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Table of Contents: Final CFP: Internet Research 3.0 Oct. 13-16 2002 jeremy hunsinger <jhuns@vt.edu> [sonic]square # 3 announcer "Pieter Van Bogaert" <amarona@skynet.be> Artists' Presentation next Thursday - FREE! Andrea Polli <apolli@hunter.cuny.edu> Sensing Speaking Space: Legrady/Pope at the San Franciso Museumof Modern Art geert <geert@xs4all.nl> [Fwd: info: Mit der Bitte um Weitergabe] =?ISO-8859-1?Q?=A4?= <mi_ga@o-o.lt> RWORLDWIDE LAUNCH OF THE ARABIC TRANSLATION OF THE SCUM MANIFESTO BY VALERIE SOL asim butt <xasimx@yahoo.com> Redistributions PDA art show ends active phase, March discussion at Empyrean "Patrick Lichty" <voyd@voyd.com> SUBMIT : WWW.WHITNEYBIENNIAL.COM "Miltos Manetas" <m@manetas.com> Privacy Lecture Series - WEBCASTING Ann Cavoukian's lecture Ana Viseu <ana.viseu@utoronto.ca> Invitation to Seattle ... and beyond Doug Schuler <douglas@scn.org> Sa, 16.02.2002, Helmut Dick Maria Anna Tappeiner <maria.tappeiner@netcologne.de> new media & art clubbing in brucknerhaus linz "kanonmedia.com" <office@kanonmedia.com> Tik Tak Tok Misko <mpandil@soros.org.mk> conference on cultural imperialism (trier, germany) geert <geert@xs4all.nl> ------------------------------ Date: Mon, 11 Feb 2002 08:57:26 -0500 From: jeremy hunsinger <jhuns@vt.edu> Subject: Final CFP: Internet Research 3.0 Oct. 13-16 2002 apologies for cross posting: Please distribute: Call for papers Internet Research 3.0: NET / WORK / THEORY International and Interdisciplinary Conference of the Association of Internet Researchers (AoIR) International Institute of INFONOMICS and University of Maastricht Maastricht, the Netherlands October 13-16 2002 Conference Website: http://www.aoir.org/2002 Deadline for submissions: February 15, 2002. Submissions: http://www2.cddc.vt.edu/confman/ The Internet has become an integral, ubiquitous part of everyday life in many social domains and international contexts. Yet, most of the public attention on cyberspace remains fueled by utopian or dystopian visions, rather than being informed by the growing body of research on the Internet as a complex fact of modern life. Internet Research (IR) 3.0, an international and interdisciplinary conference, will feature a variety of perspectives on Internet research, in order to develop a better theoretical and pragmatic understanding of the Internet. Building on the previous well-attended international conferences, the IR 3.0 will bring together prominent scholars, researchers, and practitioners from many disciplines, fields and countries for a program of presentations, panel discussions, and informal exchanges. This year's theme is Net/Work/Theory. Contributors are called to reflect on how to theorize what we know about the Internet and on how to apply what we know theoretically in practice. The conference will be held for the first time in Europe, whose intellectual environments have traditionally been a source of social and cultural theory. IR 3.0 will be hosted by the International Institute of Infonomics in the beautiful city of Maastricht in the Netherlands. As the city in which one of the key treaties of the European Union was signed, Maastricht also symbolizes a changing Europe in a changing international setting. The conference will provide opportunities to network, learn from other researchers, hear from leading players in Internet development, and enjoy the "art of fine living" of Maastricht, in the south of the Netherlands. The Association of Internet Researchers invites paper, presentation, and panel proposals from AoIR members and non-members on topics that address social, cultural, political, economic, and aesthetic aspects of the Internet. We welcome interdisciplinary submissions as well as submissions from any discipline. Panel presentations that establish connections across disciplines, institutions, and/or continents are especially encouraged. We also seek presentations that will make creative use of Internet technologies and techniques. Suggested topics: * Theoretical and Methodological approaches to Internet Research * Internet Access, Use and Effects * Psychology and the Internet * Individuals, Groups, and Communities Online * Privacy, Surveillance, and Security on the Internet * Internet Policy, Ethics, Law, and Politics * Teaching, Learning and the Internet * The Internet in Writing and Publishing * Ethnicity, Race, Identity, Gender, and Sexuality Online * The Internet in Cultural Contexts * The Internet in History * Digital Arts and Aesthetics * Gaming on the Internet * E-commerce, E-Business, or Value of Digital Content * New Technologies and New Media * E-Sectors (e-health, e-games, e-entertainment, e-other...) This list is not meant to be exclusive, but to trigger ideas and encourage submissions from a range of disciplines. The organizers will take an active role in generating and joining the various interests in appropriate formats Format of proposals Proposals can be of three types - papers, presentations, and panels. Each person is entitled to submit 1 paper, 1 presentation, and/or 1 panel proposal. Papers Proposals for papers: 150-250 word abstract. Creative presentations / demonstrations Creative presentations (surprise us!) and Internet-related project demonstrations (including digital arts) are encouraged. The format for these proposals is the same as those for regular papers (150-250 word abstract). Panels Panels will generally include three to four papers or presentations. The session organizer should submit a 250-500 word statement describing the session topic, include abstracts of up to 250 words for each paper or presentation, and indicate that each author is willing to participate in the session. Workshop We also invite proposals for pre-conference workshop. These proposals should be submitted as soon as possible (no later than January 15, 2002) so that the workshops can be publicized. Graduate students Graduate students are highly encouraged to submit proposals. They should note their student status with submission for consideration of a special Student Award. If you intend to be a candidate for the Student Award you must also send a final version of your proposal (final paper) by 15th September 2002. Format of submissions Submission will be accepted from 15th December until 15th February 2002. All proposals should be submitted electronically at: http://www2.cddc.vt.edu/confman/ It is preferred that you use HTML to minimally format your paper. Average time allotted for a paper or presentation will be 15 minutes. Average time allotted for a panel will be 1 hour and 30 minutes, including discussion time. If these time constraints are not appropriate for your panel/presentation, please include that in your abstract. Please include any equipment or special considerations that might affect your presentation. Deadlines Proposal submission: 15th December, 2001- February 15, 2002 Author notification: April 1, 2002 Presenter's Registration to the conference: September 15, 2002 Student Award: Final paper due September 15, 2002 Contact information