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Table of Contents: Theology of the Spectacle "McKenzie Wark" <mckenziewark@hotmail.com> New Media Forum I : "The Art of Software" Randall Packer <rpacker@zakros.com> Biennale de Montréal Portrait of the Artist as a Home Page <portraitoftheartistasahomepage@yahoo.com> the commoner - new issue richard barbrook <richard@hrc.wmin.ac.uk> Banner Art Collective announces new design "Brandon Barr" <barr@mail.rochester.edu> Issue 5.1 of Workplace: A Journal for Academic Labor "geert lovink" <geert@xs4all.nl> REALTOKYO MM vol. 102 Andreas <andreas@realtokyo.co.jp> dark fiber in Italy lop1912@iperbole.bologna.it Marcos' letter in support of the EZLN Exhibition in Monterrey, Mexico "ricardo dominguez" <rdom@thing.net> "The Internet: Anarchic Dream to Legal Minefield" "Yama Farid" <yamafarid@hotmail.com> report on Afghan community radio mission online "geert lovink" <geert@xs4all.nl> Sound Travels "Kunstradio" <kunstradio@thing.at> Announcement-stipends =?iso-8859-1?Q?Edith=2DRu=DF=2DHaus=20f=FCr?= Medienkunst <info@edith-russ-haus Stipends for new media artists Maren Hartmann <Maren.Hartmann@vub.ac.be> second Manifesto on Weightlessness "martin sjardijn" <martin@sjardijn.com> The Planetary vigil of NetArt 2002 Richard Barbeau <barbeari@collegesherbrooke.qc.ca> DIAN Announcement for November DIAN <info@dian-network.com> World of Awe: mRB > prototyping a super-toy YAEL KANAREK <yael@treasurecrumbs.com> Exit Ahead Artcontext <deck@artcontext.org> ------------------------------ Date: Mon, 04 Nov 2002 14:18:54 -0500 From: "McKenzie Wark" <mckenziewark@hotmail.com> Subject: Theology of the Spectacle Masayuki Kawai About a Theological Situation in the Society of the Spectactle Queens Museum of Art, New York, 3-10 Nov guest curator Christine Wang There is something untouchable about the major works of Guy Debord, founder and animating force of the Situationist International. As someone who famously declared "we are not about to play the game", he is not so easy to assimilate into the play of institutional signifiers that is the art world. What makes Masayuki Kawai's video so fine is that it pretty much ignores the question of what it means to appropriate and rework Debord's work. This video just does it, and in fine style. What one learns, in the process, is that recession or not, Japanese commodity culture still furnishes the kinds of images that really do seem to bear out Debord's thesis. As Debord writes, "the whole life of those societies in which modern conditions of production prevail presents itself as an immense accumulation of spectacles. All that was once directly lived has become mere representation." This is a world in which "that which is good appears, and that which appears is good." The spectacle is not just an accumulation of images, "it is rather a social relationship mediated by images." Of course Debord made his own film version of his classic work, The Society of the Spectacle. Part of the problem with that film is that Debord was using the image culture of mid century France, which was far from being the most highly developed of the time. Kawai's video, on the other hand, is effective precisely because one seems to peer over the brink of a future the bulk of the world has yet to quite enter. I'm not in a position to assess Kawai's development of the Debordian thesis from one viewing, but there too, this is a work of some value. There's something static, unreflective in the ways in which the thesis of the spectacle is usually taken up. Debord's empahsis on separation has its limitations in a world in which the vectoral and connective property of media seems more telling. The alienation Debord identifies hinges on a somewhat static understanding of a necessity that pre-exists its rupture in the commodity economy. It's not that Kawai has resolved these issues in the Debordian thesis. The video seems to me to offer a very elegant restatement and adaption of the classic situationist position. But he does offer a very useful artwork with which to think these issues through. Masayuki Kawai About a Theological Situation in the Society of the Spectactle single channel video Queens Museum of Art 3-10 Nov guest curator Christine Wang http://www.asiasociety.org/acaw http://www.queensmuseum.org ___________________________________________________ http://subsol.c3.hu/subsol_2/contributors0/warktext.html ... we no longer have roots, we have aerials ... ___________________________________________________ _________________________________________________________________ Unlimited Internet access -- and 2 months free! Try MSN. http://resourcecenter.msn.com/access/plans/2monthsfree.asp ------------------------------ Date: Mon, 4 Nov 2002 12:21:22 -0500 From: Randall Packer <rpacker@zakros.com> Subject: New Media Forum I : "The Art of Software" New Media Forum I Presented by the Maryland Institute College of Art and the MICA Center for New Media Mark NAPIER "The Art of Software" Time: Thursday, November 14, 7:00 pm - 9:00 pm Location: Mount Royal Station Auditorium (S3) Maryland Institute College of Art Mount Royal Ave. & Cathedral Street, Baltimore All Lectures are free and open to the public Reception will follow Mark NAPIER has created a wide range of projects which appropriate the data of the Web, transforming it into a parallel Web - in which content becomes abstraction, text becomes graphics, and information becomes art. Mark Napier, painter-turned-digital-artist, is one of the early pioneering artists of the Internet to exploit the potential of a worldwide public space. Creating artwork exclusively for the Web, including such seminal works as "The Shredder," "Digital Landfill" and "Feed," he has embraced an unprecedented artistic form that gives the viewer the freedom to recontextualize the medium, to shred its contents. Most recently his worked have been included in leading exhibitions of digital art, including: the Whitney Museum of American Art Biennial Exhibition, the Whitney's Bitstreams exhibition, and the San Francisco Museum of Art's 010101: Art in the Age of Technology. Mark Napier's on-line projects: http://www.potatoland.org/ *********** The New Media Forum is presented by the Center for New Media of the Maryland Institute College of Art in association with the Digital Media Center of Johns Hopkins University. The 2002-2003 Forum is a series of lecture/presentations by leading media artists, focusing on multiple perspectives that explore the changing cultural phenomena resulting from the