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Table of Contents:

   Virtual_Art:_From_Illusion_to_Immersion
     z <z {AT} apiece.net>                                                                

   On-line Actions Against NYU Stern School of Business - December 12th to the 13th
     "ricardo dominguez" <rdom {AT} thing.net>                                            

   Processual Media Theory and the Art of Day Trading                              
     Ned Rossiter <Ned.Rossiter {AT} arts.monash.edu.au>                                  

   picture politics: springerin symposion 14.12. 02                                
     springerin <springerin {AT} springerin.at>                                           

   Invitation                                                                      
     Kalina Bunevska <kbunevsk {AT} soros.org.mk>                                         

   ErsatzStadt                                                                     
     "ersatzmedia" <info {AT} ersatzmedia.info>                                           

   >wartime< project premiere > Friday 13th Dec > Brixton, London                  
     (atty) atty {AT} no-such.com                                                         

   Muntadas: On Translation: Web                                                   
     Sonia =?iso-8859-1?Q?L=F3pez?= <slopez {AT} macba.es>                                

   >wartime< project premiere > Friday 13th Dec > Brixton, London                  
     (atty) atty {AT} no-such.com                                                         

   EU- {AT} ctions dec 13-14 - lord of the Things                                       
     dr.woooo {AT} nomasters.org                                                          

   NEW CITIES/NEW MEDIA Conference | Los Angeles, January 17-19, 2003              
     Lev Manovich <lev {AT} manovich.net>                                                 



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

Date: Mon, 9 Dec 2002 09:22:48 -0500
From: z <z {AT} apiece.net>
Subject: =?WINDOWS-1252?Q?Virtual_Art:_From_Illusion_to_Immersion_=97_A_L?= =?WINDOWS-1252?Q?ecture_by_Oliver_Grau,_Tues_12/10/02?=



Virtual Art: From Illusion to Immersion
A Lecture by Oliver Grau
Tuesday, December 10 7 pm
Tishman Auditorium, New School University
66 West 12th Street
live webcast  {AT}  http://netart-init.org, 7pm EST


In conjunction with the publication of Oliver Grau's Virtual Art: From 
Illusion to Immersion (forthcoming from The MIT Press), the author 
describes how virtual art fits into the history of art, and 
specifically artists'search for illusionary visual space, which can be 
traced back to antiquity. He describes the metamorphosis of the 
concepts of art and the image and relates those concepts to interactive 
art, interface design, agents, telepresence, and image evolution. He 
traces immersive cinema through Cinerama, Sensorama, Expanded Cinema, 
3-D, Omnimax and IMAX, and the Head-Mounted Display with its military 
origins. His analysis draws on the work of contemporary artists and 
groups ART+COM, Maurice Benayoun, Charlotte Davies, Monika Fleischmann, 
Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research, Laurent 
Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul Sermon, 
Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss. Oliver 
Grau is Lecturer in Art History at Humboldt University, Berlin, and 
head of the German Science Foundation's project on "Immersive Art."

The lecture is moderated by Christiane Paul, the Whitney's adjunct 
curator of new media arts, and is jointly organized by the 
Goethe-Institut New York, the Whitney Museum of American Art, The MIT 
Press, and the NetArt Initiative.

The program is sponsored by the Center for New Design at Parsons School 
of Design, a Division of New School University

Free admission
Reserve online  {AT}  http://netart-init.org/event

- --Apple-Mail-2-1007026795
Content-Transfer-Encoding: 7bit
Content-Type: text/enriched;
	charset=US-ASCII

<fontfamily><param>Verdana</param><smaller>Virtual Art: From Illusion
to Immersion 

A Lecture by Oliver Grau 

Tuesday, December 10 7 pm 

Tishman Auditorium, New School University 

66 West 12th Street 

live webcast  {AT}  http://netart-init.org, 7pm EST 



In conjunction with the publication of Oliver Grau's Virtual Art: From
Illusion to Immersion (forthcoming from The MIT Press), the author
describes how virtual art fits into the history of art, and
specifically artists'search for illusionary visual space, which can be
traced back to antiquity. He describes the metamorphosis of the
concepts of art and the image and relates those concepts to
interactive art, interface design, agents, telepresence, and image
evolution. He traces immersive cinema through Cinerama, Sensorama,
Expanded Cinema, 3-D, Omnimax and IMAX, and the Head-Mounted Display
with its military origins. His analysis draws on the work of
contemporary artists and groups ART+COM, Maurice Benayoun, Charlotte
Davies, Monika Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac,
Knowbotic Research, Laurent Mignonneau, Michael Naimark, Simon Penny,
Daniela Plewe, Paul Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer,
and Wolfgang Strauss. Oliver Grau is Lecturer in Art History at
Humboldt University, Berlin, and head of the German Science
Foundation's project on "Immersive Art." 


The lecture is moderated by Christiane Paul, the Whitney's adjunct
curator of new media arts, and is jointly organized by the
Goethe-Institut New York, the Whitney Museum of American Art, The MIT
Press, and the NetArt Initiative. 


The program is sponsored by the Center for New Design at Parsons
School of Design, a Division of New School University 


Free admission 

Reserve online  {AT} 
<color><param>0000,0000,FFFF</param>http://netart-init.org/event</color>

</smaller></fontfamily>
- --Apple-Mail-2-1007026795--



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

Date: Tue, 10 Dec 2002 06:19:12 -0500
From: "ricardo dominguez" <rdom {AT} thing.net>
Subject: On-line Actions Against NYU Stern School of Business - December 12th to the 13th, 2002

On-line Actions Against NYU Stern School of Business to repudiate
DomingoCavallo' s appointment.

December 12th to the 13th, 2002

<<IN ENGLISH>SPANISH>ITALIAN>GERMAN>>

Next Thursday and Friday (December 12th and 13th)  you and your computer can
join an online protest.

A protest to repudiate Domingo Cavallo' s appointment as a distinguished
professor at Stern School of Business at New York University.

http://hemi.ps.tsoa.nyu.edu/eng/events/index.html  (Hemispheric Institute of
Performance and Politics) and
http://www.thing.net/~rdom/ecd/ecd.html  (Electronic Disturbance Theater)

<<<Who is Domingo Cavallo>>>

Domingo Cavallo- Visiting Professor at Stern School of Business- New York
University

Director of the Argentinean Central Bank (1982) during the last Military
Dictatorship.

Minister of Finance (1991-1996) during the Presidency of Carlos Menem.
Promoted aggressive privatization by a highly irregular process that
weakened the Argentinean economy.

Minister of Economy during De la Rúa' s administration (2001). To "balance"
public accounts, he reduced the already low salaries of the public sector.
The social situation prompted popular uprising and generalized riots against
the government. De la Rúa and Cavallo along with other officers were forced
to resign.