If you have questions about the conference, program, or AoIR, please contact: /Conference Coordinator: / Monica Murero, Infonomics and University of Maastricht, Monica.Murero@infonomics.nl <mailto:Monica.Murero@infonomics.nl> /Program Chair:/ Klaus Bruhn Jensen, University of Copenhagen: kbj@hum.ku.dk <mailto:kbj@hum.ku.dk> /A(o)IR President: /Steve Jones: sjones@uic.edu <mailto:sjones@uic.edu> More Information about IR 3.0 can be found on the Conference Website: http://www.aoir.org/2002 For more information about the Association of Internet Researchers, including information on joining the Association, visit AoIR' s website at http://aoir.org For more information about the International Institute of Infonomics visit our website at http://www.infonomics.nl - -- jeremy hunsinger http://www.cddc.vt.edu/jeremy cddc/political science http://www.cddc.vt.edu 526 major williams hall 0130 http://www.dromocracy.com virginia tech -under construction blacksburg, va 24061 540-231-7614 ------------------------------ Date: Mon, 11 Feb 2002 15:49:51 +0100 From: "Pieter Van Bogaert" <amarona@skynet.be> Subject: [sonic]square # 3 announcer [sonic]square # 3 seltengehortemusik 25 / 02 / 02 20.30 Kaaitheaterstudio's O-L-V van Vaakstraat 81 rue N-D-du-Sommeil 1000 BxxL 02-201.59.59 Oswald Wiener - some words on animal music (video) Rosa Barba, Frank Dommert, Georg Odijk, Nils Röller, Klaus Sander, Anja Theismann, Jan St. Werner - rarely heared music + Klinker Records (Frank Dommert) / Animal Music (Klaus Sander) + DJ's Rosa Barba, Anja Theismann, Georg Odijk (bar) + film & videoinstallations by Rosa Barba, Anja Theismann + Supposé Archive Rooms www.suppose.de listen to [sonic]square on FM Brussel - 106.5 - Storung - 24/02 + 03/03 - 19:00-20:00 Radio Campus - 107.2 - Radio Square - 02/03 - 18:00-20:00 ------------------------------ Date: Fri, 01 Jan 1904 06:51:14 -0500 From: Andrea Polli <apolli@hunter.cuny.edu> Subject: Artists' Presentation next Thursday - FREE! Film and Media Profiles In the J-Lab Hunter College Presenting Pablo Helguera and Andrea Polli 2 PM FREE "Helguera has literally re-created Camillo's "Memory Theater", a lifelong, never-finalized project in which images and texts placed strategically within a structure that represents the seven pillars of Solomon's House of Wisdom together become a microcosm and representation for the universe." Victoria Noorthoorn, Assistant Curator of Contemporary Exhibitions at the Drawing Center, New York Multi-disciplinary visual artist Pablo Helguera is working with students in Andrea Polli's Web Design Projects course on the actual creation of a web based Memory Theater. Helguera and Polli will present their work in the context of the Memory Theater, drawing on the integration of representation with knowledge, storage and memory systems, the art of memory, the nature of images, and time as part of the knowledge process. Helguera's work appropriates museographic techniques, performance art, literature, history, installation and new media, reflecting on various cultural concerns and issues of art interpretation. He has exhibited internationally in Eastern and Western Europe, Latin America and throughout the United States. He is the Senior Education Program Manager at the Solomon R. Guggenheim Museum, where he develops and implements more than 100 public programs a year. Andrea Polli is an interactive media artist and new Associate Professor of Film and Media at Hunter College. She has exhibited and lectured nationally and internationally. A retrospective article about her work from 1991-1998, Virtual Space and the Construction of Memory, is published in the Spring 98 issue of The Leonardo Journal. J-Lab, Room 432, North Building, Hunter College 68th Street at Lexington Ave. New York 6 Train to 68th Street (212) 772-4949 filmmedia.hunter.cuny.edu - -- Andrea Polli Associate Professor Film and Media Hunter College 695 Park Ave. New York, NY 10001 212.772.5589 http://www.andreapolli.com ------------------------------ Date: Thu, 14 Feb 2002 13:13:04 +1100 From: geert <geert@xs4all.nl> Subject: Sensing Speaking Space: Legrady/Pope at the San Franciso Museumof Modern Art From: "george legrady" <glegrady@cox.net> Sent: Wednesday, February 13, 2002 4:23 PM Subject: Sensing Speaking Space: Legrady/Pope at the San Franciso Museumof Modern Art Please distribute: Friday and Saturday, February 15 and 16, 2002 The San Francisco Museum of Modern Art Phyllis Wattis Theater Co-presented by 23five Incorporated and The SFMOMA Department of Media Arts February 15: Evening performances by Sensorband, Paul DeMarinis, Scott Arford, keynote lecture by George Legrady and 'Speaking/Sensing Space,' an interactive installation by: George Legrady, Stephen Pope, Andreas Schlegel, Gilroy Menezes, Gary Kling, a collaborative project with the Media Arts & Technology program, University of California Santa Barbara 'Sensing/Speaking Space' will be on view at The San Francisco Museum of Modern Art Schwab Room on the evening of February 15th and during gallery hours on February 16, 2002. ____________________________________________________________________________ 'Sensing Speaking Space' George Legrady, Visual artist Stephen Pope, Sound composition Andreas Schlegel, Macromedia Visualization Design Gilroy Menezes, Camera motion tracking software Gary Kling, networks protocol ³Sensing/Speaking Space² is an interactive digital media installation that is a real-time feedback environment where visualization and sound will be generated to represent the presence and movement of spectators within a public space such as a museum or shopping center. The interaction will focus on the notion of the ³intelligent space², a space that knows you are there and reacts to your presence and movements through a custom camera tracking system. The installation will be able to accommodate simultaneously anywhere from 1 to 20 spectators. The event will be an installation consisting of real-time interaction generating visuals and sound from stereo to a six channel system. The visualization will develop through multiple layers beginning at the most simplest which will consist of basic layered shapes animated to move like organic behavior (primal cell growth) and eventually reaching 'culture', i.e. language or texts functioning as visual texture. These will result as a consequence of the audience¹s movement and will also generate sound events. Stephen Pope¹s sound composition is based on a database of 20,000 words broken into phonemes (Stephen Pope¹s archive) and to be orchestrated in multiple modes through software developed with Supercollider. These phonemes are called into action according to a set of defined rules (the composition) which are enacted in response to the presence and movements of the audience and spread across the museum space through 6 channel sound system. The event, or 'dramaturgy' or narrative will function on multiple levels or mood changes based on any number of factors: a consequence of the number of spectators in the space and their movements, the cumulative number of people who have visited the installation, a history of the actions, progressive changes throughout the duration of the installation event/evening, etc. In the end, the focus is on the relationship of the audience¹s presence in relation to the circumstance, generating a visual/aural event and feedback interaction. This project follows in a series of related investigations with implementing advanced usage of database, intelligent data organizing algorithms, and multi-user realspace interaction. The production component will take place at the University of California, Santa Barbara in conjunction with the Media Arts & Technology graduate program. (www.mat.ucsb.edu) ------------------------------ Date: Fri, 15 Feb 2002 13:20:04 +0100 From: =?ISO-8859-1?Q?