convergence of art and technology. Upcoming Lectures: Tuesday, February 18th Alex GALLOWAY, "How to Hack Multiplayer Games" Alex GALLOWAY will discuss a new technique of "game remixing ," whereby two or more multiplayer game servers are collaged together in real time. Tuesday, March 18th Margot LOVEJOY, "A Turn-Table" Margot LOVEJOY will provide an exploration of her work on several fronts, regarding new roles, new themes, new experiments in finding participation and audience. Tuesday, April 15th Perry HOBERMAN, "Unexpected Obstacles" Perry HOBERMAN will comment on the influence of technology on our perception and the determination of our every-day life through his installations and interactive environments. In this way, he expresses the euphoria of many utopias in both a nostalgic and sarcastic way. For more information: MICA Center for New Media Randall Packer, Director http://cnm.mica.edu MICA Office of Communications 410.225.2300 From: Portrait of the Artist as a Home Page <portraitoftheartistasahomepage@yahoo.com> Subject: Biennale de Montréal "Portrait of the Artist as a Home Page" is pleased to announce its selection for the 3rd Biennale de Montréal, on view now through November 3, 2002. Curator Anne-Marie Boisvert writes that "Portrait..." is "the latest step in the process of dissolution of individual identity... A 'self-portrait' made up of others' portraits becomes a non-portrait, an anti-portrait...a representation at once ironical and touching of homo contemporaneus." Curator Anne-Marie Boisvert's essay on "Portrait..." http://www.ciac.ca/no_16/en/anonymous.html "Portrait of the Artist as a Home Page" http://www.geocities.com/portraitoftheartistasahomepage/ 3rd Biennale de Montréal http://www.ciac.ca/biennale2002/ ===== - ----------------------------------------------------------------- Portrait of the Artist as a Home Page http://www.geocities.com/portraitoftheartistasahomepage portraitoftheartistasahomepage@yahoo.com - ----------------------------------------------------------------- __________________________________________________ Do you Yahoo!? Y! Web Hosting - Let the expert host your web site http://webhosting.yahoo.com/ ------------------------------ Date: Tue, 29 Oct 2002 00:06:10 +0000 From: richard barbrook <richard@hrc.wmin.ac.uk> Subject: the commoner - new issue please circulate in your network The Commoner N.5 - Autumn 2002 http://www.thecommoner.org special issue on Crises Plus reviews: John Holloway Time to revolt. Reflections on Empire Plus groundzero war: George Caffentzis. Respect your Enemies. the First Rule of Peace: An Essay Addressed to the U.S. Anti-War Movement Contents - - Peter Bell & Harry Cleaver. Marx's Crisis Theory as a Theory of Class Struggle - - Ana C. Dinerstein. Beyond Insurrection. Argentina and New Internationalism - - Conrad M. Herold. On Financial Crisis As A Disciplinary Device Of Empire: Emergence and Crisis Of The Crisis - - George Caffentzis. On the Notion of a Crisis of Social Reproduction: A Theoretical Review - Werner Bonefeld. Class and EMU - - Steve Wright. The Historiography of the Mass Worker http://www.thecommoner.org ------------------------------ Date: Wed, 30 Oct 2002 12:42:16 -0500 From: "Brandon Barr" <barr@mail.rochester.edu> Subject: Banner Art Collective announces new design 28 October 2002 The Banner Art Collective (http://bannerart.org) has implemented a new design created by Garrett Lynch. The new design brings a vast number of improvements to the site, which collects and distributes net.art and poetry created according to the limitations of WWW advertising. The collection is now database driven and easily searchable. Each work is presented on a separate page, and more artist information is featured next to each work. Viewers have always been able to access cut-and-paste html tags to place works from the collection on their own webpages, but now the site also offers users a php-driven script that, when added to any html document, serves randomly changing banners from the collection. In addition, the new design automates the submission process with an online form which artists can use to easily upload their works to the collection. There are also new frequently updated sections which contain news, links to host and sponsor sites, and links to related research and art projects. The Banner Art Collective currently includes works by: arte_comprimido (Argentina) babel (Canada/UK) Brandon Barr (US) Ji Bêt (France) Bruec (US) Christophe Bruno (France) Agricola de Cologne (Germany) Catherine Daly (US) Tom Dannecker (US) drivedrive.com Roberto Echen (Argentina) Joshua Goldberg (US) Lee French & Barry Small (UK) jimpunk (France) Kanarinka (US) Tamara Laï (Belgium) Jessica Loseby (UK) Garrett Lynch (UK) Gerhard Mantz (Germany) Joseph Franklyn McElroy (US) Millie Niss (US) Alexandra Reill (Italy) Fredrique Santune (France) Michaël Sellum (France) Antoine Schmitt (France) Dante Smirnoff (Spain) ------------------------------ Date: Fri, 1 Nov 2002 07:54:18 +1100 From: "geert lovink" <geert@xs4all.nl> Subject: Issue 5.1 of Workplace: A Journal for Academic Labor Subject: Workplace 5.1 Date: Mon, 28 Oct 2002 16:57:51 -0500 From: "Christopher S Carter" Issue 5.1 of *Workplace: A Journal for Academic Labor* is now available online at http://www.workplace-gsc.com Sections include "Technology, Democracy, and Academic Labor" (edited by Laura Bartlett and Marc Bousquet in collaboration with Richard Ohmann and *Radical Teacher*), "Organizing the Family" (edited by Noreen O'Connor), and "Activist Front" (with features by Bill Vaughn and Nick Tingle). One of our most expansive issues yet, *Workplace* 5.1 contains articles and interviews by committed teachers and labor scholars across the country, and includes such titles as: "The Information University" by Laura Bartlett "The 'Informal Economy' of the Information University" by Marc Bousquet "Educational Technology and Restructuring Academic Labor" by Larry Hanley "The Rhetoric of Commercial Online Education" by Chris Werry "Corporate Fantasy and the 'Brave New World of Digital Education'" by Michelle Rodino "'If You're Not Mark Mullen, Click Here': Web-Based Course-Ware and the Pedagogy of Suspicion" by Mark Mullen "An Interview with Cary Nelson: An Intellectual of the Movement" with Marc Bousquet "'Il Miglior Fabbro'" by Alan Wald "Student Interns as Flex Workers" by Rod Ryon "Hegemony and 'Accountability' in Schools and Universities" by Sandra Mathison and E. Wayne Ross "The Corporate War against Higher Education" by Henry Giroux "Working to Meet the Needs of Graduate Student Families: The Case of the University of North Carolina at Chapel Hill" by Brian Kennedy "Negotiating for the Family: Unions and the Graduate Student Workplace" by Andrew Gross "Labor Issues, Academia, and the Workplace: An Interview with Kitty Krupat" by Kathleen Iudicello "Notes on Academic Labor, Women, and Value" by Rachel Reidner "Etiologies of Activism" by Bill Vaughn *Workplace* also contains "Breaking News" (edited and maintained by Katherine Wills), Book Reviews (edited by Bill Vaughn), and a collection of "Laborlinks" that connect to multiple union websites while interlinking some of the most important discussions of academic labor on the web. The *Workplace* Collective would like to thank Richard Ohmann and *Radical Teacher* for their assistance with this issue. In solidarity, Christopher Carter *Workplace* Editor and Web Designer ------------------------------ Date: Fri, 1 Nov 2002 09:20:13 +0900 From: Andreas <andreas@realtokyo.co.jp> Subject: REALTOKYO MM vol. 102 R E A L T O K Y O MAIL MAGAZINE _____11_01_2002_Fri_vol.102___________ http://www.realtokyo.co.jp/ [This Week's Index] (1) Tokyo Editors' Diary Kato Haruyuki ("Studio Voice") vol. 003 (2) Out of Tokyo Vol. 049: The Launch of "Insight Diaries" (3) Event Pick of the Week PATH This week's RT Picks: art+cinema+music+stage+design+town = 34 events including 9 new ones! Plus new entries on our 'book/disk' page. Check them out! http://www.realtokyo.co.jp/ =============================================================== (1) Tokyo Editors' Diary =============================================================== Kato Haruyuki ("Studio Voice") vol. 003 at "Rocket"One of Harajuku's most outstanding places, gallery "Rocket" has moved to a new location behind Natural House on Omotesando. I guess with the "Nigo" hair salon and numerous shops selling used furniture and stuff, that's the area fashion magazines usually call "Ura-Aoyama." Rocket is operated by 'the man with the cap,' Fujimoto Yasushi, who is doing also the design for our magazine. As one creative head in the culture mag business he has been appearing in various publications (such as Brutus magazine's "Ningenkankei" column!), and since he has been working with Studio Voice for about 12 years now, our 'ningenkankei' (=relationship) has come a long way. Read more at: http://www.realtokyo.co.jp/en/diary/0015-henshucho.htm =============================================================== (2) Out of Tokyo =============================================================== Vol. 049: The Launch of "Insight Diaries" In lectures on REALTOKYO or during the "REALTOKYO BAR" events I'm often asked about the 'business model' RT is based on. I hate the term "business model" so I don't use it here, but the questions simply is where the revenue we need to keep REALTOKYO alive comes from. According to the facts my answer usually goes like, "mainly from advertisements and paid publicity, and to some degree also from providing contents to other media, plus the fees we're getting from REALOSAKA for the use of our system. Read more at: http://www.realtokyo.co.jp/en/column/ozaki49.htm =============================================================== (3) Event Pick of the Week =============================================================== PATH A more or less regular event, PATH has appeared on this page in the past. This next volume coincides with the release of the "UR" compilation introducing the PATH makers' brandnew "Mao" label, featuring internationally renowned label headliner CorKyees and other cross-over units. CorKyees use the occasion for a live showcase of the band's recent move from Bristol-style break jazz to dub/post rock. Complemented by abstract electronica band (!) mas, dub outfit Frisco, and drum+mixer duo Thermo, the line-up is made up of unique artists that refuse categorization right down the line. PATH has cut its path in between electronic and acoustic, synthetic and organic music, and this vague-sounding concept has taken on an impressively clear shape, to be witnessed on November 3. - -- Andreas http://www.realtokyo.co.jp/event_cgi/ev_viewE.cgi?2,1356 - --------------------------------------------------------------- Next week on RT: - - Tokyo Editors' Diary - - Tokyo Visitors' Book - - Interview and more$B!D(B - --------------------------------------------------------------- In order to make REALTOKYO even more interesting and convenient for you, we rely on your feedback. Please send us opinions or productive suggestions concerning contents, structure, layouts, etc. Three especially lucky readers who send a mail to info@realtokyo.co.jp. will be chosen and receive a little gift. http://www.realtokyo.co.jp/ - ----------------------------------------------------------------- - ------------------------PR------------------------------------- ad@realtokyo.co.jp <mailto:ad@realtokyo.co.jp> REALTOKYO is looking for advertisers wanting to place banners on our web site and/or in the mail magazine. Banners will get lots of hits from people attracted to a web site full of catchy information on cinema, art, music, theatre and other fun events in town. Please contact the following email address for dimensions and costs. ad@realtokyo.co.jp <mailto:ad@realtokyo.co.jp> - ------------------------PR------------------------------------- - ----------------------------------------------------------------- Please click the URL below to stop receiving email and to change your password. http://www.realtokyo.co.jp/scheduler/f_configure_en.htm Users must go to the page above to make changes to their services; REALTOKYO regrets that it is unable to process changes received by email. ========================================================== No part of the text or images from this site may be used without permission from the publisher. Copyright 2002 REALTOKYO ------------------------------ Date: Mon, 04 Nov 2002 20:16:29 +0100 From: lop1912@iperbole.bologna.it Subject: dark fiber in Italy Dark Fiber by Geert Lovink Introduction to the Italian translation Published by Luca Sossella editore, November 2002 By Bifo For many years, Geert Lovink has carried out his work as net-critic wandering across the territories where the net meets the economy, politics, social action and art. Years of fast writing on mailing lists, analysis, polemics, replies and reports have been collected and elaborated in a way that maintains the rap-style of e-mail debates: short sentences, ironic slogans, cuts and returns, allusions, citations...but