>From April to June 2002 he was jailed for alleged participation in illegal
weapon sales. The case remains open.

<<ENGLISH>>

While you navigate and/ or work be part of the netizens community that will
be heard through Electronic Civil Disobedience.

You just have to go to the Hemispheric Institute of Performance and Politics
web page
http://www.hemi.nyu.edu/eng/events/prelim.html  and/ or the Electronic
Disturbance Theater site
http://www.thing.net/~rdom/ecd/ecd.html and by clicking once there you will
be reloading numerous times to Cavallo' s and the Stern School' s  sites.
Many clicks together provoke disturbance in the sites' performance
(without altering their information or damaging them
permanently) This sustained action, while you are connected to the
Internet, will not constitute any risk for your computer, neither it will
affect your activity.

Join us, enjoy a different way to inhabit a global world.

The on line protest begins on Thursday December 12th at 9 a.m (NY time) and
finishes the following day at midnight,12 pm. During that range,
continuously or intermittently, people from all over the world will be
expressing their solidarity with Argentina and their repudiation to those
that are responsible for its current tragedy.

General info on this activism:

http://hemi.ps.tsoa.nyu.edu/eng/events/index.html  (Hemispheric Institute of
Performance and Politics) and
http://www.thing.net/~rdom/  (Electronic Disturbance Theater)

<<SPANISH>>

El jueves y el viernes  que viene vos y tu computadora van a dar que hablar.

Protesta on line para repudiar la contratación de Domingo Cavallo como
profesor distinguido de la escuela de negocios de la Universidad de Nueva
York.
Mientras navegás o trabajás formá parte de la comunidad de ciberciudadanos
que a través de la Desobediencia Civil Electrónica se harán oir.

Sólo tenés que dirigirte a la página del Instituto Hemisférico de
Performance y Política http://www.hemi.nyu.edu/eng/events//prelim2.html y/ o
al sitio de Electronic Civil Disobedience http://www.thing.net/~rdom/ y
clickeando allí una vez  estarás entrando numerosas veces al sitio de
Cavallo y al de la escuela que lo aloja. Muchos clicks unidos provocan
disturbios en la performance de los sitios de Cavallo y Stern  (sin alterar
su información, ni dañarlos por completo) Esta acción sostenida, por el
tiempo que estés conectado a Internet, no te significará ningún riesgo de
virus ni afectará tu actividad.

Sumáte a nosotros, participá de una forma distinta de habitar un mundo
global.

La acción comienza el jueves 12 de Diciembre a las 9 de la mañana (hora de
Nueva York) y cierra el viernes 13 a las 12 de la noche. Durante ese lapso,
ya sea de manera contínua o intermitente, gente de todo el mundo estará
expresando su solidaridad con Argentina y su repudio a la impunidad de
quienes tienen que ver con su actual tragedia.

Informacion general acerca de este caso

http://hemi.ps.tsoa.nyu.edu/eng/events/index.html  (Instituto Hemisferico de
Performance y Politica) y
http://www.thing.net/~rdom/  (Electronic Disturbance Theater)

<<ITALIAN>>

Questo è un sito web attivista di emergenza, una 'escrache'* on line dovuta
alla presenza
dell'economista Argentino Domingo Cavallo alla New York University in veste
di professore in visita.

Siamo un gruppo di allievi e professori che organizzano una serie di
proteste (fisiche, virtuali ed academiche) per sollevare le questioni etiche
ed academiche circa la presenza di questo uomo in un ambiente
universitario.

Che cosa possono imparare da lui gli allievi?
Perchè la pagina web della "Stern School of Business"
non mostra il profilo politico di quest'uomo e il suo status attuale?
Perchè una prestigiosa università americana dovrebbe legittimare
un uomo che ha causato disastri nel suo proprio paese?
Puoi unirti a noi.

"Se non c'è giustizia non c'è 'escrache'

Come tutto l'attivismo, anche questo è un lavoro
in via di sviluppo, un archivio aperto. Aggiorneremo
questa 'escrache' periodicamente per informare
sul corso degli eventi e delle attività

Azioni del 12 Dicembre 2003

- - una lettera di ripudio da portare alla NYU

- - una protesta on-line di 32 ore (dal 12 dicembre al 13 dicembre)

http://hemi.ps.tsoa.nyu.edu/eng/events/index.html  (Instituto Hemisferico de
Performance y Politica) y
http://www.thing.net/~rdom/  (Electronic Disturbance Theater)

Clikka su Cavallo per unirti alla protesta

<<GERMAN>>

Actions gegen NYU Stern School of Business - am 12. und 13. Dezember 2002

Das ist eine Emergency-Website, ein online- "escrache" hervorgerufen durch
die Anwesenheit des Argentinischen Ökonomen Domingo Cavallo als
Gastprofessor an der NYU.

Wir sind eine Gruppe von Studenten und Professoren, die eine Reihe von
Protesten (auf der Straße, virtuell und akademisch) organisiert, um ethische
und akademische Fragen zur Anwesenheit dieses Mannes in den Raum zu stellen.
Was können Studenten von ihm lernen? Warum ist auf der Webseite der Stern
School of Business nichts über den derzeitigen Status und die Politik
Domingo Cavallos zu finden? Warum könnte eine Prestige-Universität einen
Mann legitimieren, der im eigenen Land gescheitert ist?

Ihr könnt mitmachen! "Wenn es keine Gerechtigkeit gibt, gibt es einen
"escrache"! "  Wir werden dieses "escrache" periodisch aktualisieren, um
über den Stand der Veranstaltungen und Aktivitäten zu informieren.

Es gibt 2 Action-Websites:

SIGN - Ein Protestbrief der zur NYU geschickt wird.

CLICK - ein 32 Online-Protest (findet am 12. und 13. Dezember statt)

http://hemi.ps.tsoa.nyu.edu/eng/events/index.html  (Instituto Hemisferico de
Performance y Politica) y
http://www.thing.net/~rdom/  (Electronic Disturbance Theater)



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

Date: Tue, 10 Dec 2002 12:21:00 +1100
From: Ned Rossiter <Ned.Rossiter {AT} arts.monash.edu.au>
Subject: Processual Media Theory and the Art of Day Trading



Cultural Studies Association of Australia Conference 2002
Ute Culture: The Utility of Culture and the Uses of Cultural Studies
5-7 December, 2002, Melbourne
http://www.english.unimelb.edu.au/events/csaa2002/csaa-2002.html

'The Uses of the Internet' panel, convened by:

Dr Gerard Goggin, Centre for Critical and Cultural Studies,
University of Queensland
Dr Elaine Lally, Institute for Cultural Research, University of Western Sydney


DRAFT PAPER

'Processual Media Theory and the Art of Day Trading'

Ned Rossiter

In The Language of New Media, media theorist and artist Lev Manovich
undertakes a media archaeology of post-media or software theory.[1]
He focuses on a very particular idea about what constitutes the
materiality of new media, and hence aesthetics.  In excavating a
history of the present for new media, Manovich's work is important in
that it maps out recent design applications, animation practices, and
compositing techniques, for example, that operate in discrete or
historically continuous modes.