=A4?= <mi_ga@o-o.lt> Subject: [Fwd: info: Mit der Bitte um Weitergabe] - -------- Original Message -------- To: info@muthesius.de From: "Prof. Dr. Hubertus v. Amelunxen" <H.Amelunxen@netsurf.de> Subject: info: Mit der Bitte um Weitergabe :: THINKING TRANSLATIONThinking Translation :: the social, educational and political impact of media technology :: Die Vortragsreihe der ISNM International School of New Media, Lübeck, wird fortgesetzt Die Vortragsreihe der ISNM International School of New Media fragt nach den ethischen, ästhetischen und politischen Implikationen der neuen Technologien, insbesondere nach den Möglichkeiten der digitalen Medien für eine sozial gerechte Bildung und Weiterbildung. Thinking Translation ? Übersetzung denken möchte helfen, die anstehenden technologischen Entwicklungen in einer gesamtgesellschaftlichen Dimension zu begreifen. Das Denken der digitalen Medien möge dann dafür Anregungen bieten, dass Wirtschaft und Kultur, Politik und Bildung gemeinsam an Modellen der Zukunft arbeiten, die sie für die künftige Generation verantworten können. Die Vorträge finden an verschiedenen Orten in Zusammenarbeit mit der Hansestadt Lübeck, dem St.-Petri Kuratorium, dem BuddenbrookHaus, der Musik und Kongresshalle Lübeck, dem Kommunalen Kino und dem Theater Lübeck statt, sie wurden durch eine großzügige Unterstützung der Possehl-Stiftung ermöglicht. :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: Dienstag, den 26. Februar 2002 :: 3M - eMEDIA, eMANAGEMENT, eMAGALA Slawomir Magala (Erasmus Universität Rotterdam) bekleidet den ersten europäischen Lehrstuhl für Cross-Cultural Management an der School of Management der Erasmus Universität in Rotterdam. In der Lehre von Kunst, kulturellem Engagement und Management vertritt Magala weltweit den Gedanken einer globalen Verbindung von Kultur und Wirtschaft. Ort: Dat Hoghehus, Koberg 2 Zeit: 20.00 Uhr :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: Freitag, den 01.03.2002 :: MISCELLANEA I+II und PHOTOGRAPHIE UND JENSEITS Heinz Emigholz (Universität der Künste Berlin) ist Filmemacher und Gründer des Instituts für zeitbasierte Medien an der Universität der Künste Berlin. Seine viel prämierten Filme führen seit den 70er Jahren verschiedene Medien zusammen und bedenken die Eigenart geistigen und materiellen Ausdrucks. Einführung und Diskussion zu den Filmen "Photographie und Jenseits" und "Miscellanea I + II" Ort: Kommunales Kino, Mengstraße 35 23552 Lübeck Zeit: 19.00 Uhr www.luebeck.de/kultur_bildung/koki/ :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: Montag, den 11.03.2002 ART, SCIENCE AND TECHNOLOGY AS A FIELD OF INQUIRY Jean Gagnon (Direktor der Fondation Daniel Langlois pour l?art, la science et la technologie Montréal) führt die von dem Designer von "Softimage", Daniel Langlois, geschaffene, weltweit einzigartige Stiftung, die insbesondere in Asien, Afrika und Osteuropa Projekte zur Zusammenführung von Medientechnologie, Kunst und neuen Wissensformen fördert. Ort: Dat Hoghehus, Koberg 2 Zeit: 20.00 Uhr www.fondation-langlois.org/ :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: Freitag, den 15.03.2002 :: WAS IST MEDIENKOMPETENZ? DIE MEDIALE KONSTRUKTION DER WIRKLICHKEIT VERLANGT NACH NEUEN PARADIGMEN DER AUFKLÄRUNG Peter Weibel (Präsident des zkm_zentrum für kunst und medientechnologie, Karlsruhe) ist Künstler, Mathematiker, Medientheoretiker und leitet seit 1999 das in seiner Art bedeutendste Zentrum für die Arbeit in Kunst, Informatik und Medientechnologien. Ort: St. Petri Zeit: 20.00 Uhr www.zkm.de info: is a moderated majordomo mailing list info: subscribe/unsubscribe info: http://www.muthesius.de/~virtual/info ------------------------------ Date: Fri, 15 Feb 2002 09:09:35 -0800 (PST) From: asim butt <xasimx@yahoo.com> Subject: RWORLDWIDE LAUNCH OF THE ARABIC TRANSLATION OF THE SCUM MANIFESTO BY VALERIE SOLANIS (H.A.R.A.M.)AT THE TATE MODERN 'S NEW ANDY WARHOL EXHIBITION e: the book Thanks for all your enquiries regarding the International launch of H.A.R.A.M. the new Arabic translation of the SCUM Manifesto by Valerie Solanis, at the private view of the Tate Modern's new Andy Warhol exhibition. I'm really pleased to say that the event did/not happen as planned and so was, of course, a great success. We’d like to thank all those that didn't get together to make this event impossible: Olivia Colling <Olivia.Colling@tate.org.uk>, Camilla Kennedy Harper <Camilla.kennedy.harper@tate.org.uk> from the Tate Modern and many others who don’t even exist! ….. And especially the TATE itself for their (nOn) support, especially in not providing a P.A. for the Exploding Plastic inevitable !!!!!! We didn’t have a very pleasant evening at the Tate Modern private view. Not sipping and sucking on refreshments. We didn’t vandalise Warhol’s paintings to add speech bubbles on the white walls, so Marilyn was not and never said : “FLY FOR FUN WITH A GUN! TO BOMB AFGHANISTAN!” and Elvis made no demands to “DEMOLISH SERIOUS CULTURE NOW!” We sold many copies of the new Arabic translation of the SCUM Manifesto by Valerie Solanis and copies are available for the reasonable sum of £50 sterling, or 120 euro dollars. There was never any suicide bid by so- called ‘art’ ‘terrorists’ even theorists playing out the theory death of the avant-garde in practice either, wrapped in a burning American flag or not. Did Dave Stewart ‘Home’ de-bag Marianne Faithless at the pre- launch ‘party’ (or should that be Masonic Ritual?) as a pre-arranged signal to scores of sex mad anti-art zombies ? I think not! For further press information please call Nadine Thompson/Suzi Darsa, Tate Press Office, Millbank, London, SW1P 4RG Call 020 7887 8730/8858 Fax 020 7887 8729 Visit www.tate.org.uk ££££££££££££££££££££££££££££££££££££££££££££££££££££££ A TRUTHFUL AND ACCURATE ACCOUNT OF THE WORLDWIDE LAUNCH OF H.A.R.A.M., THE ARABIC TRANSLATION OF THE SCUM MANIFESTO BY VALERIE SOLANIS AT THE TATE MODERN 'S NEW ANDY WARHOL EXHIBITION $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ "You can see a billboard for Tab and think: Nancy Regan drinks tab, Gloria Vanderbilt drinks Tab. Jackie Onassis drinks Tab, and just think, you can drink Tab too. Tab is Tab and no matter how rich you are, you can't get a better one than the homeless woman on the corner is drinking. All the Tabs are the same. And all the tabs