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Table of Contents:

   DEAF03: workshop Media Knitting                                                 
     Marjolein Berger <marjolein {AT} v2.nl>                                              

   conference: the politics of code (oxford, feb. 6)                               
     "geert lovink" <geert {AT} xs4all.nl>                                                

   Summer Creativity Courses in Europe                                             
     Creativity Course <mail {AT} createcourse.com>                                       

   EUPHORICUM 1 (15./16.01) Ein Symposium  =?ISO-8859-1?B?/GJlciBkaWUgWnVrdW5mdCB2b
     OEH /BIPOL <bipol {AT} akbild.ac.at>                                                 

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

   REFLEXIVE REPRESENTATIONS (conference/germany)                                  
     "geert lovink" <geert {AT} desk.nl>                                                  

   -Empyre- for January: Mechanisms of Exposure                                    
     Christina McPhee <christina112 {AT} earthlink.net>                                   

   Crisis/Media Workshop                                                           
     "rachel magnusson" <rachel {AT} sarai.net>                                           

   Sacred Media Conference                                                         
     "Jussi Holopainen" <jussi.holopainen {AT} pp3.inet.fi>                               


Date: Mon, 23 Dec 2002 16:14:31 +0100
From: Marjolein Berger <marjolein {AT} v2.nl>
Subject: DEAF03: workshop Media Knitting

Workshop 'Media Knitting'
A three-day hands-on workshop during the Dutch Electronic Art Festival 2003 
(DEAF03 'Data Knitting') organized by V2_, Institute for the Unstable Media.

Wednesday 26 February 2003, 12.00 - 22.00 hours
Thursday 27 February 2003, 12.00 - 22.00 hours
Friday 28 February 2003, 12.00 - 20.00 hours, public presentation of the 
workshop results 20.00 - 22.00 hours
Location: V2_, Eendrachtsstraat 10, Rotterdam, The Netherlands
Costs attendance: 100,- euro (including lunch and drinks)

Collaboration between developers and artists from different disciplines 
often results in merged media or new media formats. 'Media Knitting' is a 
three-day hands-on workshop for artists, engineers, and designers working 
with software to knit various media formats and applications together for 
live or real-time interactive performances. The scope of the media used for 
collaboration in 'Media Knitting' will include video, streaming media, 
audio and 3D modelling. In this workshop thirty participants can work 
together to discover and patch each other's disciplines together by means 
of software and human interaction. Several experts will be brought in from 
the commercial software field for Mac and Windows as well as from the field 
of open source and free software. Among the software facilitated for this 
workshop are Max-MSp, Jitter, V2_Jam, PD, Blender, Cyclops, BigEye, 
gstreamer, Nato, MoB, FreeJ and Touch 101.

The participants and the workshop leaders will work together to realize 
performances or media jam sessions. The end result of the workshop will be 
presented in an informal media concert open to the audience of the Dutch 
Electronic Art Festival 2003 (DEAF03).

Workshop leaders: Amy Franceschini (USA) and Guy van Belle (B).

Participants are encouraged to bring their own laptop and software.

Application forms for participants can be found on 
Application is possible until 15 January 2003.

If you have any questions about the workshop please contact Lobke Hulzink 
by e-mail workshop {AT} v2.nl.


Date: Fri, 27 Dec 2002 16:40:45 +1100
From: "geert lovink" <geert {AT} xs4all.nl>
Subject: conference: the politics of code (oxford, feb. 6)


The Politics of Code:
Shaping the Future of the Next Internet
Thursday, 6th February 2003
A one day public conference organised by the Programme in Comparative Media
Law and Policy, and the Oxford Internet Institute, University of Oxford

The Internet is at a crossroads, critical choices will be made in the coming
months about the Internet's architecture that will shape the Internet for
years to come.

PCMLP and the OII are therefore convening a conference in Oxford to not only
identify what those critical choices are, and to discuss in an innovative
cross-disciplinary set-up of practitioners and academics how we can shape
the future of the next Internet.

High profile speakers - among them Prof. Larry Lessig, renowned thinker on
Cyberlaw and Esther Dyson, celebrated digerati and founding chairman of
ICANN - will discuss the key choices that need to be made on privacy,
security, access, openness and control in the design of Internet technology
and Internet Governance.

This conference will examine how the underlying architecture of the
Internet - which consists of standards, protocols and software code -
creates new public policy issues and requires new approaches from

Speakers will address how seemingly narrow technical developments such as
IPv6, digital rights management systems, and digital identity and
authentication technologies have the potential to fundamentally transform
the global network.

  a.. Is the Internet moving from an open to a closed communications medium?
  b.. Is access to the Internet likely to become more controlled and
mediated at the expense of personal freedom?
  c.. Do standards that are being developed have a negative impact on
innovation and the growth of the Internet?
The challenge, and main point of debate, is to create governance processes
for the global network, which are able to foster technical innovation and
take political values into account.

The event will be hosted at the Oxford Union; a name synonymous with famous
speakers and world class debating. Steeped in history, the Union was founded
in 1823 as a forum for the free exchange of ideas. The great debating
chamber, where the event will take place, has seen such speakers as Winston
Churchill, Mother Teresa and Kermit the Frog.


Date: Sat, 4 Jan 2003 09:08:24 -0500
From: Creativity Course <mail {AT} createcourse.com>
Subject: Summer Creativity Courses in Europe

Summer Creativity Workshops in Europe: http://www.creativitycourse.net

We are all born imaginative, curious, creative, but these qualities can
fade with the passage of time. The Creativity Workshops aim is to help
people get their imaginations back.