However, Manovich's approach is one that assumes form as a given yet
forgets the socio-political arrangements that media forms are
necessarily embedded in, and which imbue any visual (not to mention
sonic) taxonomy or typology with a code: i.e. a language whose
precondition is the possibility for meaning to be produced.

A processual aesthetics of new media goes beyond what is simply seen
or represented on the screen.  It seeks to identify how online
practices are always conditioned by and articulated with seemingly
invisible forces, institutional desires and regimes of practice.
Furthermore, a processual aesthetics recognises the material,
embodied dimensions of net cultures.

When you engage with a virtual or online environment, are you simply
doing the same thing as you would in a non-virtual environment, where
you might be looking at objects, communicating, using your senses -
vision, sound, etc?

In other words if the chief argument of the new media empirics lies
in the idea that we simply ought to pay close attention to what
people "do" on the net and ignore any grander claims about virtual
technologies - is this adequate? Is there anything in this "do-ing"
which deserves greater analysis?

Do virtual environments simply extend our senses and our actions
across space and time, or do they reconstitute them differently?

There is a strong argument made for the latter. In the same way that
visual culture - especially the cinema - legitimised a certain way of
looking at things through techniques such as standardised camera work
and continuous camera editing, then virtual technologies re-organise
and manage the senses and our modes of perception in similar ways.
As Kafka once noted: 'cinema involves putting the eye into a uniform'.

Software design, virtual environments, games, and search engines all
generate and naturalise certain ways of knowing and apprehending the
world.  We can find examples of this with database retrieval over
linear narrative, hypertext, 3D movement through space as the means
to knowledge, editing and selection rather than simple acquisition,
etc.

So if empirics can record that we have virtual conversations, look up
certain sites, and so forth - it doesn't consider *the way* we
combine visual and tactile perceptions in certain ways and in certain
contexts to allow for distinct modes of understanding the world. Nor
does a new media empirics inquire into the specific techniques by
which sensation and perception are managed. This is the work of
processual aesthetics.

A theory of processual aesthetics can be related back to cybernetics
and systems theory and early models of communication developed by
mathematician and electrical engineer Claude Shannon in the 1940s.[2]
This model is often referred to as the transmission model, or
sender-message-receiver model.  It is a process model of
communication, and for the most part it rightly deserves its place
within introduction to communications courses since it enables a
historical trajectory of communications to be established.[3]

However, as we all know it holds considerable problems because it
advances a linear model of communication flows, from sender to
receiver.  And this of course just isn't the way communication
proceeds - there's always a bunch of noise out there that is going to
interfere with the message, both in material and immaterial ways, and
in terms of audiences simply doing different things with messages and
technologies than the inventors or producers might have intended.

The point to take from this process model, however, is that it later
developed to acknowledge factors of noise or entropy (disorder and
deterioration), once in the hands of computer scientists and
anthropologists such as Norbert Weiner and Gregory Bateson.[4]  As
such, it shifted from a closed system to an open system of
communication.  In doing so, it becomes possible to acknowledge the
ways in which networks of communication flows operate in autopoietic
ways whereby media ecologies develop as self-generating, distributed
informational systems.[5]

A processual aesthetics of media culture enables things not usually
associated with each other to be brought together into a system of
relations.  A processual media theory is constituted within and
across spatio-temporal networks of relations, of which the
communications medium is but one part, or actor.  Aesthetic
production is defined by transformative iterations, rather than
supposedly discrete objects in commodity form.  Processual aesthetics
is related to the notion of the sublime, which is 'witness to
indeterminancy'.[6]  Processual aesthetics of new media occupy what
philosophers of science Ilya Prigogine and Isabelle Stengers call a
'dissipative structure' of nonlinear, random relationships.[7]

The concept of process undermines the logic of the grid, of
categories, of codings and positions, and it does so inasmuch as the
realm of distinctions and that which precede these orders of
distinction are in fact bound together on a continuum of relations as
partial zones of indistinction.  Categories are only ever
provisional, and emerge to suit specific ends, functions, interests,
disciplinary regimes and institutional realities.  To this end, the
mode of empirical research that predominates in the humanities and
sciences - and in particular current research on new media - needs to
be considered in terms of not what categories say about their
objects, but rather, in terms of what categories say about the
*movement* between that which has emerged and the conditions of
possibility.  Herein lies the contingencies of process.

The network is not 'decomposable into constituent points'.[8]  That
is what a non-reflective and non-reflexive empirics of new media, of
informational economies and network societies, in its reified
institutional mode attempts to do.  The network is not a 'measurable,
divisible space'.  Rather, it holds a 'nondecomposable' dimension
that always exceeds - or better, subsists within - what in the name
of non-reflexive empirics are predetermined regimes of
quantification, which, as Massumi has it, 'is an emergent quality of
movement'.

This is not to say that things never occupy a concrete space. An
analytics of space (and time), if it is to acknowledge the complexity
of things, cannot take as its point of departure the state of arrest
of things.  Instead, attention needs to take a step back (or perhaps
a step sideways, and then back within), and inquire into the
preconditions of stasis.  And this does not mean occupying a
teleological position, which seeks to identify outcomes based on
causes.  Or as Massumi puts it, the 'emphasis is on process before
signification or coding'.

We are yet to see what capital can become.  Bubble economies -
exemplified in our time most recently with dotcom mania and the
tech-wreck in March 2000, which saw the crash of the NASDAQ - are
perhaps one index of the future-present whereby the accumulation of
profit proceeds by capturing what is otherwise a continuous flow of
information.  Information flows are shaped by myriad forces that in
themselves are immaterial and invisible in so far as they do not
register in the flow of information itself, but nevertheless
indelibly inscribe information with a speculative potential, enabling
it to momentarily be captured in the form of trading indices.

Michael Goldberg's recent installation at Sydney's Artspace -
'Catching a Falling Knife: The Art of Day Trading' - nicely
encapsulates aspects of a processual media theory.[9] The
installation combines various software interfaces peculiar to the
information exchanges of day traders gathered around electronic cash
flows afforded by the buying and selling of shares in Murdoch's News
Corporation.  With $50 000 backing from an anonymous Consortium
cobbled together from an online discussion list of day traders,
Golberg set himself the task of buying and selling News Corp shares
over a three week period in October-November this year.