are good. Nancy Regan knows it, Gloria Vanderbilt knows it, Jackie Onassis knows it, Katharine Hepburn knows it, the baglady knows it, and you know it." - - Andy Warhol from America. The utopian dream of capitalism failed to materialise. In advanced capitalism, industrial relations permutate. …theres only one cocacola.. . becomes diet coke, cherry coke, pepsi, virgin…... Andy Warhol’s rather Communist sentiments reflect the fact that the choices offered by modern society are not choices at all. They are merely illusions: aesthetix! He is yearning for a standardisation of a Soviet economy where everyone is equal and while under bourgeois culture all discourse is equally empty, the audience at the Private View of Warhol’s Tate POST Modern Exhibition, in conjunction with HARAM, the Arabic translation of the SCUM Manifesto just goes to show, (indeed as the art industry proves, day in day out): SOME ARE MORE EQUAL THAN OTHERS! We all know warhol’s images, prints and films. So why a major exhibition? And why now? And what is the function of the private rituals conducted at the two Private Views, one Press view and a sad excuse for a ‘party’ featuring ‘rock’ dinasours like Dave Stewart and Marianne (un)Faithful ? Besides rumours of Jackson Pollock air-bombing his paintings and encoding the initials C.I.A. into each one, no evidence has emerged of the recent bifurcation of U.S. identity into the aesthetic and the political. While the American Masonic system has clearly capitalised on the fact that Fascism has aestheticised politics, communism has politicised aesthetics, both strategies only lead to more War and the associated Profit. The growing postmodernisation of wo/man and the increasing formation of masses/ mass media are two aspects of the same process. Capitalism organizes the newly created masses through the property structure which they are part of. CAPITALISM nourishes itself by giving the masses not their right, but instead a chance to express their rights and be expressed through their rights. The masses have a right to change property relations; Capitalism gives them an expression of this, and even sells it back to the masses themselves, through the property system. The logical premise and result of Capitalism is the merging of aesthetics and politics as agents and products of consumption. The violation of the masses, whom Capitalism pacifies by reflecting its desires , and with the cult of the Artist/ the SUPERSTAR forcing the masses willingly to their knees in adoration, has its counterpart in the violation of an apparatus which is pressed into the production of ritual values. All of this was more than evident at the launch of the Arabic translation of SCUM Manifesto, and while no-one was actually ‘shot’ at the Tate Modern, there were certainly casualties as the camera bulbs flashed: the chic "elite" has now taken on the role Baudrillard allotted to the masses, they neutralise critique by silently accepting everything. They are mesmerised by information. Indeed , they seek to ‘become’ ‘information’ ! Steven Shaviro remarks in The Cinematic Body that the 'superstars of the films strike us as personalities so utterly externalised, so completely given over to the moment, that they, like Brillo boxes or Campbell's soup cans can exist sheerly as images' Entering the ‘party’ I could not help but feel that the symbolic has overthrown the real, and the battlefield is no longer the "collective unconscious" (sic). We long ago entered the realm of the post-modern, where everything is both pure surface and simultaneously drawn from the fourth dimension of soap opera. The screen has usurped the stage!! The various arguments over the political 'effectiveness' or otherwise of postmodern artefacts (by which is meant the possibilities they provide for intervention and socio-political change of the commodified relations of 'late capitalism') turn on whether or not any critical stance is maintained in this conflation of artefact and commodity/stereotype, of which Andy Warhol's reproduced images of Marilyn Monroe, fetishized women's shoes or brand-name soup cans have themselves become the stereotypical example, postmodernism's 'already made'. While Eagleton and Jameson argue that postmodernism is characterized precisely by its disinterest in politics, by its blank pastiche, and ultimately by its complicity with doxa and stereotype, Linda Hutcheon in her The Politics of Postmodernism suggests that postmodernism is characterized, rather, by a double-coding, being undecidably ''both complicitous with and contesting of the cultural dominants within which it operates'' (p. 142). I am undead, I am reanimated through the medium of information, I enter and exit this simulacrum through the trap-door of proletarian post-modernism. History is a river that keeps flowing. The claims of those who believe they can step into and out of this "water" at will are both a tragedy and a farce. We must simultaneously work backwards towards the source of this flow, and forwards towards something else. Andy Warhol from America. In the 'Death in America' series what matters for Warhol is that the embodied spectacle of death is presented to a mass audience for consumption. By taking his images from the newspaper Warhol emphasises that what his images represent are not at all the event of disaster but rather highlights our consumption of it. For Warhol, as for Debord, death in the society of the spectacle, including his own and those of others close to him, is habitually perceived as no more than one spectacle among others. The horrible features of imperialistic warfare are attributable to the discrepancy between the tremendous means of production and their inadequate utilization in the process of production -- in other words, to unemployment and the lack of markets. Imperialistic war is a rebellion of technology which collects, in the form of 'human material,' the claims to which society has denied its natural materrial. Instead of draining rivers, society directs a human stream into a bed of trenches; instead of dropping seeds from airplanes, it drops incendiary bombs over cities; and through gas warfare the aura is abolished in a new way. 'Fiat ars -- pereat mundus,' says Fascism, and, as Marinetti admits, expects war to supply the artistic gratification of a sense perception that has been changed by technology. This is evidently the consummation of 'l'art pour l'art.' Mankind, which in Homer's time was an object of contemplation for the Olympian gods, now is one for itself. Its self- alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. This is the situation of politics which Fascism is rendering aesthetic. Communism responds by politicizing art. _____ _____ _____ ______ _______ / \\\\ | e \\\\\\ v / | o | | L \\\\______/ \\\______/ \\\\\______/ |________| the original art wankers: http://c6.org __________________________________________________ Do You Yahoo!? Got something to say? Say it better with Yahoo! Video Mail http://mail.yahoo.com ------------------------------ Date: Sat, 16 Feb 2002 08:45:07 -0600 From: "Patrick Lichty" <voyd@voyd.com> Subject: Redistributions PDA art show ends active phase, March discussion at Empyrean Distribute Freely!