what emerges from this mosaic is a coherent overall view on the first decade of digital society. This book is the first complete investigation of global netculture, an analysis of the evolution and involution of the web during the first decade of its mass expansion. But Lovink goes beyond a sociological, economic and anthropological survey. Many of the essays in the book outline the theoretical positions of various agents in the cyber-cultural scene: Wired's libertarian ideology, its economistic and neoliberal involution, and the radical pessimism of European philosophers. Outside of such confrontation, Geert's position is that of a radical and pragmatic Northern-European intellectual close to autonomist and cyberpunk movements, who has animated the cybercultural scene for a decade with his polymorphous activity as writer and moderator of connective environments such as nettime.org, and as organiser of international meetings. This book has been published almost simultaneously in the United States and in Italy, it will soon come out in a Spanish and a Japanese edition. Its publication is exceptionally timely, coinciding with an unprecedented storm in the global economic system. In the middle of the storm, in the eye of the cyclon sits the system of webs that multiplied the energies of mass capitalism in the 90s, and that today finds itself on the threshold of a radical redefinition of perspectives. The economic crisis can only be fully explained in relation to the ideological crisis of the new economy that supported the mass capitalism of the 90s. Similar to Carlo Formenti's 'Mercanti del futuro', Einaudi, this book helps us analyze the actual interlacement of web and economy, and to get a glimpse of what is to come. The 1987 Wall Street crash interrupted the booming cycle that had characterized the first affirmation of Reagan's monetarist and neoliberal policies. During the storm that upset the markets for several weeks, (nothing in comparison to the one to come between 2000 and 2002), analysts offered an interesting explanation: part of the international financial system was being modernized and connected to the internet. Long before the internet entered everyday life, some sectors of international finance had started to make their information systems interdependent in real time. However, since not all of the international financial system was interconnected - so the experts claimed - the gaps and the incompatibility of the systems of communication disturbed the fluidity of exchanges and prevented a fast and coordinated intervention of American banks. In order to avoid a reoccurrence of these delays in coordination, the informatization of finance and the pervasiveness of systems of telecommunication needed to be perfected. This is what happened in the following years. In the 90's the circuit of information and financial exchanges was so spread as to allow a capillary and mass participation to the flux of financial investments. The web became the principal support of mass capitalism and sustained its long expansive phase in the last decade of the century. Millions of Americans and Europeans started to invest their money, buying and selling shares from their own homes. The whole financial system became tightly interconnected. Today that long expansive phase has entered into a crisis, and we see that, contrary to 1987, in fact the main danger for the global system is the pervasive character of its connections. The Web, this fantastic multiplier of popular participation to the market, risks becoming the multiplier of its crisis, and the point of flight from the mediatic-financial system of control. But there is another side to the process. Due to mass participation in the cycle of financial investment in the 90s, a vast process of self-organization of cognitive producers got underway. Cognitive workers invested their expertise, their knowledge and their creativity, and found in the stock market the means to create enterprises. For several years, the entrepreneurial form became the point where financial capital and highly productive cognitive labor met. The libertarian and liberal ideology that dominated the (American) cyberculture of the 90s idealized the market by presenting it as a pure, almost mathematical environment. In this environment, as natural as the struggle for the survival of the fittest that makes evolution possible, labor would find the necessary means to valorize itself and become enterprise. Once left to its own dynamic, the reticular economic system was destined to optimise economic gains for everyone, owners and workers, also because the distinction between owners and workers would become increasingly imperceptible when one enters the virtual productive circuit. This model, theorised by authors such as Kevin Kelly and transformed by the Wired magazine in a sort of digital-liberal, scornful and triumphalist Weltanschauung, went bankrupt in the first couple of years of the new millennium, together with the new economy and a large part of the army of self-employed cognitive entrepreneurs who had inhabited the dotcom world. It went bankrupt because the model of a perfectly free market is a practical and theoretical lie. What neoliberalism supported in the long run was not the free market, but monopoly. While the market was idealised as a free space where knowledges, expertise and creativity meet, reality showed that the big groups of command operate in a way that far from being libertarian introduces technological automatisms, imposing itself with the power of the media or money, and finally shamelessly robbing the mass of share holders and cognitive labour. The free market lie has been exposed by the Bush administration. Its policy is one of explicit favouritism for monopolies (starting with the scandalous absolution of Bill Gates' authority in exchange for a political alliance based on large electoral donations). It is a protectionist policy that imposes the opening of markets to weak states while allowing the United States to impose 40% import taxes on steel. With Bush's victory, the libertarian and liberal ideology has been defeated and reduced to a hypocritical repetition of banalities devoid of content. Geert Lovink does not dwell on American liberal ideology, the defeated enemy. Instead, he invites us to understand what happened at the level of production in the years of dotcom-mania. We have no reason to cheer over the dotcom crash, he says. The ideology that characterised dotcom mania was a fanatical representation