Information flows are at once inside and outside the logic of
commodification.  The software design constitutes an interface
between what Felix Stalder describes as 'nodes' and 'flows',[10]
where the interface functions to 'capture and contain' (Massumi, 71)
- - and indeed make intelligible - what are otherwise quite out of
control finance flows.  But not totally out of control: finance
flows, when understood as a self-organised system, occupy a space of
tension between "absolute stability" and "total randomness".[11]  Too
much emphasis upon either condition leaves the actor-network system
open to collapse.  Evolution or multiplication of the system depends
upon a constant movement or feedback loops between actors and
networks, between nodes and flows.

Referring to the early work of political installation artist Hans
Haacke, Michael Goldberg explains this process in terms of a
"realtime system":

'the artwork comprises a number of components and active agents
combining to form a volatile yet stable system.  Well, that may also
serve as a concise description of the stockmarket...'

And:

'Whether or not the company's books are in the black or in the red is
of no concern - the trader plays a stock as it works its way up to
its highs and plays it as the lows are plumbed as well.  All that's
important is liquidity and movement. "Chance" and "probability"
become the real adversaries and allies'.

Trading or charting software can be understood as stabilising
technical actors that gather informational flows, codifying such
flows in the form of 'moving average histograms, stochastics, and
momentum and volatility markers' (Golberg).  Such market indicators
are then rearticulated or translated in the form of online chatrooms,
financial news media, and mobile phone links to stock-brokers,
eventually culminating in the trade.  In capturing and modelling
finance flows, trading software expresses various 'regimes of
quantification' that at the same time allows the continuity of
movement.

An affective dimension of aesthetics is registered in the excitement
and rush of the trade; biochemical sensations in the body modulate
the flow of information, and are expressed in the form of a trade.
As Golberg puts it in a report to the Consortium mid-way through the
project after a series of poor trades based on mixtures of
"technical" and "fundmental" analysis: 'It's becoming clearer to me
that in trading this stock one often has to defy logic and instead
give in, coining a well-worn phrase, to irrational exuberance'
(Golberg, Report to Consortium, 031102). Here, the indeterminancy of
affect subsists within the realm of the processual.  Yet
paradoxically, such an affective dimension is coupled with an
intensity of presence where each moment counts; the art of day
trading is constituted as an economy of precision within a partially
enclosed universe.

There is a process at work in all this, part of which involves a
linear narrative of stabilisation by structural forces.  Massumi
explains it this way: 'The life cycle of the object is from active
indeterminacy, to vague determination, to useful definition (tending
toward the ideal limit of full determination)' (214).  Yet this
seemingly linear narrative or trajectory, if that's what it can be
termed, is in no way a linear process.  Quite the opposite.  It is
circular, or is constituted through and within a process of feedback
whereby the technical object, in its nominated form, feeds back and
transforms its conditions of possibility, which can be understood as
'the field of the emergence'.

So, I'm suggesting that a processual media theory can enhance
existing approaches within the field, registering the movement
between that which has emerged as an empirical object, meaning or
code, and the various conditions of possibility.  A processual media
theory inquires into that which is otherwise rendered as invisible,
yet is fundamental to the world as we sense it.  Thus, processual
media theory could be considered as a task engaged in the process of
translation.


Notes:

1 Lev Manovich, The Language of New Media (Cambridge, Mass.: MIT Press, 2001).

2 http://www.cultsock.ndirect.co.uk/MUHome/cshtml/introductory/sw.html

3 See Armand Mattelart and Michèle Mattelart, Theories of
Communication: A Short Introduction (London: Sage, 1998).

4 http://www.martinleith.com/glossary/cybernetics.html

5 See Félix Guattari, Chaosmosis: An Ethico-Aesthetic Paradigm,
trans. Paul Bains and Julian Pefanis (Sydney: Power Publications,
1995 [1992]); Brian Massumi, A User's Guide to Capitalism and
Schizophrenia: Deviations from Deleuze and Guattari (Cambridge, Mass:
MIT Press, 1992).

6 D. N. Rodowick, Reading the Figural, or, Philosophy after the New
Media (Durham and London: Duke University Press, 2001), 20.

7 See Ilya Prigogine and Isabelle Stengers, Order out of Chaos: Man's
New Dialogue with Nature (London: Flamingo, 1985).  See also Massumi,
A User's Guide; Isabelle Stengers, The Invention of Modern Science,
trans. Daniel W. Smith (Minneapolis: University of Minnesota Press,
2000); Alfred North Whitehead, Process and Reality (New York: Free
Press, 1978).

8 Brian Massumi, Parables for the Virtual: Movement, Affect,
Sensation (Durham and London: Duke University Press, 2002), 6.

9 http://www.catchingafallingknife.com. See also Geert Lovink,
'Interview with Michael Golberg', posted to fibreculture mailing list
16 October, 1992, http://www.fibreculture.org

10 Felix Stalder, 'Space of Flows: Characteristics and  Strategies',
posting to nettime mailing list, 26 November, 2002,
http://www.nettime.org

11 Felix Stalder, 'Actor-Network-Theory and Communications Networks:
Towards Convergence' (1997),
http://www.erp.fis.utorono.ca/~stalder/html/Network_Theory.html


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

Date: Wed, 11 Dec 2002 12:50:01 +0100
From: springerin <springerin {AT} springerin.at>
Subject: picture politics: springerin symposion 14.12. 02

springerin Symposion
PICTURE POLITICS
14.12.02
ArchitekturZentrumWien
Museumsquartier
Museumsplatz 1
1070 Wien
U3 Volkstheater

Info: +43 1 5229124
info {AT} springerin.at


Picture Politics
As art production and the exhibition business become increasingly 
"global," new political and aesthetic questions are being raised: 
What visual forms, what image formats can do any semblance of justice 
to the ever more complex global processes of transfer and 
transformation? The symposion inquires after a form of image politics 
that is adequate to the current situation.

14.00, multiplicity, Milano
»Liquid Europe and Solid Sea: Towards a New Relation«
mit: Stefano Boeri, Armin Linke, John Palmesino

15.00  Brian Holmes, Paris
»Liar's Poker: Representation of Politics/Politics of Representation«

16.00 Break

16.30 Amandou Kane Sy (Huit Façettes), Dakar
»The Hamdallaye Project«

17.30 Transimage, presentations
Anne-Marie Morice & Pierre-Jean Giloux, (synésthesie, Paris);  Måns 
Wrange (Association for Temporary Art [a:t], Stockholm); Claudio 
Parrini (UnDo.Net, Milano), Christian Denker (Paris)

19.00 Panel
- -- 
!!! FOR THE ENGLISH VERSION OF SPRINGERIN SEE: http://www.springerin.at/en !!!

redaktion springerin, museumsplatz 1, A-1070 wien/vienna
T: +43 1 5229124, ISDN&F: +43 1 5229125
http://www.springerin.at