=20 (re:)distributions online PDA art exhibition announces final update, enters archive phase & online discussion @ Empyrean list. Feb 15, 2002 Contact, Patrick Lichty voyd@voyd.com=20 '(re)distributions: PDA/IA art as cultural intervention', the world's = first curatorial project focused solely on the issues of creativity and = expression through the use of PDA, Wireless, and nomadic technologies, = finishes its 6-1/2 month 'active' phase and remains in archive form at: http://www.voyd.com/ia With this closing of the dynamic curation phase of the project, three = significant additions are now part of the show. =20 "DialTones: A TeleSymphony", by Golan Levin et al documents the use of = cellular phones as instruments for a symphony at a performance at the = Ars Electronica art festival. "Life Drawing 101: PDA Required" by Margaret Dolinsky is a spirited = musing about the use of PDA technology through their mobility in = disciplines such as drawing and sketching. =20 (An excellent example of this is Tom Kemp's work, so we recommend you = explore that work after reading the essay) "Palm Poems" by Alan Peacock are three palm-based poems that play with = the role of text, sound and visual composition. These works are = currently online as Shockwave works for easy access. DISCUSSION at EMPYREAN Beginning March 1, Patrick Lichty will be leading a discussion on the = use of nomadic technologies, PDA's and personal devices like wristcams = in the creation and distribution of works. One or two of these weeks = will also include a postmortem on the (re)distributions show, and a = discussion of the nature of Information Appliance art and its recent = development. Please join us in March! FUTURE DIRECTIONS: Voyd.com is seeking resources for a short-run, internally-produced = catalogue of the (re)distributions show. The optimum resources would be = a duplex-printing color laser printer, and consumables for 10,000 = legal-size sheets of semi-gloss bond. Any proceeds would be put towards = the offset of expenses in mounting the exhibition, and for the funding = of new voyd.com exhibitions. (re)distributions in YOUR TOWN? There has been expressed some interest in the possibility of a = (re)distributions physical exhibition. We have already gotten = confirmation of resources from one manufacturer, but more resources are = needed. Please contact us if you might be interested in having = (re)distributions or a successor in your institution, or if you are = aware of resources that could bring this project to fruition. (re)distributions II? With the excellent response to the show, as well as the rapid = development of the genre, many have asked whether (re)distributions = would mount a Revision 2.0 show, or update further in the future. While = this is a distinct possibility, and may constitute components of a = physical show, such plans will be considered in Q3 2002. Please inform = us if you would like to see a revisited show in the future. IN CLOSING I would like to hank all of the artists, scholars, and practitioners who = participated in the (re)distributions exhibition to make it such an = excellent project that was received so well. It has been an honor and a = privilege to showcase this emerging genre, and I look forward to = developments in the aesthetic use of personal devices and computational = ubiquity in the days to come. Best, Patrick Lichty Curator, (re)distributions=20 ------------------------------ Date: Sun, 10 Feb 2002 22:53:00 -0800 From: "Miltos Manetas" <m@manetas.com> Subject: SUBMIT : WWW.WHITNEYBIENNIAL.COM WHITNEYBIENNIAL.COM Concept Origin: miltos manetas Organized by electronicorphanage.com and michelethursz.com Powered by newstoday.com , supported by archinect.com ,bkyn.com special thanks : michael ress for "turntable" List of curators/writers, organizations who are inviting artists: Jan Aman, Andreas Angelidakis,Archinect.com, Stefano Chiodi , Joshua Decter, Laurence Dreyfus, Alex Galloway,Paul Groot,Patrick Lichty ,Peter Lunenfeld, Lev Manovich , Magda Sawon, NewsToday.com, Hans Ulrich Obrist ,Marisa Olson, Michele Thursz, Roosavelt Savage, Philippe Vergne, Olivier Zahm and Purple Magazine . Opening: March 05, 06 ,07 2002 WHITNEYBIENNIAL.COM is a website and an exhibition that will open in contemporary with the WHITNEY BIENNIAL at the WHITNEY MUSEUM OF AMERICAN ART. 20 U-Haul trucks , their back door open and transformed to a screen ( a computer and a projector will be installed inside each of them), will circle around the Whitney Museum for the 2 nights of the Whitney party ( March 05, 06) and for the day of the opening (March 07th ). Think of Modrian's Boogie Woogie activated . It will be a super parasite: a snake against a cow. A cow, as well as the institutional show, is large, slow and shortsighted, instead a snake is fast, clever and experimental. The WHITNEYBIENNIAL.COM, will be an adventure: the most important international artists -but also designers, Internet geniuses and architects, are invited to contribute a Flash piece. It can be either an art work or their logo . Film previews are today usually better than the actual films : the WHITNEYBIENNIAL.COM will be a collage of previews. All pieces, will be included in the "Turntable".This is an application that Michael Rees offered to the Whitneybiennial.com .Each "Turntable", is pre-loaded with up to 6 flashes : it uses them as samples and the user, like a visual DJ can make his/her composition online. The visitor can change the colors of the background , make the flash larger or smaller, transparent or opaque etc."Turntable", is a revolutionary tool, because it opensources material and makes even from closed works a work in progress. To see a Demo of a "turntable", and to see some pictures of "turntable"activity, here : http://www.whitneybiennial.com/turntable Detail: people can submit more than one piece. About the Deadline : the opening of the show ( March 05 -06-07) will only be an "opening" and not a deadline. We prefer of course to receive projects before that day, so they will be included at the 20 U-haul trucks, but people are welcome to continue send stuff : the real location of the show anyway, is the Web. Because we are receiving lots of boring stuff, we decide to setup a page where creators can judge the different pieces and assign to them a diamond (for great pieces), a bone ( for ""who cares"" pieces) and a scull ( for bad pieces). Only creators ( and theoreticians invited) will be able to vote in that page, but after the opening, the visitors of the page will be free to submit pieces and if the pieces will be accepted, the visitors also become creators and therefore they can vote. Now, if a piece collects only bones , it will be deleted, instead if it collects up to 3 diamonds or sculls , it stays. In this way, we hope to get rid from works that nobody wants to see anyway. Question : Why shall they all do a Flash animation ? Answer : It is