of obligatory optimism and economistic fideism. But the real process that developed in these years contains elements of social as well as technological innovation: elements that we should recuperate and re-actualise. In the second half of the 90s a real class struggle occurred within the productive circuit of high technologies. The becoming of the web has been characterised by this struggle. The outcome of the struggle, at present, is unclear. Surely the ideology of a free and natural market turned out to be a blunder. The idea that the market functions as a pure environment of equal confrontation for ideas, projects, the productive quality and the utility of services has been wiped out by the sour truth of a war monopolies have waged against the multitude of self-employed cognitive workers and against the slightly pathetic mass of microtraders. The struggle for survival was not won by the best and most successful, but by the one who drew his gun out. The gun of violence, robbery, systematic theft, of the violation of any legal and ethical norm. The Bush-Gates alliance sanctioned the liquidation of the market, and at that point the phase of the internal struggle of the virtual class ended. One part of the virtual class entered the techno-military complex, another part, the large majority, was expelled from the enterprise and pushed to the margins of explicit proletarianization. On the cultural plane, the conditions for the formation of a social consciousness of the cognitariat are emerging, and this could be the most important phenomenon of the years to come, the only key to offer solutions to the disaster. Dotcoms were the training laboratory for a productive model, and for a market. In the end the market was conquered and suffocated by monopolies, and the army of self employed entrepreneurs and venture microcapitalists was robbed and dissolved. Thus a new phase began: the groups that became predominant in the cycle of the net-economy forge an alliance with the dominant group of the old-economy (the Bush clan, representative of the oil and military industry), and this phase signals a blocking of the project of globalisation. Neoliberalism produced its own negation, and those who were its most enthusiastic supporters become its marginalized victims. The main focus of this book is the Internet. What has it been, what has it become and especially what will it be? A discussion, starting in the mid-90's, opened gaps within cyberculture and divided the theoretical and creative paths of its various agents. As soon as the internet became more diffuse and revealed cultural, technical and common synergies, the advertisers and traders arrived with their entourage of profit fanatics. Naturally, they only had one question: can the Internet become a money-making machine? The 'experts' (who then amounted to a multicolored bunch of artists, hackers and techno-social experimentators) replied in Sibylline ways. The Californian digerati of Wired replied that the Internet was destined to multiply the power of capitalism, to open vast immaterial markets, and to upset the laws of the economy, which predict crisis and delays and decreasing incomes and falls of profit. Nobody really refuted these people. Net-artists and media activists had other things to do, and their criticisms and reservations came across as the lament of the losers, who are incapable of entering the big club. Digerati, cyberpunk digital visionaries, and net artists let the bubble grow. The money that entered into web circuits was useful to develop any kind of technological, communicative and cultural experimentation. Someone called it the funky business. Creative labor found a way to scrounge money from a whole host of fat, obese and small capitalists. The truth is that nobody (or very few) said that the Internet was not a money-making machine. It has never been and it cannot be. Careful: this does not mean that the web has nothing to do with the economy. On the contrary, it has become an indispensable infrastructure for the production and the realization of capital, but this does not mean that its specific culture can be reduced to the economy. The Internet has opened a new chapter in the processes of production. The dematerialization of the commodity, the principle of cooperation, and the unbreakable continuity between production and consumption have made the traditional criteria of definition of the value of commodities redundant. Whoever enters the web does not see him- or herself as a client, but as a collaborator, hence, he/she does not want to pay. AOL, Microsoft and all the other sharks can do what they like, but they won't be able to change this fact that is not just a rather anarchoid cultural trait, but the core of the digital labour relation. We should not think that the Internet is an extravagant island where the principle of valorisation that dominates the rest of human relations enters a crisis. On the contrary, the web has created a conceptual opening that is destined to grow larger. The principle of freedom is not a marginal exception, it can become the universal principle of access to material and immaterial goods. With the dotcom crash, cognitive labor has separated itself from capital. Digital artisans, who during the 90s felt like entrepreneurs of their own labour, will slowly realize that they have been deceived, expropriated, and this will create the conditions for a new consciousness of cognitive workers. The latter will realise that despite having all the productive power, they have been expropriated of its fruits by a minority of ignorant speculators who are only good at handling the legal and financial aspects of the productive process. The unproductive section of the virtual class, the lawyers and the accountants, appropriate the cognitive surplus value of physicists and engineers, of chemists, writers and media operators. But they can detach themselves from the juridical and financial castle of semiocapitalism, and build a direct relation with society, with the users: then maybe the process of autonomous self-organisation of cognitive labor will begin. This process is already underway, as the experiences of media activism and the creation of networks of solidarity from migrant labour show. Starting from these experiences, we need to rethink the 19c question of the intellectual. In Geert Lovink's book the question reemerges. His portrait of the virtual intellectual, in the first section of the book, is both a synthetic autobiography and a description of