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

Date: Tue, 10 Dec 2002 10:22:19 +0100
From: Kalina Bunevska <kbunevsk {AT} soros.org.mk>
Subject: Invitation

The Contemporary Art  Center - Skopje, Macedonia
cordially invite you to attend the opening of the exhibition


Rhythm of the circle 
Dejan Spasovic & Dorijan Jovanovic

Wednesday, 11.12.2002, 8 PM 
CIX gallery

The exhibition will be opened in the frame of SEAFair 2002, 

 Rhythm of circle is audio visual installation which allow the
participants of the show to create music - rhythm. 
Interactive points are installed on the gallery floor. They are
activated by visitors in the moment when visitors step on sensor which
initiates  some fragments of music actually fragments of rhythm. During
the walking of visitors throe gallery they are becoming part of
rhythmical moving or better to say - Dance 


______________________
Kalina Bunevska Isakovska
Visual Arts Program Coordinator
CAC - Skopje, Macedonia
Address: Orce Nikolov 109, 1000 Skopje, Republic of Macedonia
tel./fax: ++389.91/133-541; 214-495
e-mail: kalina {AT} scca.org.mk
http://www.scca.org.mk


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

Date: Tue, 10 Dec 2002 14:00:21 +0100
From: "ersatzmedia" <info {AT} ersatzmedia.info>
Subject: ErsatzStadt




ANBAUNEUEMITTE + ERSATZSTADT + AN ARCHITEKTUR


PRÄSENTIEREN: SPACE/TROUBLE - STADT.ÖKONOMIE.KRIEG


 

Freitag 13.12.

Workshop: „Jenseits des guten Regierens“: Schattenglobalisierung,
Gewaltkonflikte und städtisches Leben“

Samstag 14.12. 

15 Uhr AnbauNeueMitte Filmblock 1: „low intensity war – less lethal
weapons“ 

18 Uhr Gesprächsrunde 

20 Uhr Filmblock 2

Sonntag 15.12. 

15 Uhr Filmblock 3 

19 Uhr AnArchitektur Preview: „Krieg und die Produktion im Raum“

 Ort: Prater der Volksbühne, Kastanienallee 7-9, 10435 Berlin

 

Im Rahmen des Projektes ErsatzStadt finden am kommenden Wochenende im
Prater der Volksbühne der Workshop „Jenseits des Guten Regierens“,
Filme, Vorträge und Gespräche statt. Thematisch wird es dabei um „Neue
Kriege“ ebenso wie um globalisierte Gewaltökonomien (Raubbau, Drogen-
und Menschenhandel) gehen. Es soll u. a. untersucht werden, wie sich
privatisierte und informalisierte Sicherheitsdienste,
Terrorismus/bekämpfung, staatliche Repression und Korruption,
religiös/ideologisch konnotierte lokale Aufstände oder die zunehmende
Militarisierung öffentlicher Räume im städtischen Alltag niederschlagen.
Das genaue Programm finden Sie unter www.ersatzmedia.info
<http://www.ersatzmedia.info/> .

Wir laden Sie herzlich ein, am Workshop „Jenseits des guten Regierens“
teilzunehmen – und natürlich auch zu allen weiteren Veranstaltungen am
kommenden Wochenende. Anmeldungen für den Workshop (begrenzte
Teilnehmerzahl) werden erbeten unter workshop2 {AT} ersatzmedia.info.

 

ErsatzStadt ist ein Initiativprojekt der Kulturstiftung des Bundes in
Kooperation mit der Volksbühne am Rosa-Luxemburg-Platz.

 

 

 

 

 

 



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

Date: Wed, 11 Dec 2002 19:08:15 -0500
From: (atty) atty {AT} no-such.com
Subject: >wartime< project premiere > Friday 13th Dec > Brixton, London

hi nettime-l people

the >wartime< project gets its first live showing at reborn open_digi night, Friday 13th December

the >wartime< project is conceived as collective effort by digital and network artists reflecting on and reacting against wars, past, present and future. Work has been variously designed for showing LIVE with special performance sections and as an only online edition (to be released soon). Besides first public showing of over forty project pieces contributed by participants to date, the music group NeuroConditioner (Michiaki Abiko http://3code.net-art.ws and Tomoyuki Furuta) from Barcelona will perform a LIVE sound set for the >wartime< project at approxiamtely 10pm, plus another set later in the night. Stanza will also be creating some LIVE sound during the evening.

the new open_digi venue for this event is the Ritzy Cafe which is inside the Ritzy Cinema in the centre of Brixton, London UK. The showing will start 9pm and continue till 1am (including bar). A donation towards costs of £2 will be asked for on the door

opening of >wartime< online edition soon + more LIVE shows in various countries in planning (any suitable venue or occasion please contact us)

yours
atty

>wartime< URL is http://offline.area3.net/wartime
more participants for future are welcome at http://offline.area3.net/wartime/join.php

>wartime< project is a joint intitiative of OFFLINE association http://offline.area3.net and open_digi http://club.net-art.ws/