an experiment : we believe that as Peter Lunenfeld writes at the KLM theory, "Flash is today's Pop". In fact , Flash is an easy technology which lets you draw a cartoon or a logo, animate it and even make it interactive: the user will click on it and the cartoon(or logo )will reply. It brings together all other forms of art such as photography, written text, movies and drawing in such a way that makes contemporary art of the past century look like a proud grandfather: Flash is, again according to Mr. Lunenfeld , "PoliTech, the irrepressible joy and lightness of being digital after the boom economy has gone bust." It is also scalable, that means that you can display it on different dimensions without any loss of quality. With very little budget and in a short time, you can do something that looks better than any "art video" : it relates the real space as well as it relates to the Internet and substitutes any need for heavy duty art installations. The only thing t! hat you cannot do with Flash, is to put a dead cow in a glass box , but who does want to do that anymore ? More info/submit : info@WHITNEYBIENNIAL.COM visit also : biennale.net , the Internet section of the Tirana Biennial , curated by Miltos Manetas and the ElectronicOrphanage - --------------- ------------------------------ Date: Mon, 11 Feb 2002 12:02:17 -0500 From: Ana Viseu <ana.viseu@utoronto.ca> Subject: Privacy Lecture Series - WEBCASTING Ann Cavoukian's lecture Hello, I am happy to announce that Ann Cavoukian's lecture will be webcasted!! Those of you who can't make it physically, can now attend virtually. The URL is: <http://media.snow.utoronto.ca:8080/ramgen/encoder/Privacy2002.rm> I want to thank "PC3 Village: Programme on Connective Communities in Canada" <http://www.pc3village.org/> for making this possible. PC3 Village is the meeting place for the Programme on Connective Communities in Canada. The Canada Millenium Scholarship Foundation has partnered with the Faculty of Arts and Science at the University of Toronto and the McLuhan Program to create an online environment for the sharing, discovery and creation of new ideas. The Programme provides the Foundation's national and provincial/territorial excellence award laureates with opportunities to connect with each other, as well as other talented Canadians. all the best. Ana - ------------------ PRIVACY LECTURE SERIES <http://privacy.openflows.org> ANN CAVOUKIAN BUILDING PRIVACY INTO TECHNOLOGY Monday, February 11, 2002 4pm-5,30:00PM 140 St. George, Room 728 Faculty of Information Studies (building adjacent to Robarts Library) University of Toronto The lectures are free of charge and you do NOT have to register. Abstract In her talk Ann Cavoukian, Ontario's Information and Privacy Commissioner, will discuss the tragic events of September 11 and how that has affected many people's perspective on privacy. She will discuss the need for balance between the demands of public safety and need to respect the privacy of rights of citizens. The talk will also discuss the implications of recent anti-terrorism legislation in Canada, the U.S. and elsewhere. The presentation will define "privacy", discuss the basis of privacy, which is fair information practices, and illustrate where these practices have been codified into law around the world. The presentation will then discuss the hype and reality of e-commerce and examine reasons why it has fallen short of expectations. The last section of the presentation examines the role that technology can play in protecting privacy. Bio Dr. Ann Cavoukian is recognized as a leading authority on privacy and data protection. She was appointed Information and Privacy Commissioner in May of 1997. As Commissioner, Ann oversees the operations of Ontario's freedom of information and privacy laws, which apply to both provincial and municipal governments. She serves as an officer of the legislature, independent of the government of the day. Ann joined the Information and Privacy Commission in 1987, during its start- up phase, as its first Director of Compliance. She was appointed Assistant Commissioner in 1990. Prior to her work at the Commission, Ann headed the Research Services Branch of the Ministry of the Attorney General, where she was responsible for conducting research on the administration of civil and criminal law. Ann received her M.A. and Ph.D. in Psychology from the University of Toronto, where she specialized in criminology and law, and lectured on psychology and the criminal justice system. Ann sits on a number of committees involved in privacy and technology, including the W3C's committee of experts working on P3P (Platform for Privacy Preferences). She also served as a member of the American Task Force on Privacy, Technology and Criminal Justice Information. Ann is particularly interested in advancing privacy protection through the pursuit of privacy-enhancing technologies. To sign-up for the Privacy Lecture Series announcement email list please go to: <http://privacy.openflows.org/> The Privacy Lecture Series is organized by Ana Viseu, a researcher currently working at the University of Toronto on her Ph.D. dissertation which focuses on the development and implementation of wearable computers. Her research interests include questions of privacy, social dimensions of technology, and the mutual adaptation processes between individuals and technology. Ana holds a Master's Degree in Interactive Communication from the Universidad Autonoma de Barcelona, Spain. <http://fcis.oise.utoronto.ca/~aviseu> The Privacy Lecture Series is co-sponsored by the Knowledge Media Design Institute (KMDI) <http://www.kmdi.utoronto.ca/> and the Information Policy Research Program (IPRP) <http://www.fis.utoronto.ca/research/iprp/>. For more info contact Ana Viseu <ana.viseu@utoronto.ca> [ - - - - - - - - - - - - - - - - - ] Tudo vale a pena se a alma não é pequena. http://fcis.oise.utoronto.ca/~aviseu http://privacy.openflows.org [ - - - - - - - - - - - - - - - - - ] ------------------------------ Date: Mon, 11 Feb 2002 14:57:05 -0800 (PST) From: Doug Schuler <douglas@scn.org> Subject: Invitation to Seattle ... and beyond /// Please forward to appropriate people and lists. Thank you! ///// Tomorrow's information and communication infrastructure is being shaped today -- But by whom and to what ends? IF you believe that our current communication systems aren't meeting community and civic needs you're not alone! Millions of people from around the world are asking these questions -- Will communication systems meet the needs of ALL people? Will they help people address current and future issues? Will they promote democracy, social justice, a healthy environment? Will appropriate research be conducted? Will equitable policies be enacted? Millions of people throughout the world are working to create systems which meet humankind's crucial needs. We are extending TWO invitations to those who are interested in this work. 1111111111111111111111 111 Invitation ONE 111 1111111111111111111111 Join 500 researchers, practitioners, activists, jounalists, educators, artists, policy-makers