the different intellectual attitudes that characterized the formation of the connective sphere. Between the 'organic' intellectual of corporations, and the radical and nostalgically humanistic pessimist (the dominant intellectual figures of the 90s), Lovink proposes the figure of the net-critic, undogmatic and curious about what happens while resistant to any form of ideological and especially economic hegemony. But more is at stake than a cultural fashion that is counterposed to another. At stake is the defection from the political scene that characterised the XXth century, and the creation of a totally different scenario. The XXth century was dominated by the figure of the 'superstructural' intellectual, to use an Engels, Leninist and Gramscian formulation. For the revolutionary communist movement, the intellectual was the pre-industrial figure, whose function was determined on the basis of a choice of organic affiliation with a social class. The Leninist party is the professional formation of intellectuals who chose to serve the proletarian cause. Antonio Gramsci introduced decisive elements of innovation to the Leninist conception, because he introduced the theme of cultural hegemony, of the specificity of a work of ideology to develop in the process of seizing political power. But Gramsci remained fundamentally attached to an idea of the intellectual as an unproductive figure, to an idea of culture as pure consensus with ideological values. The industrialisation of culture that developed during the 1900s modified these figures, and critical thought realised this when it migrated from Frankfurt to Hollywood. Benjamin and Marcuse, Adorno and Horkheimer, Brecht and Krakauer registered this passage. But it is not until the digital web redefined the whole process of production that intellectual labor assumed the configuration that Marx had, in the Grundrisse, defined with the expression of 'General Intellect'. Pierre Levy calls it collective intelligence, Derrick De Kerkhove points out that it actually is a connective intelligence. The infinitely fragmented mosaic of cognitive labour becomes a fluid process within a universal telematic network, and thus the shape of labour and capital are redefined. Capital becomes the generalized semiotic flux that runs through the veins of the global economy, while labour becomes the constant activation of the intelligence of countless semiotic agents linked to one another. Retrieving the concept of 'general intellect' in the 90s, Italian compositionist thought (Paolo Virno, Christian Marazzi, Carlo Formenti) has introduced the concept of mass intellectuality, and emphasized the interaction between labor and language. We needed to go through the dotcom purgatory, through the illusion of a fusion beween labour and capitalist enterprise, and then through the hell of recession and endless war, in order to see the problem emerge in clear terms. On the one hand, the useless and obsessive system of financial accumulation and a privatization of public knowledge, the heritage of the old industrial economy. On the other hand, productive labor increasingly inscribed in the cognitive functions of society: cognitive labor that starts to see itself as a cognitariat, building autonomous institutions of knowledge, of creation, of care, of invention and of education that are autonomous from capital. Franco Berardi Bifo, August 2002, Bologna (Translation: Arianna Bove) ------------------------------ Date: Sat, 2 Nov 2002 08:59:31 -0500 From: "ricardo dominguez" <rdom@thing.net> Subject: Marcos' letter in support of the EZLN Exhibition in Monterrey, Mexico [Between Oct, 28 to 31st the Museum of Doctor of Margil, in the City of Monterrey, Mexico exhibited objects loaned by the EZLN to the Museum. The objects included subcomandante Marcos' laptop. This is also the first letter to be sent out from from Chiapas by subcomandate Marcos since the zapatista march in Mexico City, D.F. in 2001 - rdom]. Originally published in Spanish by La Jornada *********************************** Translated by irlandesa La Jornada Wednesday, October 30, 2002. <<<>>> July of 2002. To: Fernando Yanez Munoz, Architect. From: Subcomandante Insurgente Marcos. Don Fernando: Greetings from all the zapatista companeros and companeras and from the indigenous communities in resistance. We hope that you, and all of those working alongside you, are in good health and of good cheer. You, as we know, are working alongside other honest men and women in tending to the memory of our people's struggle. An important part of this memory is being kept in the Museum of Doctor Margil, in the City of Monterrey, Nuevo Leo'n, Mexico. There are testaments in this museum to a fundamental part of our history as zapatistas, a history of which we are proud and which we are trying, as much as we are able, to honor. You, and those whom you work with, are zapatistas. And that Museum is zapatista. That is why we have wanted to send you a small gift with zapatista earth. It is a modest homage to all of those men and women who died for liberty after living for the Patria. We hope that there is a place in the Museum for this modest homage from the EZLN to the Mexican men and women who gave birth to that hope which will be celebrating 33 years on this August 6, 2002. It will be a great honor for us to have this zapatista earth shine in the Mexican north on August 6, 2002, and for the lines to be listened to, timidly, of this rudimentary attempt at a poem, entitled "Account of the Events" - which I wrote 18 years ago, at the dawn of the EZLN - and which, as is known, already has a place in the Museum of Doctor Margil. Hoping to see you soon and to once again have the honor of greeting you personally, I bid farewell in the name of all my companeros and companeras. Vale. Salud and may hope gain new spirit when the 3 faces the mirror and memory is given the gift of one of the most honorable moments in the history of Mexico. >From the mountains of the Mexican Southeast. Subcomandante Insurgente Marcos. Mexico, July of 2002. POEM (?) "Account of the Events" "Today, the sixth day of the month of August of the year nineteen hundred and seventy-nine, as history forewarned, the coffee bitter, the tobacco running out, the afternoon declining and everything in place for conspiring against the shadows and darkness which obscure the world and its sun, the below signed appear in front of me, the patria, in order to declare the following. First. - That the below signed renounce their homes, work, family