My name is Karen Bell, administrative associate of the Creativity
Workshop and I want to give you our latest news. Whether you are a
writer, a business person, a teacher, or an artist, the Workshop can
help you discover and nurture your particular way of expression and
break through the fears and blocks that inhibit creativity. Working with
more than 2,000 individuals, businesses, and institutions since 1993,
the Creativity Workshop helps people believe in and develop their
creative process through using a unique series of exercises in memoir,
creative writing, visual arts, sense perception,  brainstorming, and

This summer we have added new 7-9 day workshops in Prague, Crete, and
London! We still have our  very popular workshops in Florence,
Barcelona, and Paris as well!

See below for our upcoming Europe and New York City Workshops and read
more about the Creativity Workshop: writing, storytelling, drawing, and
personal memoir,

You can also go directly to our extensive informational site:
info {AT} createcourse.com


Karen Bell Administrative Associate 
info {AT} createcourse.com 
Tel: (212) 922-2153

2003 Calendar and details:

The Creativity Workshop was established in 1993 by writer Shelley Berc
and multimedia artist Alejandro Fogel to provide an alternative to
traditional forms of education and thinking. Its emphasize is on process
rather than product. The organization is dedicated to teaching
individuals and groups about their creative processes and how to use
them in all aspects of their work and lives. The Workshop's goal for
participants is refined creative skills, expanded perception, innovative
problem solving, inspired brainstorming and ways of looking at life as
exciting and transformative. 


Island of Crete June 17 - 27, 2003 
9 day workshop 
Tuition + accommodations packages available from $1,450

Florence June 29- July 9, 2003 
9 day workshop Tuition Fee: $1,100
Tuition + accommodations packages available from $1,450

JULY Paris July 10 - 20, 2003 
9 day workshop Tuition Fee: $1,100 
Tuition + accommodations packages available from $1,800

Barcelona July 23 - August 2, 2003 
9 day workshop 
Tuition Fee: $1,100
Tuition + accommodations packages available from $1,450

AUGUST Prague August 4 - 14, 2003 
9 day workshop 
Tuition Fee: $1,100
Tuition + accommodations packages available from $1,450

London August 17 - 24, 2003 
7 sessions in 6 days
Tuition Fee: $1,100 
Tuition + accommodations packages available from $1,600


February 15 - 16, 2003 
2 day weekend workshop (8 contact hours) 
Saturday and Sunday from 11:30 AM to 4:30 PM 
Tuition Fee: $350

March 15 - 16, 2003 2 day weekend workshop (8 contact hours) 
Saturday and Sunday from 11:30 AM to 4:30 PM 
Tuition Fee: $350

March 28 - 31, 2003 4 day intensive workshop (16 contact hours) 
Friday, Saturday, Sunday and Monday from 4 PM to 8 PM 
Tuition Fee: $600

April 19 - 20 2003 2 day weekend workshop (8 contact hours) 
Saturday and Sunday from 11:30 AM to 4:30 PM 
Tuition Fee: $350

May 17 - 18, 2003 2 day weekend workshop (8 contact hours) 
Saturday and Sunday from 11:30 AM to 4:30 PM 
Tuition Fee: $350

May 24 - 30, 2003 (Memorial Day weekend) 7 day intensive workshop (21
contact hours) 
Monday through Saturday, 5 to 8 PM 
Tuition Fee: $950
Tuition + accommodations packages available

If you are interested in reading more about the Workshop, we can send
you some very interesting magazine articles and interviews with the
directors, Shelley Berc and Alejandro Fogel which will give you a deeper
idea about the workshop's techniques, origins, and results.


Karen Bell 
Administrative Associate
info {AT} createcourse.com


What people say about the Creativity Workshop

"This is my third workshop coming up and I can't wait! Shelley and
Alejandro ever so gently are able to get us fellow travelers (and not
students) in to a discovery mode that emerges us deep into the
experience of our very own creativity. You are magicians who invite us
to return to the best of our childhoods. Once there we recapture those
golden days of play and dream and fantasy. I'm very happy to know and
experience the alchemy that you label a creativity workshop. Professor
Carroll Blue, School of Communications, San Diego State University, San
Diego, USA

"The new millennium needs bold, creative men and women who can turn
their dreams into reality... Shelley Berc and Alejandro Fogel show how
you can do this through their challenging and inspiring creativity
workshops...even a simple first contact will prove what these two
talented teachers can do for your own gifts." Dr. Kirpal Singh, Writer,
Professor, Singapore Management University.

"I feel as though I now have a focus, a method, a way of evolving my
ideas and that the means are just as important as the end. I have
created environments just to create in, and environments just to display
the work in. My vision of attending to each detail, sound, smell,
texture, substance... is starting to find a home. Thanks for opening my
eyes to these essential aspects of creating through your guidance and
example." Student. University of Iowa, Iowa City, USA.

"This class was THE MOST enriching, enlightening, inspirational class I
have ever taken. The way I work and what I create will never be the
same." Student. University of Iowa, USA.

"Shelley and Alejandro's Creativity Workshop is amazing in that it
breaks down all your fears about thinking and writing. If it wasn't for
them I fear I never would have finished my master's thesis. I was
blocked until I took this course." Francesca Salidu PHD candidate in
Shakespeare, University of Pisa. San Miniato, Italy.