participants in the >wartime< project as follows

mobilegaze > Montréal CA > http://www.mobilegaze.com
photomontage > Vancouver CA > http://www.photomontage.com
irene marx > berlin DE > http://www.artetic.com
ui uuii > Vancouver BC CA > http://uiuuii.com
Klaus Schrefler > Graz AU > http://karasu.mur.at/violence
6168.org > toronto CA > http://www.6168.org
cybertarkus > Tijuana MX > http://www.laplace.com.mx
rechen > Rosario (2000) AR > http://www.rechen.com
TJADER-KNIGHT inc. > Helsinki FI > http://www.tjader-knightinc.com
andy deck > New York City NY > http://artcontext.org
Mervyn Diese > London UK > http://www.diesekonstruction.co.uk
ruth catlow > Stoke Newington, London UK > http://www.furtherfield.org/rcatlow/stop/index.html
Miguel Mendoza > México City (DF) MX > 
yara elsherbini > Pontefract UK > http://www.mute-dialogue.com/yara
microbo y bo130 > Milano IT > http://www.microbo.com
Antoine Schmitt > Paris FR > http://www.gratin.org/as/
subculture > Los Angeles, CA US > http://www.subculture.com
emilio > Malaga SP > http://www.goldenedge.com
laura carmona > Mexico City MX > http://www.fllanos.com/artistainvitado/laura.html
philip wood > Marcillac-Lanville FR > http://www.medialounge.org
joesér alvarez > Porto Velho - Rondônia BR > http://www.enter-net.com.br/linealvarez/WarGame/WarGame_.htm
Go-G > Buenos Aires AR > http://boltown.com.ar
antonio dominguez > Monterrey, Nuevo León MX > http://www.nuzita.org
jimpunk > Paris FR > http://www.jimpunk.com
jeff gompertz > NYC US > http://fakeshop.com
mario hergueta > Frankfurt DE > http://www.marioland.de
Glorious Ninth > Falmouth, Cornwall UK > http://www.gloriousninth.com
re:combo > Recife BR > http://www.recombo.art.br
Tom Corby > London UK > http://www.reconnoitre.net
NeuroConditione® > Barcelona ES (JP) > http://3code.net-art.ws
Dylan Graham > Amsterdam NL > http://www.dylangraham.nl
Simon Biggs > London UK > http://www.littlepig.org.uk
Gianluca Del Gobbo > Rome IT > http://www.flxer.net
mircea turcan > monterrey MX > http://www.sincretic.com
Frank Shifreen > New York City US > http://www.thedigitalmuseum.org 
Moana Mayall > Rio de Janeiro BR > http://www.motim.com
sellam michael > Paris FR > http://incident.net/users/msellam/
mark river > Brooklyn US > http://tinjail.com
neil jenkins > Bristol UK > http://www.devoid.co.uk
jody zellen > Los Angeles US > http://www.ghostcity.com/crowdsandpower
Marc McNulty > Rochester, New York US > http://earphone.org
doron golan > New York City US > http://64.61.77.40/
marco13 > Barcelona ES > http://www.globaldrome.org/santofile
jon williams > Raleigh, N Carolina US > http://www.shovemedia.com
submeta > Paris FR > http://submeta.free.fr
Eduardo Navas > Los Angeles US > http://www.navasse.net
RSG > New York City US > http://rhizome.org/rsg
Ben Godfrey > London UK > http://aftnn.org/
joy garnett > New York City US > http://firstpulseprojects.net
Andrej Tisma > Novi Sad YU > http://www.pcpages.com/justart/
Crankbunny > New York City US > http://www.crankbunny.org
katie bush > San Francisco US > http://www.destroyevil.com
Deb King > Detroit, Michigan US > http://www.collateralassets.com
glaznost > Barcelona ES > http://www.glaznost.com
elkin atwell > Brixton, London UK > 
eryk salvaggio > Ogunquit, Maine US > http://www.one38.org
chema > Barcelona ES > http://www.area3.net/barcelona
karsten schmitt > Crouch End, London UK > http://www.toxi.co.uk
zden > Bratislava SK > http://zden.satori.sk
80/81 > Torino IT > http://www.8081.com
stanza > Brixton, London UK > http://www.stanza.co.uk/
brian mackern > Montevideo UY > http://www.internet.com.uy/vibri
elout de kok > Amsterdam NL > http://www.xs4all.nl/~elout/
peter luining > Amsterdam NL > http://www.ctrlaltdel.org/
margaret penney > New York City US > http://www.dream7.com/
arcangel > Mexico City MX > http://www.unosunosyunosceros.com
fernando llanos > Mexico City MX > http://www.fllanos.com
atty > Brixton, London UK > http://rnd.net-art.ws


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

Date: Thu, 12 Dec 2002 10:14:22 +0100
From: Sonia =?iso-8859-1?Q?L=F3pez?= <slopez {AT} macba.es>
Subject: Muntadas: On Translation: Web

On Translation: Web, a project by Ricardo Iglesias is produced on the
occasion of the Muntadas exhibition On Translation: Museum at MACBA
(Museu d’Art Contemporani de Barcelona ). It is an approach to and an
abstraction of the concepts to be found at the base of the On
Translation projects. Faced with that complexity and variety of ideas, a
new level of translation is generated, translation into bits of
information for the web-site, translation into different programmes
–HTML, dynamic HTML (dHTML), JavaScript, flash animations– so that to
some extent we reach the final dematerialisation of the works into pure
programming codes, i.e., a new work in metalanguage where, in the end,
only the translation and the loss remain.

The artistic activities of Muntadas (Barcelona, 1942) have been defined
by a critical analysis of the role of the media in the symbolic
construction of contemporary social reality. From the mid-1970s onwards
his attention has focused on the environment created by what he calls
the "media landscape": political propaganda, advertising, economic and
ideological power groupings, and culture criticism.

 On Translation: Museum is an exhibition in which the artist’s projects
from the On Translation series are reinterpreted. This exhibition at the
MACBA, covers four essential aspects of Muntadas’ work: architecture,
the media, the city and the museum; an urban project realized especially
for this occasion called On Translation: The Image, an in-depth
publication; and the on-line project sited in the projects section at
http://www.macba.es and at http://muntadas.macba.es





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

Date: Wed, 11 Dec 2002 19:08:15 -0500
From: (atty) atty {AT} no-such.com
Subject: >wartime< project premiere > Friday 13th Dec > Brixton, London

hi nettime-l people

the >wartime< project gets its first live showing at reborn open_digi night, Friday 13th December

the >wartime< project is conceived as collective effort by digital and network artists reflecting on and reacting against wars, past, present and future. Work has been variously designed for showing LIVE with special performance sections and as an only online edition (to be released soon). Besides first public showing of over forty project pieces contributed by participants to date, the music group NeuroConditioner (Michiaki Abiko http://3code.net-art.ws and Tomoyuki Furuta) from Barcelona will perform a LIVE sound set for the >wartime< project at approxiamtely 10pm, plus another set later in the night. Stanza will also be creating some LIVE sound during the evening.

the new open_digi venue for this event is the Ritzy Cafe which is inside the Ritzy Cinema in the centre of Brixton, London UK. The showing will start 9pm and continue till 1am (including bar). A donation towards costs of £2 will be asked for on the door

opening of >wartime< online edition soon + more LIVE shows in various countries in planning (any suitable venue or occasion please contact us)

yours
atty

>wartime< URL is http://offline.area3.net/wartime
more participants for future are welcome at http://offline.area3.net/wartime/join.php

>wartime< project is a joint intitiative of OFFLINE association http://offline.area3.net and open_digi http://club.net-art.ws/