and studies and all the comforts which have been accumulated in the hands of the few upon the misery of the many. Second. - That the below signed renounce a future, paid on time, of individual enjoyment. Third. - That the below signed also renounce the shield of indifference in the face of the suffering of others and the vainglory of a place among the powerful. Fourth. - That the below signed are prepared for all the sacrifices necessary in order to fight silently and without rest in order to make me, the patria, free and true. Fifth. - That the below signed are prepared to suffer persecution, calumny and torture, and even to die if it is necessary, in order to achieve what was noted in the Fourth point. Sixth. - That I, the patria, will know to keep your place in history and to watch over your memory as they watch over my life. Seventh. - That the below signed will leave enough space under their names so that all honest men and women may sign this document, and, when the moment comes, the entire people shall sign it. There being nothing left to be said, and very much to do, the below signed leave their blood as example and their steps as guide. Valiantly and Respectfully, LIVE FOR THE PATRIA OR DIE FOR LIBERTY. Manuel, Salvador, Alfredo, Manolo, Mari'a Luisa, Soledad, Murcia, Aurora, Gabriel, Ruth, Mario, Ismael, He'ctor, Toma's Alfonso, Ricardo... And the signatures will follow of those who will have to die and of those who will have to live fighting, in this country of sorrowful history called Mexico, embraced by the sea and, soon, with the wind in its favor. THE CAPTAIN ------------------------------ Date: Wed, 6 Nov 2002 00:10:10 +1100 From: "Yama Farid" <yamafarid@hotmail.com> Subject: "The Internet: Anarchic Dream to Legal Minefield" The Internet: Anarchic Dream to Legal Minefield Click here < http://www.abc.net.au/rn/talks/8.30/mediarpt/audio/webforum.ram > to listen to this special Media Report panel discussion which was recorded before a live audience at the ABC in Ultimo on September 18 2002. ================================== The Media Report, Radio National http://www.abc.net.au/rn/talks/8.30/mediarpt ------------------------------ Date: Wed, 6 Nov 2002 08:07:34 +1100 From: "geert lovink" <geert@xs4all.nl> Subject: report on Afghan community radio mission online From: "jo" <jo@xs4all.nl> we are pleased to present you our report on the fact finding mission on community radio in Afghanistan. The report is now online at http://comunica.org/afghanistan/ Bruce Girard and Jo van der Spek ------------------------------ Date: Wed, 6 Nov 2002 15:16:08 +0100 (CET) From: "Kunstradio" <kunstradio@thing.at> Subject: Sound Travels November 16th 3 AM GMT - 7 PM GMT Sound Travels: Global Internet Exchange on line - on air - on site Concept: Paul Plimley & Mei Han, Vancouver with: Mia Zabelka, Vienna Ellery Eskelin, New York, QUAN NINH, Toulouse, Jason Robinson, San Diego, Anthony Pateras, Westspace, Melbourne, Akikazu Nakamura, Tokyo. on line: http://www.front.bc.ca http://kunstradio.at on site: Western Front - 303 East 8th Avenue (Tue-Fri. 12 - 5 pm) H.R. MacMillan Planetarium - 1100 Chestnut November 16th - 19:30 CET / 18:30 GMT Zeiss Planetarium Vienna on air: ORF Kunstradio, November 17th 23.05 CET / 22:05 GMT Into the heavens - Across time zones – Up to speed Vancouver pianist Paul Plimley and zheng virtuoso Mei Han join improvising musicians in Melbourne, Tokyo, Vienna, New York, Toulouse and San Diego via the internet to explore how music can break the sound barrier. Set against the planetarium’s backdrop of stars, the players will connect through live audio streams that mix sound and metaphor. ------------------------------ Date: Thu, 07 Nov 2002 09:10:10 +0100 From: =?iso-8859-1?Q?Edith=2DRu=DF=2DHaus=20f=FCr?= Medienkunst <info@edith-russ-haus.de> Subject: Announcement-stipends Edith-Ruß-Haus für Medienkunst Edith Russ Site for Media Art Peterstraße 23 26121 Oldenburg Germany t. +49 (0)441 235 31 94 f. +49 (0)441 235 21 61 info@edith-russ-haus.de http://www.edith-russ-haus.de Dear colleagues, the Edith Russ Site for Media Art will award three 6 month work stipends for the year 2003. May we ask you to distribute or place an announcement (see below) for stipends? Yours sincerely Claudia Schmitz The Edith Russ Site for Media Art will award three 6 month work stipends for June - December 2003. International artists who work with New Media may apply. Each stipend is endowed with 10.225,84 € (20.000 German Marks). There are no residency requirements. The stipends have been made possible through a grant by the Niedersachsen Foundation. Application and project description deadline (post date): 31st January 2003. The 2002 stipends were awarded to: Johan Grimonprez (B), Dagmar Keller/Martin Wittwer (D/CH) and Florian Zeyfang (D). Edith-Ruß-Haus für Medienkunst Edith Russ Site for Media Art Peterstraße 23 26121 Oldenburg Germany t. +49 (0)441 235 32 08 f. +49 (0)441 235 21 61 info@edith-russ-haus.de http://www.edith-russ-haus.de ------------------------------ Date: Thu, 7 Nov 2002 10:36:17 +0100 From: Maren Hartmann <Maren.Hartmann@vub.ac.be> Subject: Stipends for new media artists Sorry for cross-postings The Edith Russ Site for Media Art will award three 6 month work stipends for June - December 2003. International artists who work with New Media may apply. Each stipend is endowed with 10.225,84 * (20.000 German Marks). There are no residency requirements. The stipends have been made possible through a grant by the Niedersachsen Foundation. Application and project description deadline (post date): 31st January 2003. The 2002 stipends were awarded to: Johan Grimonprez (B), Dagmar Keller/Martin Wittwer (D/CH) and Florian Zeyfang (D). Edith-Ruß-Haus für Medienkunst Edith Russ Site for Media Art Peterstraße 23 26121 Oldenburg Germany t. +49 (0)441 235 32 08 f. +49 (0)441 235 21 61 info@edith-russ-haus.de http://www.edith-russ-haus.de Das Edith-Ruß-Haus für Medienkunst vergibt für die Zeit von Juni-Dezember 2003 drei 6-monatige Arbeitsstipendien für internationale Künstler, die sich mit Neuen Medien beschäftigen. Jedes Stipendium ist mit 10.225,84 * (20.000 DM) dotiert, es besteht keine Residenzpflicht. Die Stipendien werden durch eine Förderung der Stiftung Niedersachsen ermöglicht. Deadline für die Bewerbung mit Projektbeschreibung ist: 31. Januar 2003 (Poststempel). Die Stipendiaten des Jahres 2002 waren: Johan Grimonprez (B), Dagmar Keller/Martin Wittwer (D/CH) und Florian Zeyfang (D). Bewerbungen bitte an: Edith-Ruß-Haus für Medienkunst