and citizens from around the world in Seattle May 16-19, 2002 at CPSR's eighth biannual "Directions and Implications of Advanced Computing" (DIAC) symposium to address these critical questions and develop action plans. A variety of events are planned ranging from invited speakers, panel discussions, and pattern presentations to informal working sessions -- both planned and spontaneous. Symposium topics include the digital divide, human rights and privacy, cyberspace and economic development, open content research, pattern language development, community networks, wireless community networking, developing a civil society charter for the UN Summit on the Network Society, virtual communities and online activism, cross-border collaborations, and MORE! And, as with previous DIAC symposia, we'll do our best to bring in some surprises as well... Please join us in Seattle (and beyond) for this exciting and important event! Don't miss it! Shaping the Network Society: Patterns for Participation, Action, and Change DIAC-02 in Seattle, May 16-19, 2002. http://www.cpsr.org/conferences/diac02 Sponsored by: Public Sphere Project of Computer Professionals for Social Responsibility (CPSR) National Communication Association Task Force on the Digital Divide 2222222222222222222222 222 Invitation TWO 222 2222222222222222222222 Browse the "patterns" we've received so far and submit your own! Based on the insights of architect Christopher Alexander, we are soliciting "patterns" that people use to create communication and information technology that affirms human values. We will use these patterns to craft a "pattern language" - a useful and compelling "knowledge structure" based on the collective wisdom of our community. Ideally our pattern language will help articulate -- and promote interest in -- engaged and effective research and activism. Our pattern system (http://diac.cpsr.org/cgi-bin/diac02/pattern.cgi) includes the 150+ patterns that we've collected. It also includes facilities for entering and editing additional patterns. All of the patterns entered so far and those entered before the May 1st deadline will be reviewed at the symposium for possible inclusion in the final pattern language. We encourage you to submit a pattern -- or, better, several patterns! This pattern language will only be as good as the patterns that you submit! We are "casting a wide net" for patterns from all relevant domains and situations. health activism libraries open source We human rights are especially collaborations encouraging additional civil liberties patterns in these roll your own media areas... developing countries alternative technologies environmental informatics gender, ethnicity, age cultural expression --- thanks --- war and militarism culture jamming media critique cross-border organizing education language policy labor Please contact symposium and pattern language coordinator, Doug Schuler, douglas@scn.org, if you have any questions on either of these invitations. Don't hate the media. Become the media. - Jello Biafra ------------------------------ Date: Wed, 13 Feb 2002 10:54:56 +0100 From: Maria Anna Tappeiner <maria.tappeiner@netcologne.de> Subject: Sa, 16.02.2002, Helmut Dick SCHNITTRAUM An der Linde 27 + D-50668 Köln + Info unter Tel. 0175 -167 34 77 www.schnittraum.de + info@schnittraum.de ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ TONIGHT Helmut Dick Präsentation der Arbeiten und Werkgespräch Samstag, 16.02.2002, 20 Uhr eingladen von Daniela Steinfeld In diesem Jahr findet im Schnittraum die neue Projektreihe TONIGHT statt. Je ein oder zwei KünstlerInnen werden zu einem Präsentationsabend eingeladen, ihre Arbeiten vorzustellen. Werkprozesse und künstlerische Überlegungen sollen dabei im Mittelpunkt stehen. Es geht um den Austausch mit KünstlerInnen aus dem In- und Ausland und die Auseinandersetzung mit aktuellen künstlerischen Positionen. Helmut Dick stellt anhand von Dias seine Arbeiten im öffentlichen Raum vor, u.a. ëSalatfeld so groß wie ein Hochhausë und ëDas Schaf und der dreizehnte Stockí. Daneben wird der Künstler auch einige seiner Videoarbeiten zeigen. ìMich inspirieren individuelle und kollektive Verhaltensweisen innerhalb unserer Gesellschaft, die trotz ihrer allgemeinen Akzeptanz auch eine Art Wahn sein könnten. Vor diesem Hintergrund verarbeite ich wichtige Elemente aus meinem Leben mit dem Ziel, doppeldeutige, verdichtete Situationen mit einer eigenwilligen Poesie zu schaffen. Durch diese Herangehens-weise komme ich mit unterschiedlichen Themen in Berührung, z.B. die Verhaltensmuster von Männern oder dem Einfluss von bestimmten Mentalitäten auf das Erscheinungsbild von Landschaften. Ich verwende leicht wiederzuerkennende, alltägliche Elemente in meinen Arbeiten, wodurch sie im ersten Moment deutlich und zugänglich erscheinen. Dann aber treten die Bestandteile in merkwürdige Interaktionen miteinander und werden so auf einem abstrakten Denkniveau miteinander in Beziehung gesetzt. Diese Situationen kennzeichnen Humor und Absurdität, die alltäglichen Dinge wachsen über sich selbst hinaus und es entstehen neue Bedeutungszusammenhänge. Der Zuschauer wird in einem doppeldeutigen Spannungsfeld zwischen mehreren möglichen Wahrheiten zurückgelassen.ì (H. D.) Helmut Dick wurde 1969 in Bonn geboren. Nach einer Berufsausbildung als Gärtner entstanden neben der mehrjährigen Berufstätigkeit im In - und Ausland erste Arbeiten. Ab 1995 nahm er an ersten Ausstellungen und Aktionen in Berlin, seinem damaligen Wohnort, teil. 1997 begann er sein Studium am ëFree Media Departmentí der Gerrit Rietveld Academie in Amsterdam, das er 1999 mit dem ëBachelors degreeí beendete. Danach hat er am Sandberg Instituut in Amsterdam sein Studium 2001 mit dem ëMFAí abgerundet. Er lebt und arbeitet in Amsterdam. ++++++++ Nächste Veranstaltung in der Reihe TONIGHT: Anke Schäfer präsentiert CANDY TV und The Alway Invited Guest Club www.candyTV.info + www.TheAlwaysInvitedGuest.net Donnerstag, 21. Februar 2002, 20 Uhr Mit freundlicher Unterstützung: Kulturamt der Stadt Köln ------------------------------ Date: Thu, 14 Feb 2002 21:38:40 +0100 From: "kanonmedia.com" <office@kanonmedia.com> Subject: new media & art clubbing in brucknerhaus linz on: 22.02.2002 at: 20:45 p.m. in: brucknerhaus linz go: bruckners club: digital music - digital art - digital date art clubbing . in brucknerhaus linz . at the opening night of the concert series grenzenLOS . with works . of young media artists . a strong scene . new experiments with digital technologies & new media . joyful playing & vivid results . wide musical range - from noise & ambient . to experimental hip hop ... i.e. parker / raffaseder i.e. das fax mattinger i.e. jomasounds i.e. roland von der aist videos . media installations . computer games . etc . - 30 artists - i.e. ex- & active students of . University of Arts & Industrial Design / linz . Academy of Applied Arts / vienna, Art School for Media Design / hagenberg . MultiMediaArt College / salzburg ... i.e. backlab.at i.e. kanonmedia.com i.e. a.s.a.p. i.e. iftaf.org