participants in the >wartime< project as follows

mobilegaze > Montréal CA > http://www.mobilegaze.com
photomontage > Vancouver CA > http://www.photomontage.com
irene marx > berlin DE > http://www.artetic.com
ui uuii > Vancouver BC CA > http://uiuuii.com
Klaus Schrefler > Graz AU > http://karasu.mur.at/violence
6168.org > toronto CA > http://www.6168.org
cybertarkus > Tijuana MX > http://www.laplace.com.mx
rechen > Rosario (2000) AR > http://www.rechen.com
TJADER-KNIGHT inc. > Helsinki FI > http://www.tjader-knightinc.com
andy deck > New York City NY > http://artcontext.org
Mervyn Diese > London UK > http://www.diesekonstruction.co.uk
ruth catlow > Stoke Newington, London UK > http://www.furtherfield.org/rcatlow/stop/index.html
Miguel Mendoza > México City (DF) MX > 
yara elsherbini > Pontefract UK > http://www.mute-dialogue.com/yara
microbo y bo130 > Milano IT > http://www.microbo.com
Antoine Schmitt > Paris FR > http://www.gratin.org/as/
subculture > Los Angeles, CA US > http://www.subculture.com
emilio > Malaga SP > http://www.goldenedge.com
laura carmona > Mexico City MX > http://www.fllanos.com/artistainvitado/laura.html
philip wood > Marcillac-Lanville FR > http://www.medialounge.org
joesér alvarez > Porto Velho - Rondônia BR > http://www.enter-net.com.br/linealvarez/WarGame/WarGame_.htm
Go-G > Buenos Aires AR > http://boltown.com.ar
antonio dominguez > Monterrey, Nuevo León MX > http://www.nuzita.org
jimpunk > Paris FR > http://www.jimpunk.com
jeff gompertz > NYC US > http://fakeshop.com
mario hergueta > Frankfurt DE > http://www.marioland.de
Glorious Ninth > Falmouth, Cornwall UK > http://www.gloriousninth.com
re:combo > Recife BR > http://www.recombo.art.br
Tom Corby > London UK > http://www.reconnoitre.net
NeuroConditione® > Barcelona ES (JP) > http://3code.net-art.ws
Dylan Graham > Amsterdam NL > http://www.dylangraham.nl
Simon Biggs > London UK > http://www.littlepig.org.uk
Gianluca Del Gobbo > Rome IT > http://www.flxer.net
mircea turcan > monterrey MX > http://www.sincretic.com
Frank Shifreen > New York City US > http://www.thedigitalmuseum.org 
Moana Mayall > Rio de Janeiro BR > http://www.motim.com
sellam michael > Paris FR > http://incident.net/users/msellam/
mark river > Brooklyn US > http://tinjail.com
neil jenkins > Bristol UK > http://www.devoid.co.uk
jody zellen > Los Angeles US > http://www.ghostcity.com/crowdsandpower
Marc McNulty > Rochester, New York US > http://earphone.org
doron golan > New York City US > http://64.61.77.40/
marco13 > Barcelona ES > http://www.globaldrome.org/santofile
jon williams > Raleigh, N Carolina US > http://www.shovemedia.com
submeta > Paris FR > http://submeta.free.fr
Eduardo Navas > Los Angeles US > http://www.navasse.net
RSG > New York City US > http://rhizome.org/rsg
Ben Godfrey > London UK > http://aftnn.org/
joy garnett > New York City US > http://firstpulseprojects.net
Andrej Tisma > Novi Sad YU > http://www.pcpages.com/justart/
Crankbunny > New York City US > http://www.crankbunny.org
katie bush > San Francisco US > http://www.destroyevil.com
Deb King > Detroit, Michigan US > http://www.collateralassets.com
glaznost > Barcelona ES > http://www.glaznost.com
elkin atwell > Brixton, London UK > 
eryk salvaggio > Ogunquit, Maine US > http://www.one38.org
chema > Barcelona ES > http://www.area3.net/barcelona
karsten schmitt > Crouch End, London UK > http://www.toxi.co.uk
zden > Bratislava SK > http://zden.satori.sk
80/81 > Torino IT > http://www.8081.com
stanza > Brixton, London UK > http://www.stanza.co.uk/
brian mackern > Montevideo UY > http://www.internet.com.uy/vibri
elout de kok > Amsterdam NL > http://www.xs4all.nl/~elout/
peter luining > Amsterdam NL > http://www.ctrlaltdel.org/
margaret penney > New York City US > http://www.dream7.com/
arcangel > Mexico City MX > http://www.unosunosyunosceros.com
fernando llanos > Mexico City MX > http://www.fllanos.com
atty > Brixton, London UK > http://rnd.net-art.ws


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

Date: Thu, 12 Dec 2002 23:08:55 +1100
From: dr.woooo {AT} nomasters.org
Subject: EU- {AT} ctions dec 13-14 - lord of the Things

This is a multi-part message in MIME format.

- --bound1039694935
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

English: &#8220;We shall make the greatest story ever&#8221; - Copenhagen Dec.13
Postato il Lunedì, 09 dicembre  {AT}  10:03:46 EST di claudio 
 

 
Lords of the Things: &#8220;We shall make the greatest story ever&#8221; 

The darkness is spreading

Towards the end of the last millennium the powers of darkness started to gather. Their wickedness grew for each day that passed and spread far and wide. Soon it became clear that the new millennium wouldn&#8217;t be new at all.

In the struggle between cooperation and selfishness the dark forces are gaining an advantage. Human laughter continues, but more often people are laughing at one another&#8217;s bad luck. A cloud of fear, loneliness and mistrust hangs over them threatening their collective spirit. 


The Dark Lords - Creation of the Empire 
The dark lords live behind walls in comfort and luxury. Here they protect themselves from the world to avoid the suffering and agony they create for others. 


They have created dominating coalitions under which only they are free. Coalitions that now are known as the Empire. Through secret agreements behind closed doors and arrogant demonstrations of power, they exhibit their suppression and deny the people their freedom. They spread their brutality to all corners of the world and hundreds of millions of beings suffer under their suppression. The dark lords representatives meet several times yearly to conspire, and grow even stronger and more powerful. The meetings are cloaked in fine words to hide the dire consequences. 


The dark lords and their henchmen project every struggle for cooperation between people as a struggle for evil. Their tools is language that beguiles and confuses, and sounds authoritative, but divides and suppresses. This is necessary since human beings submission and slavery have always been the foundation of the dark lords existence. 


One thing threatens the dark powers that they cannot hold back: Human solidarity. It is already existing - and is growing. 


Solidarity takes root 


The fellowship includes everyone, from the underworld and sky warriors, to the overlooked and patient. It is a diverse movement that is present everywhere, especially where the dark forces think they are most secure. Wherever the dark forces meet they face the opposition; the brave rebels, the sneaky elves and the cautious creatures of the night. Travelers from near and far meet in the hope that together they can break down the walls of darkness. They are steadfast in their fight for diversity, cooperation and friendship with nature and all its creatures. 


On the thirteenth day of the twelfth month, in the second year of the new millennium another meeting is planned, to drag the world farther in to darkness. But once again the forces of good will defy the seemingly unbeatable and strike cracks in the asphalt of selfishness. 


Participate in the struggle to change history - come to the most important live roll play ever. 
The game is held in Copenhagen, Friday the 13th of December 2002. 


Every comparison with reality - is intentional. 


You decide how you want to contribute and what role you wish to play. The importance is not in your costume, but your enthusiastic input. 
The only rule: Violence results in immediate exclusion from the game! 