"Shelley Berc and Alejandro Fogel taught their Creativity Workshop as
American Cultural Specialists under the United States Information
Service auspices. To say that they were extremely effective is a vast
understatement. I would unreservedly recommend their course. They have
abundant creativity, energy, and a wealth of skills." Gloria Berbena,
Asst. Cultural Attache, US Information Service, US Embassy. Rome, Italy.

"A special experience. Berc and Fogel opened us up to new and wonderful
ways of looking at our creativity." Belkis Bottfeld, PHD, psychologist.
Istanbul, Turkey.


The Creativity Workshop has been taught at educational and government
institutions and for corporations.

Corporate and Business

The Walt Disney Company, Procter & Gamble, Bristol - Myers Squibb
Colgate-Palmolive, Caterpillar, Berlitz International, Bayer, AG, HBO,
Chartercom, Breslow Partners, Negotiation Mastery Inc. i-traffic,
Go2net, LPK, KFAssociates, Cross Country, Travcorps, lL'actualit, The4
[creative network], The Nature Conservancy, Zimmerman Financial Group,
RIA, Sprint PCS, Cerebellum, Pfizer

Education and Arts Institutions

National Institute of Education at Singapore University. Singapore.
University of Iowa. Iowa, USA. Munich Television and Film School.
Munich, Germany Yldiz University. Istanbul, Turkey.Nerengi Institute.
Istanbul, Turkey. Scuola Drammatica San Remo. San Remo, Italy. Academy
of Drama and Film. Milan, Italy. Prague Summer Writers Workshop. Prague,
Czech Republic. Writing Beyond the Walls. Lucca, Italy. Spoleto Arts
Symposia. Spoleto, Italy. United World College. Trieste, Italy.
Australian National University. Canberra, Australia. Australian National
Playwright Conference. Canberra, Australia. NSW Writers Workshop.
Sydney, Australia. Performance Studies Department. University of Sydney.
Sydney, Australia. Hungarian Ethnic Artists Festival. Kisvarda, Hungary.
Art School of the Aegean. Samos, Greece. Scuola Sagarana. Lucca, Italy.
The Art Alliance. New York, USA. Portland Stage Company. Portland, ME,
USA. Media Communications Association, USA. University of California,
Berkeley, DePaul University, Columbia University, San Diego State,
University of Michigan, George Washington University, Phillips/Exeter
Academy,The American School of Warsaw, International School of Prague,
Washington International School, The American School of Asuncion,
Paaraguay, Hong Kong International School, The Chinese University of
Hong Kong, Southampton College, La Guardia Community College, Sidwell
Friends School, The University of Vermont, Minnesota, State University,
Moorehead college, Diablo Valley College, Atlanta International School,
Dominican University of California, University of Missouri-Columbia,
Sarah Lawrence College, University of Nebraska Lincoln, Northern
Michigan University, Creighton University,  IB World School, Canadian
Academy of Japan, The American School in London, The Overlake School,
Brown University, Macquarie University, California State University,
Chico, Open Society Institute  Budapest, St. John's International
School, Indiana University, The University of Wisconsin Madison, Florida
International University, The University of Western Australia, East
Carolina University, Saint Louis Priory School, The American
International School of Budapest ,The University of Prince Edward


US State Department, Washington, D.C,., USA, US Embassy. Tel Aviv,
Israel., US Embassy. Rome, Italy. US Consulate. Milan, Italy. US
Embassy. Istambul, Turkey. US Embassy. Canberra, Australia. US Embassy.
Budapest, Hungary. US Embassy. Singapore.


The teachers

Shelley Berc is a writer and teacher. She was a professor of the
International Writing Program at the University of Iowa from 1985-2000.
Her novels, plays, and essays which include 'The Shape of Wilderness',
'A Girl's Guide to the Divine Comedy' and 'Theatre of the Mind' have
been published by Coffee House Press, Johns Hopkins Press, Heinemann
Books, Performing Arts Journal and Theatre Communications Group Press.
Her plays have been produced by theatres such as the American Repertory
Theatre, the Yale Rep, and the Edinburgh Festival.

Alejandro Fogel is a visual artist and teacher working in painting, site
installations, video and digital art. He has exhibited his works in
galleries and museums in Argentina, Bulgaria, Cuba, France, Hungary,
Israel, Italy, Netherlands, Spain, United States and Germany. His
ongoing project 'Root to Route' chronicles his father's journey through
the Holocaust years. His work is in private collections and museums
around the world.

Berc and Fogel explain in theory and demonstrate in practice the
concepts of originality, 'appropriation', memory and imagination. Under
their guidance, participants explore their own creative processes
through different writing and drawing exercises. They emphasize the
intimate link between personal and public spheres, individual and social
practices, history and myth, dream and reality. The focus of the
workshop is on process not product and to help participants find
life-long tools of creative expression.

Shelley Berc and Alejandro Fogel have taught their Creativity Workshop
internationally. They have lectured on creativity and their own work at
universities and cultural centers throughout the world.