i.e. robert wacha i.e. john tylo i.e. reinhold bidner more . infos & photos . at : http://raffaseder.com/grenzenLOS/bruckners_club.html http://listen.to/grenzenLOS http://www.raffaseder.com http://www.kanonmedia.com ENJOY & HAVE FUN - --------------------------------------------------------------- kanonmedia.com non-profit org for new media amadeus house 99_48, mariahilfer st. a-1060 vienna call: ++43-1-595 47 40 mailto: office@kanonmedia.com visit: www.kanonmedia.com - --------------------------------------------------------------- please receive our apologies for cross mailing / in case you prefer not receiving our newsletter any more just click on stop mail ------------------------------ Date: Fri, 15 Feb 2002 10:11:04 +0100 From: Misko <mpandil@soros.org.mk> Subject: Tik Tak Tok The University of Dundee's Visual Research Centre and the Contemporary Arts Center - Skopje cordially invite you to attend the opening of the exhibition TIK TAK TOK Official Opening: 15 February 2002. at 18:30 hrs Opening for General Public: 16 February 2002 at 20:00 hrs. at The University of Dundee's Visual Research Centre Exhibition open until March 10, 2002. An international inter-disciplinary collaboration between Artists, Designers, Writers, Philosophers and Students from Dundee (Scotland) and Skopje (Republic of Macedonia). Organized by: The Contemporary Art Center Skopje and The University of Dundee's Visual Research Centre Coordinators of the project: Babs McCool and Melentie Pandilovski Original Concept: Lei Cox Co - Curators: Lei Cox & Kevin Henderson Technical Coordinator: Nikola Pisarev TIK TAK TOK consists of two exhibitions of artist's clocks and time machines. The first show took place in the Museum of Contemporary Arts in Skopje, Republic of Macedonia in the period December 13 - 20, 2000. http://www.cac.org.mk/tiktaktok/ The second exhibition will be opened for the general audience on February 16th and will be up until March 10, 2002. at The University of Dundee's Visual Research Centre. In TIK TAK TOK, the artists create artworks around ideas associated with counting time. The works are mechanical, electronic, drawn, performed, sculpted and theoretical. They tell the time of day or they may present their 'own' time. The idea of a clock entails others, and other people - a gathering, a meeting of strangers, or the desire for such: a thing (object) by which one arranges and records arrivals and departures, by which one measures presence and absence. Wherever anything lives, anything at all, there is open somewhere a register in which time, its time is being inscribed. Names of participants: Lei Cox (Scotland): Video-installation Artist, Musician and Lecturer The Applause / The Conductor Oliver Musovik (MK): Graphic Artist - - All Good Things Come To Those Who Wait (Video) - - Dzombometar (plotter print) Paul Dignan (Scotland): Painter, Video-installation Artist, Lecturer 6500macamericanwallceefaxchromeradiodiverdollfujicentralheatingimacdutchchildmicrowavenokiaseikotimexaiwawh Dejan Spasovik (MK), Installation, Video and Sound Artist APPROXIMATI(ME)ON, installation Waiting Wasting, installation Nikola Velkov (MK): Net Artist - - ROOSTER (Sound Installation) - - Timeless Cube (Sound Installation) K. Henderson (Scotland): Performance-orientated Artist, Writer and Lecturer. L(cl)ocked' 'Listening-In To Skopje' 'Atlas' (Performance work) Iskra Dimitrova (MK) Installation Artist - - Clocks and Bodies, digital video - -UNTITLED, digital video Steve Flack (Scotland): Multimedia Artist, Producer and Lecturer Time Piece Aleksandar Zdravkovski (MK) : System Artist and Producer - - Time - Illusion of the Reality (plotter print) - - Archimediala Transformance, digital video Stefan Saskov (MK): Installation and Video Artist - - 1h OUR Sat-chit-ananda (existance-consciousness-bliss) - - NOW (Plotter print) TUESDAY19 FEBRUARY 2002 - - PRESENTATIONS OF MACEDONIAN ART at The University of Dundee's Visual Research Centre PRESENTERS: Nikola Pisarev, Aleksandar Zdravkovski, Oliver Musovik, Stefan Saskov, Nikola Velkov, Dejan Spasovik - ------------------------------------------------------- Melentie Pandilovski Director Contemporary Arts Center - Skopje Orce Nikolov 109, 1000 Skopje Republic of Macedonia Tel/Fax: +389.2.133.541 Tel/Fax: +389.2.214.495 Mobile: +389.70.217.075 http://www.scca.org.mk - ------------------------------------------------------- ------------------------------ Date: Thu, 14 Feb 2002 11:37:50 +1100 From: geert <geert@xs4all.nl> Subject: conference on cultural imperialism (trier, germany) Conference on Cultural Imperialism October 17-20, 2002, Trier, Germany A two-day conference is being planned to be held in fall 2002 in Trier, Germany, on Cultural Imperialism. Contributions are invited from all relevant fields including history of arts, architecture, history, popular music, the media, advertising and PR, sociology, economics, political lobbying, WTO-GATS, food, = education, linguistics and others. Publication of the proceedings is intended. The Conference on Cultural Imperialism (working title) will begin on Thursday october 17, 2002, with diner and perhaps a first evening session. We will have two working days, Friday 18 and Saturday 19, and participants will depart on Sunday 20 october after breakfast. The venue is Robert Schuman House, Trier, a well-equipped new conference center above the city of Trier where participants will also stay overnight. At this moment we think about a more symposium-like = beginning (Friday) aiming at sorting out the multiple facets of cultural imperialism and pulling strings together, and a public event on = Saturday aiming at media coverage. We will have three blocks for discussion: (1) Cultural imperialism in history,(2) present cultural imperialism, its different aspects, working mechanisms and effects, and (3) what are alternatives (including European positions in WTO, IMF etc.). Working languages will be German, English and French, with simultaneous translation. A maximum of 50 participants are expected from all parts of the world. We will try our best to raise funds for travel refunding and for hosting participants. If you are interested, please reserve these dates in your agenda and send in your abstract in German or English, not more than 300 words, as soon as you have made up your mind. Deadline for abstracts is end of march 2002. Please pass this information on to other people who might = be interested. Bernd Hamm Jean Monnet Professor of European Studies Director, Center for European Studies University of Trier, D 54286 Trier, Germany Tel. +49-651-201.27.27, Fax 201.39.30 e-mail hamm@uni-trier.de http://www.uni-trier.de/zes/ ___________________________________ INURA Common Office KraftWerk1 Hardturmstr. 261 CH-8005 Z=FCrich Switzerland _________________________http://www.inura.org____________ ++41 (0)1 563 86 91/92 contact@inura.org _________________________________________________________ International Network for Urban Research and Action INURA ------------------------------ # 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