name of 'the Reinforcers' now claims to be well into the 2nd wave of its
strategic mission. Audio forensics experts have tracked down 2 key cells in
the megalopian sprawl of London. They have detected devastating signals
emanating from a Rylo7 lab in West London, and a sustained attack from
Dollis Hill (Norf London). As we entered the 21st century, one double agent
seemed particularly active. Oscillating between the avatars Alpha Omega and
Nubian Mindz, this agent's weapon of choice is twisted breakbeat techno. We
sent our Hyperdub Softwar Agent out on his trail to find out more about his
polytempo assault. . .read on. .
http://www.hyperdub.com/softwar/nubianmindz.cfm



www.hyperdub.com

- ----------------------------------
SOUNDCLASH EVENT : SPREAD THE WORD
DJ Spooky(NYC) vs. the Hyperdub Kru
FRIDAY 4TH MAY
Trams Bar (formerly Jaegos)
28-30 Rivington Street
Shoreditch
London EC2A 3DZ
6-2am

Mood Modulators:
DJ Spooky
kode9
Dirty Sanchez
Generation 4
- --------------------------------


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

Date: Sun, 29 Apr 2001 18:10:00 -0700
From: "Peter Lunenfeld" <peterl {AT} artcenter.edu>
Subject: mediawork 16 | Print Post Print

mediawork 16 | Print Post Print
Saturday | May 19 | 1-6 PM | LAT Media Center
Art Center College of Design
1700 Lida St. | Pasadena, CA 91103

For decades, the design of dynamic media derived many of its precepts from
the traditions of graphic design. Recently, though, the flow has shifted.
Motion graphics, Flash animations, title design, broadcast graphics,
net.art, hypertext, and the like are exerting ever more influence on
contemporary print design. Print may not be the dominant medium anymore, but
as notions of the paperless society and the death of the book look ever more
absurd, this is a good point to examine what print is, and where it should
go, in a post print environment. London's Eye magazine wrote recently that a
group of independent designers has emerged "working together to foster what
has become a highly focused, technologically literate creative community in
the sprawling enormity of the LA basin." mediawork: The Southern California
New Media Working Group invite you to join some of the region's leading
designers -- Anne Burdick, Denise Gonzales Crisp, Geoff Kaplan, Rebeca
Méndez, and Louise Sandhaus -- as they show their transmedia work and
discuss the Moebius strip connecting print and post print design.

mediawork is free, but please RSVP to <peterl {AT} artcenter.edu> or 626.568.4710
to reserve a seat. Directions to Art Center can be found at
<www.artcenter.edu> or call the main switchboard 626.396.2200. The LAT Times
Media Center is on the lower level, park in the student lot.

As an added attraction, during the break between sessions, we will be
hosting a release party and signing for long time mediawork participant Lev
Manovich, whose book, The Language of New Media, has just been published by
the MIT Press <www.manovich.net>.  Finally, Art Center's Williamson Gallery
will be open before and after mediawork, featuring Telematic Connections -
The Virtual Embrace, a show of interactive and networked art curated by
Steve Dietz of the Walker Art Center <telematic.walkerart.org>.

Participants

Anne Burdick is the principle of The Offices of Anne Burdick, a hybrid
practice, mixing commercial graphic design,with editing/curating projects,
design research and criticism, literary collaborations, and design
education. Burdick's client-collaborators work (and play) in the arenas of
experimental fiction, lexicography, electronic literature, poetry,
criticism, and conceptual art. Burdick is the design editor of ebr - The
Electronic Book Review ­ and guest edited ebr6/7, "image+narrative." The
Fackel Wörterbuch, a 1,200 page dictionary of idioms that she designed for
the Austrian Academy of Sciences in 1999-2000 was awarded the Golden Letter,
the highest honor given in the Preisträger des Wettbewergs "Schönste Bücher
aus aller Welt 2001" competition.  <www.burdickoffices.com>

Denise Gonzales Crisp is a self-proclaimed "decorationalist." She has been
the senior designer for Art Center College of Design in Pasadena,
California, for nearly four years. She simultaneously maintains the studio
SuperStove! where she designs the quarterly artext magazine, and
collaborates with artists, writers and other designers. She is designing
Utopian Entrepreneur, by Brenda Laurel, the first installment of the
Mediawork Pamphlets series, which will be published by the MIT Press in the
fall. She is a core faculty member in Art Center's graduate Media Design
program.

Geoff Kaplan is the head of General Working Group, a design studio located
in Atwater Village, Los Angeles. He has produced both motion projects, web
and print work for Cranbrook Academy of Art, CalArts, MOCA, The Walker Art
Center, Oliver Stone, Channel One, Reebok, and AIA. Several projects by
Kaplan are in SFMOMA's permanent design collection. He currently teaches at
CalArts. <www.generalworkinggroup.com>

Rebeca Méndez is principal and creative director of Rebeca Méndez
Communication Design, the proprietor of reasonsense® productions, and the
Senior Partner and creative director of Ogilvy & Mather's Brand Integration
Group. She was creative director of Art Center's Design Office from 1991 to
1996. She has worked in print, brand identity, digital media, and television
for clients ranging from Microsoft, to the Tsunami Asian Grill in Las Vegas,
to director Mike Figgis, on his groundbreaking digital feature, Timecode.
Her work was featured in the Smithsonian Cooper-Hewitt's inaugural National
Design Triennial. Other recent honors include participation in the ACD's One
Hundred Show and RESFEST's Digital Film Festival.

Louise Sandhaus is co-director of the Graphic Design Program at CalArts and
partner in Durfee Regn Sandhaus, a multi-disciplinary design firm that
develops material and electronic "information spaces." Recent projects
include LACMA¹s controversial exhibition, Made in California, and upcoming
projects for UCLA Hammer Museum, and the Huntington Library. Print projects
include designing the journal Errant Bodies, guest editing the "Mutant
Design" issue of the AIGA Journal of Graphic Design, and serving as
co-editor and co-design director with Anne Burdick for the ACD Journal "New
Media. New Narratives?" <www.drsstudio.com>


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

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