The Dark Side: 


The Empire:
- -The Empire goes by various names: WTO, EU, G8, NATO, IMF and the World Bank, which are the most powerful of these. Their meetings form the visible power base for the Dark Lords. From here they send out their orders. These power bases are veiled to seduce and charm the weakest opposition to take to the Dark Side. Under the veil they spin an endless web of lies. Behind these veils stand their blood smeared walls heavily guarded by soldiers of the Empire. 


Lords of Darkness: 
- -The Lords of Darkness have cast a dark curse over the people of the earth and established The Empire. Some of them live secluded and posses uncountable wealth. Others pose as the peoples servants and protectors. In a disgraceful unholy alliance they are nurtured by one another&#8217;s evil. An evil which throughout the era has constantly escalated in scope and brutality. The Dark Lords have the real power and form the absolute greatest threat towards the earth and its people. 


The Mutants: 
- -The servants of the dark side, through discipline and with an enormous lust for power, have become one pointed in organizing and administrating the murderous plans of the Lords of Darkness. They function as the link between the Lords of Darkness and the people of the world. They appear harmless at first glance although they have the capacity to make themselves invisible and seemingly meaningless. They are often found very close to the centers of power of the Lords of Darkness who attract them with magnetic powers. 


Soldiers of the Empire: 
- -They have been recruited to serve the Lords of Darkness. They have been led to believe that they serve justice. But soon they are brainwashed to blindly follow the orders from the Dark Side. They can be very dangerous to confront since they often do their duty with cold brutality. 


The Disobedient: 
Your role during the day of action, Friday, the 13th of December, 2002 


The United Body: 
Diverse riot forces using just their bodies go in direct confrontation with the forces in power. Their strength is, that through sheer numbers they can blockade and create spaces where the forces in power are denied entrance. 


The Sneaky Elves: 
- -They are mischievous and witty. They work individually or in small groups and perform pinpoint actions with the goal to ridicule and expose the dark powers. Their strength lies in their mobility and ability to quickly and steadfastly undermine the orders the dark forces are depending on. 

The Flow Commanders: 
- -With their deep knowledge of the latest technology and its language they crack the codes of the dark powers. Their strength is that they can work alone and from long distances overload and disrupt the systems of the dark powers. 


The Masters of Drawings: 
- -In a constant battle with the powers they regularly transform streets of the darkness by magical means. They are often pursued by the soldiers of the Empire when they, alone or in small groups, slip out to set their own stamps on the symbols of darkness. With their creativity and knowledge of the night and by treading carefully, they are able to create colors and life that the powers of darkness cannot suppress. 


The Ocean of Humanity: 
- -Here everyone, The Sneaky Elves as well as The Rioters, meet together with the rest of humanity to show solidarity in the struggle against darkness. The Ocean of Humanity´s strength is its enormous numbers and diversity which make it difficult for the Empires Soldiers to advance.

- ---
Action Day: Friday the 13th of December 2002. 


Daily info meetings will be held during the EU Summit.
The infomeetings regarding the action day will be held at Christiania:
Thursday at 21.00
Friday at 8.00
Friday at 13.00 

Global Roots summons grassroots activists, action groups, artist, net activist, ect., to an action day, Friday the 13th of December, against corporate globalization.

The weekend of the 13th-15th of December the heads of state and government of the EU will meet in Copenhagen.
The foundation of the European Union is to ensure a liberalistic economy both within and throughout the rest of the world. The consequenses of this policy is an increased polarization between rich and poor both localy and globaly.
This trend occures, among others, through:
- - Massive subsidizing of the EU&#8217;s own production. The warehousing of food products and the subsequent dumping of such products in areas whose chance to market their own products is thereby ruined.
- - The construction of a superpower with a united international and security policy in order to carry out the parlimentary and military interests of European imperialism.
- - The establishment of a Fortress Europe, where humans are denied access to assure themselves better living conditions. Over 3000 people have died in their attempt to break through the walls of the EU since 1993.
- - Increased repression of all forms of resistance. The creation of activist registries, the criminalization of solidarity work, and a growing degree of survailience of the grassroots globalization movement.

Action Day against an EU of Capital and war
As has been the case at every summit of the elite since the WTO Summit in Seattle, the opening day of the summit, December 13th, has been declared a united day of action against an EU of capital and of war. 
The actionday begins thursday night at midnight.
All anticapitalistic groups and groups critical of the EU are invited to carry out actions and happenings in order to draw attention to the negative role of the EU and challenge the summit of the Elite. In addition to the decentralized actions of the individual groups, a mass disobedience action against the EU summit will be carried out at the Bella Center, where the summit is to be held.

We encourage people to arrive in Copenhagen Thursday evening at the latest. We also encourage all activists to form &#8221;affinitygroups&#8221; (small action groups) both for the decentralized actions and the mass action.

We encourage people to use their imagination and creativity to protest the EU, the war and corporate globalization.
The action day should reflect the diversity that the movement contains. We therefore hope that action groups, artist, street artists, net activists, and many others will use the day to show that there is not concenses on the politics being carried out.
>From Thursday evening, through the night, and all day Friday successive info meetings will be held. There will be continuous information updates on this page. During the top meeting the Global Roots information center will be located at Blågårdens Medborgerhus in the Nørrebro, neighborhood.(click here to see other important adresses during the summit)

All actions that Global Roots will participate in during the presidency will follow the line of action

Nota: www.lott.dk


- --bound1039694935--


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

Date: Tue, 10 Dec 2002 23:35:43 -0700
From: Lev Manovich <lev {AT} manovich.net>
Subject: NEW CITIES/NEW MEDIA Conference | Los Angeles, January 17-19, 2003

NEW CITIES/NEW MEDIA
Interdisciplinary Conference

January 17-19 2003
University of Southern California
Los Angeles, California

By way of photography, cinema, television and other visual media, urban
space is communicated and made meaningful-be it from the effect of
photography and cinema on the Modernist City to the impact of new technology
on contemporary urban planning. Accordingly, with each paradigm shift in the
aesthetics and form of mass media, our conceptualization of cities becomes
transformed and altered.

NEW CITIES/NEW MEDIA seeks to explore the ways in which urban landscapes
have transformed new media production and how new media has played a role in
transforming our urban landscapes-both historically as well as in current
production. The conference is intended to bring together an
interdisciplinary group of scholars and practitioners to address the
inter-play between media, the production of cities and our collective urban
experiences.

The conference will take place on the University of Southern California
campus the weekend of January 17-19 2003. Guest Speakers will include: Scott
Bakatman (Terminal Identity) and Lev Manovich (The Language of New Media).
Two new Multimedia Projects by Norman Klein and Pat O'Neill will be
exhibited, along with  other media screenings throughout the weekend. There
will be a reception on Friday night featuring a large scale installation of
artist Robbert Flick's "Central Ave" project.

For further information, please go to:
http://www.usc.edu/architecture/newcities


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

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