Contact us through our web site:
Tel: (212) 922-2153


TO UNSUBSCRIBE: Reply to this message with the Subject: UNSUBSCRIBE


Date: Sat, 04 Jan 2003 22:08:03 -0800
From: OEH /BIPOL <bipol {AT} akbild.ac.at>
Subject: EUPHORICUM 1 (15./16.01) Ein Symposium  =?ISO-8859-1?B?/GJlciBkaWUgWnVrdW5mdCB2b24gS3Vuc3R1bml2ZXJzaXTk?=ten

VERANSTALTUNGSHINWEIS/ Mit der Bitte um Weiterleitung
- -----------------------------------------------------

| Ein Symposium ueber die Zukunft der Kunstuniversitaeten
| 15./16. Jaenner 2003, Akademie der bildenden Kuenste, Wien
| Schillerplatz 3, 1010 Wien

Die H an der Akademie der bildenden Knste veranstaltet am 15./16. Jnner
erstmals in Zusammenarbeit mit dem Rektorat der Akademie der bildenden
Knste, Wien ein Symposium ber die Zukunft von Kunstuniversitten. Im
Rahmen dieses Symposiums wollen wir die Diskussionen ber zuknftige
Entwicklungen und mgliche Alternativen der Kunstuniversitten, welche
bislang vor allem in Gremien und kleinen Kreisen stattfanden, auf einer
breiteren Ebene fhren. Dabei geht es nicht darum Lsungen zu proklamieren,
sondern vor allem einen Anstoss fr weitere Diskussionen und Entwicklungen
zu geben.

Ausgangspunkt soll eine Prsentation der Lehrmethoden und Arbeitsweisen an
der Akademie bilden. Daran anschlieend werden in Gastvortrgen einige
alternative Modelle und Vermittlungspraxen vorgestellt, welche der - den
ersten Tag abschlieenden - Podiumsdiskussion als Impuls dienen sollen. Die
am zweiten Tag stattfindenden Workshops zu drei Diskussionsschwerpunkten
sollen einer intensiveren Auseinandersetzung mit den am Vortag skizzierten
Themen dienen. Wir hoffen auf euer Interesse.

> Programm
 Mittwoch, 15. Jaenner 2003
// 11:00 - 12.30: Begruessung und Bestandsaufnahme
| Runde der Lehrenden, Moderation: Ascan Breuer/Patricia Reschenbach,
| anschl. Diskussion
// 13:00 - 18:00 Gastvortrge
> Stephan Schmidt-Wulffen
| Stephan Schmidt-Wulffen ist derzeit Rektor an der Akademie der bildenden
| Kuenste, Wien
> Bryan Davis/Laura Quarmby
| "New initiatives, old problematics"
| Bryan Davis und Laura Quarmby sind KuenstlerInnen, leben in
| Edinburgh/Leeds und sind seit 1998 Mitglieder der Protoacademy.
| We would like to imagine the setting up of a new Art Academy. In this
| simulation there would be about 15 - 25 artists, coming together around
| one initiator. Free University it is open for all citizens to join, and it
| has a focus on dialogue and creating relevant international artists. The
| presentation for "Euphoricum 1" will focus on running this hypothetical
| situation to its endgame. Through an analysis of its structure we hope to
| expand on some problems, theories, possible solutions, and many-sided
| arguments that such a project would encounter.
> Judith Hopf
| "Freie Klasse Berlin"
| Judith Hopf ist Kuenstlerin und haelt dz. einen Lehrauftrag fuer
| Theorie/Gestaltung an der Merz Akademie, Stuttgart.
| ber die Vor- und Nachteile sowie die Aussichten einer mglichen
| KnstlerInnensubjektivitt, welche sich nicht nur im groen merkantilen
| Gedrnge behaupten kann.
> Elsebeth Joergensen/Sofie Thorsen
| "Aircondition, A Student Initiative"
| Elsebeth Joergensen und Sofie Thorsen sind Kuenstlerinnen, leben in
| Kopenhagen und Wien.
| A student initiative and the reconstructing of a department at the Danish
| Royal Academy of Fine Arts.
> Kaucyila Brooke
| "CalArts"
| Kaucyila Brooke ist Kuenstlerin und Direktorin fuer Fotografie am
| California Institute of Arts, Los Angeles.
// 18.30: Podiumsdiskussion der TeilnehmerInnen,
| anschl. Buffet / DJs
 Donnerstag, 16. Jaenner 2003
// 11.00 - 12.00: Vorstellung der Workshopthemen
// 13.00  17.00: Workshops
| Die am zweiten Tag stattfindenden Workshops sollen einer intensiveren
| Auseinandersetzung mit  den am Vortag skizzierten Themen dienen. Den
| Rahmen fuer die Versuchsanordnung mit Lehrenden, Studierenden und Gaesten
| bilden drei Diskussionsschwerpunkte:
> Workshop I: Theorie und Praxis
| Theorie und Praxis scheinen Begriffe mit feststehenden Bedeutungen zu
| sein. Oder sind sie es eben nicht? Gerade die Aufloesung und Vermischung
| der Bedeutungsebenen laesst ein Spannungsfeld entstehen, welches es zu
| untersuchen gilt. Woran wird diese Trennung also dennoch festgemacht und
| welche Konsequenzen ergeben sich daraus fuer das Studium? Nach welchen
| Kriterien wird an der Akademie unterschieden und in wieweit verstaerkt
| eine Aufteilung in Institute die Trennung der Begriffe und Felder? Und wo
| wiederum werden diese Aufteilungen permanent unterlaufen? Welche
| Bedeutungen lassen sich hieraus ableiten?
| Ausgehend davon, dass Theorie und Praxis sich gegenseitig bedingen und
| nicht zu trennen sind, stellt sich die Frage nach der Anwendbarkeit dieser
| berlegungen innerhalb eines Studiums an der Akademie.
> Workshop II: MeisterInnenklassen vs. alternativer Systeme
| Alle sind ExpertInnen. Alle Klassen sind offene Klassen. Und finden wir
| nicht doch MeisterInnen und geschlossene Raeume an der Akademie? Jagen wir
| doch tagtaeglich dem Genie hinterher? Welche Vor- und Nachteile bildet die
| eigentlich nicht mehr existente MeisterInnenklasse dann vielleicht doch?
| Aber vor allem, welche Systeme entsprechen unseren Vorstellungen? Wie kann
| ein anderes Kunststudium also aussehen? Was fuer alternative
| Moeglichkeiten gibt es? Wo und wie lassen sich diese verwirklichen?
| Schreiben wir Kunst kritisches Potenzial zu, so ergibt sich die
| Notwendigkeit der stetigen berpruefung aktueller Lehrmethoden und ihrer
| Position im gesellschaftlichen Kontext.
> Workshop III: Freiraeume
| Welche Aufgaben und Funktionen haben Freiraeume? In welchem Verhaeltnis
| stehen diese zu Institutionen bzw. gibt es ueberhaupt
| nicht-institutionelle Raeume? Wie koennen sich freie Raeume konstituieren
| und welche Konflikte sind an den Bruchlinien zwischen Organisation und
| Sponanitaet zu erwarten?
| Aufgrund der Annahme, dass es kein Aussen gibt, scheint die Frage nach den
| Wegen des Kampfes fuer Freiraeume und Selbstorganisation die Wichtige zu
| sein. Weiters darf die Produktion von Raeumen nicht der Affirmation des
| Erlangten erliegen, sondern muss sich stetig selbst reflektieren.
// 17.30: Praesentation der Workshops, Diskussion