Edith Russ Site for Media Art Peterstraße 23 26121 Oldenburg Germany t. +49 (0)441 235 32 08 f. +49 (0)441 235 21 61 info@edith-russ-haus.de http://www.edith-russ-haus.de - -- Maren Hartmann - Researcher @ SMIT - Vrije Universiteit Brussel Pleinlaan 2 - 1050 Brussel - Belgium phone (work): + 32 2 629 2572 - fax: + 32 2 629 2861 ------------------------------ Date: Sun, 27 Oct 2002 17:11:04 +0100 From: "martin sjardijn" <martin@sjardijn.com> Subject: second Manifesto on Weightlessness the Second Manifesto on Weightlessness en de interactive 3D multiUser world for beta testers: http://www.xs4all.nl/~sjardijn ~martin sjardijn ------------------------------ Date: Mon, 28 Oct 2002 14:30:05 -0500 From: Richard Barbeau <barbeari@collegesherbrooke.qc.ca> Subject: The Planetary vigil of NetArt 2002 - --------------060406010001050801000806 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit The Planetary vigil of NetArt 2002 is now on line http://www.chairetmetal.com/ The Planetary vigil of NetArt is an annual event in which several members of today's cyber community have been asked to choose an Internet work of art and to comment upon their choice. For the 2002 edition, we have asked web artists to select and comment on a work by an other artist or group of artists on the Internet. +++++++++++++++++++++++ Participants Annie Abrahams Mark Amerika Julian Baker Gisele Beigueleman Christophe Bruno Boris Dionne Yannick Gelinas Auriea Harvey Jodi David Jhave Johnston Tomasz Konart Julie Lapalme Lise-Hélène Larin Michel Lefebvre Joseph Lefèvre Christina Mcphee Antoine Moreau Mouchette Emilie Pitoiset Melinda Rackham Tasman Richardson Antoine Schmitt Stanza Nikola Tosic Paul Tulipana Philip Wood ++++++++++++++++++++++++++++ Organisers : Ollivier Dyens Richard Barbeau www.chairetmetal.com - --------------060406010001050801000806 ------------------------------ Date: Fri, 01 Nov 2002 01:13:48 +0100 From: DIAN <info@dian-network.com> Subject: DIAN Announcement for November DIAN - Digital Interactive Artists' Network [Image] http://dian-network.com November: DIAN - Digital Interactive Artists' Network - Our focus for the month of November is DOMIZIANA GIORDANO and REINER STRASSER. We proudly present their work: "The Doorman" http://dian-network.com/navigation.html "The doorman" is an interactive, 'photo-cinematic' flash piece, created with documentary photos of the subject shot over two months. Like insert-cuts in films, the sequences can be played over time and arranged in your mind. A doorman spends his days in the dark of his lodge. His chair gives onto a wall at one corner of the entrance hall. He cannot have an entire view unless he stands on the sill of his porter's office window. Like the doorman of a theatre who cannot enjoy the show, the doorman sits in his lodge, just witnessing other people passing by. This doorman though, can only hear people entering and leaving the building. His contact with the world outside is limited to the screen of a small black and white TV he watches all day long and the letters and pictures of a newspaper. He hears someone else's life, he watches someone else's life. Time and life is passing by him. Is he really alive? To live in the dark of a lodge. Was this his intentional choice or was it the only job he could find? How much the architect's design of the location interferes with the wasting of the doorman's life? ------------------------------------------------------------------------ DIAN - Digital Interactive Artists' Network - is a network for artists who are seriously involved in using Internet technology in the domain of contemporary art. We are deeply interested in artists working in this field. Artists working with the web, the net and related domains, please submit your work here: http://dian-network.com/information.html Visit DIAN and explore what can be done on the Internet. address: http://dian-network.com e-mail: info@dian-network.com to unsubscribe from this list send an email to unsubscribe@dian-network.com boundary="------------F2C672B7584A420DE1E143A0" - --------------F2C672B7584A420DE1E143A0 ------------------------------ Date: Mon, 04 Nov 2002 13:06:03 -0400 From: YAEL KANAREK <yael@treasurecrumbs.com> Subject: World of Awe: mRB > prototyping a super-toy > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. - --MS_Mac_OE_3119259963_237187_MIME_Part Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable WORLD OF AWE: mRB The mRB is a prototype of a fictional super-toy in the form of a ring. A collaboration between Yael Kanarek and Bnode (Judith Gieseler and Innes Yates), the project elaborates on Kanarek's ongoing interdisciplinary project, World of Awe, which is based on an original narrative that uses the ancient genre of the traveler's tale to explore the connections between storytelling, travel, memory, and technology. The collaborative project investigates the diffusion of techno-scientific knowledge into popular culture through a fictional super-toy =8B the moodRingBaby. According to the narrative the toy resembles an advanced Tamagotchi. Taking a hypothetical, reverse-engineering approach, Kanarek and Bnode began speculating on the origins of this fictional toy. The process has produced a prototype called the mRB. THE WEB COMPONENT http://www.worldofawe.net/mRB The project utilizes a 3D web interface that allows the user to browse various aspects of the mRB for clues to its origin, experiences, and character. An exploratory interface provides access to five different components of the mRB: Skin, Input, Memory, CPU and Output. Each component contains experiences which demonstrate function and process. THE INSTALLATION AT EYEBEAM http://www.worldofawe.net/mRB/installation/ The mRB installation is on view as part of the Beta-Launch exhibition at Eyebeam from October 16 through December 1, 2002, located at 540 W. 21st Street, between 10th & 11th Avenues. The exhibition is open Wednesday-Sunday, 12 - 6 PM. The installation displays the five different functions of the ring and multiple rings created with a 3d printer made available through the R&D residency at Eyebeam. ------------------------------ Date: Tue, 5 Nov 2002 23:41:05 -0500 From: Artcontext <deck@artcontext.org> Subject: Exit Ahead <!------------------------------------------------------ EXIT NOT FOUND by Andy Deck Founder now on the Information Super Detour http://artcontext.org/founder (This message is a Free Love announcement of Artcontext.) ------------------------------ # 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