 Ort: Akademie der bildenden Knste Wien/
 Schillerplatz 3, 1010 Wien (U1/U2/U4 Karlsplatz)
 Eine Veranstaltung der H an der Akademie der bildenden Knste in
 Zusammenarbeit mit dem Rektorat der Akademie der bildenden Knste, Wien.
 Nhere Informationen im Internet: http://t4.lo-res.org/

 Oesterreichische HochschuelerInnenschaft
 Akademie der bildenden Knste Wien
 Schillerplatz 3, 1010 Wien
 oeh {AT} akbild.ac.at


Date: Wed, 25 Dec 2002 10:45:18 +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

(25.12.2002. - 15.01.2003)

Concept and curator: Nikola Gelevski


- - Igor Tosevski
- - Miroslav Stojanovic - Suki
- - Studio and Graphic Design KOMA
- - Tochka TM

Wednesday, 25.12.2002, 8 PM 
CIX gallery (Orce Nikolov 109)


Date: Thu, 26 Dec 2002 11:50:24 +1100
From: "geert lovink" <geert {AT} desk.nl>
Subject: REFLEXIVE REPRESENTATIONS (conference/germany)

From: "Markus Wiemker" <markus.wiemker {AT} post.rwth-aachen.de>

1st Transdisciplinary Forum Magdeburg (TransForMa)

2003/7/4-6, Otto-von-Guericke-University, Magdeburg, Germany

"Globalization" refers to a set of problems that, after 1990, have taken
center stage in the political imaginary. In most cases, discourses of
globalization address the economic and technological unification and
homogenization of the world as well as the social, political and
cultural consequences of an expanding world market, of the
internationalization of production, and of the free circulation of
capital and information. Simultaneously, emphasis is put on the ruptures
and diversifications that occur on the regional and local levels. It is
the objective of this international conference to engage in theoretical,
historical and practical reflections on the discursive, social and
political problems of representation in the wake of an emergent global

"Representation" implies a set of questions that have - inspired by both
the linguistic turn and radical constructivism - crucially informed the
theoretical debates within the humanities. Representation is a
multi-layered complex situated on various levels:

1) Representation as the problem of the constitution of reality. In this
respect, the crucial questions are: What is being represented in what
way? How are objects represented textually, iconically and socially?
2) Representation as the problem of perspectivality and locatedness of
knowledge. Here the crucial question is: In what ways is knowledge
produced? This includes the problem of the production of knowledge and
its radical self-interrogation (e.g. as epistemic violence).
3) Representation as the problem of political delegation. Here the
crucial question is: Who speaks on whose behalf / in whose name? This
problem involves the possibilities of political articulation and practice.

Taking the problem of representing the global for a starting point, the
presenters are invited to focus on theoretical, political/practical and
social/historical problems. We are looking forward to contributions that
engage with the conditions of contemporary world (class) society and the
ensuing dilemmas of representation from recent critical theoretical
perspectives. We are hoping for a productive polylogue of various
approaches (such as marxist, feminist, postcolonial, constructivist,
systems theory) and disciplines (sociology, cultural studies,
international relations, history, philosophy, literary theory etc.).

Contributions may focus on some of the following key issues, among others:

. sovereignty, citizenship, new global constitutionalism
. good governance, neocolonialism, postcolonialism
. political economy of science and media
. nation state and world society: challenges for social and cultural theory
. the political as practice: critique of globalization and new political
. nature, ownership, technology, world society
. postmodernity - second modernity - late modernity?
. biotopes - sociotopes - semiotopes
. global texts
. new media and new informational economy
. postmodern cultures and media society
. performativity and power

Conference languages: English and German. Submission of proposals and
all further information at http://www.transforma-online.net, contact:
info {AT} transforma-online.net (Johannes Angermller).

Deadline for submission of proposals (250 words) April 1st, 2003.
Competitive, refereed selection. Deadline for a four-page short version
to be published on the web page: June 1st, 2003. We plan to publish
selected contributions in the proceedings.

Organizers: Johannes Angermller (Department of Sociology), Jrg Meyer
(Department of Political Science), Dirk Wiemann (Department of Foreign

Markus Wiemker
University of Mannheim
Media and Communication Studies

Room: 203 - L5,1
68131 Mannheim

Tel: +49 (0) 621 181 2301
Fax: +49 (0) 621 181 3114

wiemker {AT} uni-mannheim.de


Date: Wed, 01 Jan 2003 18:08:48 -0800
From: Christina McPhee <christina112 {AT} earthlink.net>
Subject: -Empyre- for January: Mechanisms of Exposure

- -Empyre- for January 2003:  Mechanisms of Exposure:  Cyberpresence and the
Poetics of Spatialized Film

- -Empyre- welcomes in the new year with two European performance and sound
artists, Maria Tjader-Knight of Finland and David Knight of the UK to
discuss their work,  "Mechanisms of Exposure".

Based in Brussels and Helsinki, Maria Tjader-Knight and David Knight create
film like spatializations in cd rom and installation.  The sheer enormity of
the disparity between the scale of content expressible by code versus the
scale of content experientially and cognitively recognized through human
contextual and analog processing makes us long for perfect code, that is to
say, a complete unified field ideology and syntax. Beneath the nostalgia for
coherence and developmental controls one feels the cold winds of the
totalitarian past, when in the mid twentieth century another obsession with
the topdown comprehensive code of development - comprehensive planning and
development - a unified field- as the mode through which architectonics,
place, and human presence locate and are determined led to much violence.
Humans and their sense of the local and particular themselves became the
sublime relative to machine space and machine consciousness.   At the
brink of war again in a new century, empyre invites two artists whose work
engages an intimate scale of phenomenology and the personal in a new poetics
of spatialization beyond both digital and analog in a performative post-mix.

Mechanisms of Exposure showed at Galerie Espace Blanche, Brussels, in 2002
and toured as part of the New York International Independent Film Festival
in New York, Las Vegas and Los Angeles in 2002; it was featured in the FILE
2002 Electronic Language Symposium and Exhibition.  Online, please see

Maria Tjader-Knight (FI), printmaker/performance artist, received the Master
of Arts in spring 2000 from the University of Art and Design of Helsinki,
Finland and is currently developing a Doctoral Thesis under the title
FEMININE BODY AS A WRITER: Perfor(m)ing Visual Arts; an interdisciplinary
study to challenge the stability of the visual bodies in the focal points of
digital media, arising from the feminist cultural critique elaborating from
the post-structuralist  deferral theory. David Knight (UK), experienced
light and sound engineer, is currently developing soundscapes, aural
destinations and computer software, hardware and networks to fulfill the
challenges of  digital creation.

TJADER-KNIGHT inc. was established 2000 to give a solid basis for
collaboration between these two artists .

2002 TJADER-KNIGHT inc. established BoringArt.com and open the gateway for

for a brief CV http://www.tjader-knightinc.com/cv.htm

- -- 
Christina McPhee

- -- 
Christina McPhee

- -- 
Christina McPhee


Date: Fri, 3 Jan 2003 13:21:19 -0000
From: "rachel magnusson" <rachel {AT} sarai.net>
Subject: Crisis/Media Workshop

Crisis/Media: The Uncertain States of Reportage

Sarai-Waag Workshop 
at Sarai-CSDS, Delhi
March 3-5, 2003

"The hottest place in hell is reserved for those 
who tried to stay neutral in times of crisis..."
The Inferno, Dante Alighieri

Crisis/Media, is a conference that will bring together media 
professionals, activists, and scholars to discuss crisis in the media, 
and the crisis of the media today. 

Since September 11, crises in the media have become everyday events 
and have taken on global dimensions. But what happens when crisis 
becomes commonplace? How can media tell the stories 
behind/beneath the crisis? How are the tensions between local/global, 
mainstream /alternative, event/representation unfolding? In thinking 
about these and other questions, the conference will try to focus on both 
the ways in which media cover/create/manage spectacular crisis 
events, and on the crisis that this reportage has produced for media 
itself. (For a full description See Below)

Key Issues:

*	Are the Crises in the Media, the Crises of the Media? Where do the 
lines between reporting in the mainstream and the alternative media 
harden, and where do they blur?

*	Has the "broadcast" model, which was the mainstay of the big media 
business, proved to be too bulky and too conservative in a world in 
which things change by the minute?

*	Has the internet really made it possible for correspondents to be 
co-respondents to the realties of a changing world?


*	South Asia : Bearing Witness to the Truth in Difficult Times
*	Correspondents in the Crossfire : Reporting Situations of Conflict 
*	The Crisis of Everyday Life : Dispatches from Global Cities
*	Stories of Earth and Water : Reporting Ecological Crises
*	The Future of Global Independent Media Activism

Special focuses and reports from:

South Asia, Argentina, Australia, the Balkans


Plenaries, Discussions, Open Sessions, Screenings


Apart from previously scheduled presentations, the workshop will 
feature some open sessions. If you are interested in making a 
presentation in one of the open sessions, please send a brief 
description of what you want to do to crisis-media {AT} sarai.net 

Support for Travel and Accommodation:

In general, we will not be able to cover any transport or accommodation 
costs, for coming to Delhi for the workshop, or for staying in Delhi. If you 
need a letter of support from Sarai, in order to raise funding for a trip that 
you are planning, then we will be happy to send you one. Write to 
rachel {AT} sarai.net asking for a letter of support.


If you are not presenting a paper but wish to attend the conference, you 
can pre-register by sending an email to crisis-media {AT} sarai.net.


For updates, notices, and schedules from now until the workshop, 
check www.sarai.net/events/crisis_media/crisis_media.htm  Links to 
various interesting resources and readings are also available from this 

For further details contact rachel {AT} sarai.net

Full Description:

CRISIS/MEDIA : The Uncertain States of Reportage 

Ever since the events of September 11, the image of a  world in crisis is 
something that we have  grown accustomed to. It is not as if crises have 
not had global dimensions before. Perhaps all that is different is the 
frequency, intensity and reiteration of the reportage of  crises, an 
epidemic of images and data of a world out of sorts with itself, which 
marks and distinguishes the contemporary moment on a global scale. 
In times like this to attempt to be 'objective' or 'neutral' is to become a 
mercenary of power, a purveyor of platitudes. At the same time, we have 
little understanding of the complex professional and ethical dilemmas 
that bedevil the act of the media's bearing witness to our world. The 
crisis in the media are the crisis of the media. 

The rise of new information technologies has ensured that crises are 
reported and commented upon even as they unfold on our television 
screens, radio programmes, newspaper pages and computer 
monitors. The trailers advertising news programmes have made 
images of war, violence, terrorism and disaster the staple diet of the 
twenty first century's quotidian sense of the world. Each bulletin 
anticipates tomorrow's, or the next bulletin's crisis, the very next crisis. 
So that the breaking news may break even, all day, everyday. And yet, 
often, they are relinquished to the oblivion from which they emerged, as 
rapidly as they emerged. 

If the spectacle of the crisis becomes quotidian, banal and 
commonplace, does it make sense to speak of a "crisis" anymore, as a 
temporally distinct phenomenon, a time apart from the rhythms of 
normal time? Or does this overproduction of crises give us an 
opportunity to reflect on the making and unmaking of crises, their 
announcement and forgetting? 

Does it allow us to ask questions about media in crisis with 
themselves, about their offerings of uncertain truths to shadowy 
audiences. In what way do emerging alternative paradigms of reporting 
and commenting on crises, like the Indymedia Network, themselves 
become the raw material for mainstream news processing. Where do 
the lines between the mainstream and the alternative harden, and 
where do they blur? Has the "broadcast" model, which was the 
mainstay of the big media business, proved to be too bulky and too 
conservative in a world in which things change by the minute? Has the 
internet really made it possible for correspondents to be 
co-respondents to the realties of a changing world?

To reflect on these and other related issues, Sarai : The New Media 
Initiative at the Centre for the Study of Developing Societies, Delhi and 
the Society for Old and New Media, Amsterdam will be hosting a three 
day international seminar titled - "Crisis/Media :  The Uncertain States of 

This conference will deal with both the ways in which media 
cover/create/manage spectacular crisis events and also how they deal 
with the aftermath of crises. One of the aims of the conference is also to 
shift the focus of reflection away from simply looking at the 'event' of the 
crisis to looking at the structural processes that anchor what gets 
reported as 'the crisis', in everyday life. 

Typically, the media crews arrive instantly whenever a "Crisis" hits the 
surface of what is constructed as 'Global Consciousness'. Usually, by 
the time this happens, the locally available human, cultural and 
intellectual resources available in that society have been severely 
depleted. This means that the "crisis" is interpreted and made 
intelligible mainly by 'experts'. This also means that the global media 
fails very often to recognize  the varied approaches to "living" the crisis 
that exists on the ground, it also makes the crisis a unique event, 
unrelated to what might be linking it to events and processes 
elsewhere. The "crisis" then gets reported away as an instance of that 
happens to 'other' people and 'other' spaces whose realities are 
fundamentally different form that of those who view the crisis from 
outside. Typically, the crisis is treated as  something that no one, not 
even the people the media crews interview can make sense of, almost 
as if it had no history. Finally, the media brings in celebrity intellectuals 
and pop figures to ethically salvage the event for the viewers as a 
cathartic experience and offer redemption as a therapeutic act. Of 
course no one asks the question as to why no one was paying attention 
to the situation when there were people trying to make sense of it before 
journalists, cultural workers, intellectuals, activists, human rights 
groups and other interlocutors succumbed to the crisis that 
retrospectively seems unfathomable.

The problem cannot of course be posed simply in terms of 'local voices' 
versus 'external reportage'. Local voices may be implicated in the crisis 
itself, and may be either acting to fuel it, or be silenced by it - just as the 
reporter who flies in from elsewhere may either seek to turn the crisis 
into a unique spectacle, bereft of context and history, or, be the 
'necessary outsider', who can be trusted to listen and report in a manner 
that is true to the facts on the grounds without fear or prejudice . 

The imperative of critical, analytical reportage, that tries to weave 
together a complex pattern of voices, motivations, facts and processes 
is a function of sympathy, intelligence, curiosity and a commitment to the 
freedom of information that is neither reducible to 'local knowledge' nor 
to the 'universal' agendas of freedom and justice, but is in each case a 
unique combination of distance as well as intimacy. Each situation 
engenders its own vantage points, which can be identified as the 
centres towards which the truth about the crisis tends to gravitate. The 
conference will seek to understand this dynamic of the shifting dynamic 
of truth and its relation to the tensions between closeness and distance, 
the local and the global, the mainstream and the alternative versions of 
the crisis and how it unfolds, as event and as representation.

The conference will bring together media professionals, activists and 
scholars in order to create a dialogue between different kinds of 
approaches and spaces. We hope to learn from different crises about 
the processes that were similar. We will learn from Kosovo about 
Gujarat, and from Gujarat about Rwanda. We will examine structural 
similarities in the restrictions on civil liberties after 9/11 across the 
world; we will also assess how the media makes sense of the 
continuing economic crisis in Argentina. We will examine how popular 
culture and cinema 'memorialize' crisis situations, or, create the 
conditions for selective amnesia. We will view riots in relation to the 
degeneration of everyday life, and see unfolding unreported crises in 
realities that have to do with water, housing, health and the environment. 

Crisis Media will first of all recognize that there is a crisis in and of the 
media, and this cannot be addressed simply by calling for less 
reportage and more analysis. Instead we will argue for analysis in the 
reportage, and a disruption of the apparatus of centralized and 
centralizing information networks. We need to break down the same 
images that everyone sees, worldwide, in many different ways. And we 
need to find news ways to tell stories, and to distribute the untold story. 
The problem of critical media analysis of global crises so far has been 
to deconstruct the ownership of media and its ideological agenda, 
attempting to uncover a 'truth' of state and corporate control behind the 
news. The conference takes this for granted, and seeks instead to ask 
how we may go beyond it, and how alternative media too can stop 
looking and feeling like cheaply produced versions of mainstream 
media production. Crisis/Media will be taking place exactly one year 
after the events of Gujarat 2002, a crisis that was extensively reported 
and could be either memorialized or passed over in silence by the 
media as the years go by. 

It has become customary in situations of extreme violence to try and 
make sense of the terror in terms of atavistic and primordial passions, 
in terms well rehearsed in the Huntingtonian theses of the 'Clash of 
Civilizations'. In a peculiar sense, this 'normalizes' the crisis more than 
anything else, so the eruption of the crisis is seen in terms of 
irreconcilable differences, and the return to normality is seen in terms of 
generous 'cultural' accommodation and reconciliation. Both these 
explanatory moves, of the eruption and of the return to normality, offer a 
way out of a critical analysis of the situations that turn into crises. They 
also offer a way of returning to the 'business as usual' attitude that 
eventually papers over the crisis as preparations are made to unravel 
the 'next' crisis on the world stage. The conference will search for 
paradigms other than the vaguely cultural to understand situations of 
crisis, so that crises can be encountered intellectually on concrete and 
material terms.

The workshop will have keynote speakers, presentation sessions, open 
sessions, public interviews, screenings, and exhibitions. The event will 
be audio streamed and video fragments will be available after the event 
as streaming files on the website of the Society of Old and New Media. 
The conference will take place at Sarai, Delhi in the first week of March 
2003, after the presentation of the third Sarai reader on February 28, 

A team at Sarai will document the proceedings of the conference and 
interview the presenters to create a log/journal of the conference. 
Transcripts will be made available on the Waag website. The aim is to 
edit the material into a publication that can become a benchmark in 
thinking about media practice


Date: Sat, 4 Jan 2003 14:13:54 +0200
From: "Jussi Holopainen" <jussi.holopainen {AT} pp3.inet.fi>
Subject: Sacred Media Conference

The international Sacred Media Conference will be held on 10-13, July 2003 
in Jyvskyl, Finland. The topics of the conference are: 
- - Religion and terrorism 
- - Western media facing otherness 
- - Sacred technology 
- - Global media ethics 

The topics of the sessions are:
- - religion as news
- - visual truth and reality
- - myths, icons and narratives in media contents
- - western media facing otherness
- - religion and technology
- - global media ethics
- - theoretical and methodological challenges of research on media and  

For further information, please check this site:


Thursday 10 July

16:00 - Arrival and registration 
17:00   Reception hosted by the City of Jyvskyl

Friday 11 July

8:00    Registration 
9:00    Coffee
10:00   Opening Ceremony: Minister of Culture, Archbishop Jukka Paarma,  
        Director General of Finnish Broadcasting Company (YLE) Arne Wessberg
11:15   Plenary I: Western Media facing Otherness. Robert Dannin, giving
        lecture on "Islamophobia: made in the USA" and Mihly Hoppl
12:30   Lunch
14:00   Sessions
15:15   Coffee Break
15:45-17:15  Sessions
18:00- 21.00 Panel Discussion on Religion and Terrorism

Saturday 12 July

9:00    Plenary II: Sacred Technology. Anne Foerst, Michael  Pye, Stewart   
11:15   Coffee Break
11:45   Sessions
13:00   Lunch
14:30   Sessions
15:45   Coffee Break
16:15-17:30  Sessions
19:00   Reception hosted by University of Jyvskyl, with a special 
        programme by Wimme Saari ("joiku" - a special traditional
        unison Lappish chant)

Sunday 13 July

9:00    Sessions
10:45   Coffee Break
11:15   Plenary III: Global Media Ethics. Robert White, Zygmunt Bauman,
        Janina Bauman, giving lecture on "The Memory of Holocaust: The
13:00   Closing of the conference: Rector Aino Sallinen, The University 
        of Jyvskyl, Archbishop Leo 
14:00   Lunch


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