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Table of Contents:

   An Evening with Carey Young, MoMa, Monday January 27                            
     "geert lovink" <geert {AT} xs4all.nl>                                                

   jihui Digital Salon presents Perry Hoberman                                     
     z <z {AT} apiece.net>                                                                

   FILE 2003- electronic language international festival                           
     "file 2003" <filefile2003 {AT} hotmail.com>                                          

   Infrastructures of Digital Design - Graduate Conference - Immediate Release     
     infrastructures {AT} ucsd.edu                                                        

    =?iso-8859-1?Q?V2=5F/DEAF03:_=91Exhibition_=91Data_Knitting_?= - From  =?iso-88
     Marjolein Berger <marjolein {AT} v2.nl>                                              

   ART FILM  -- by Chris Murray                                                    
     MWMWMSPACE {AT} aol.com                                                              

   V2/DEAF: Subject: WOSEMA - Workshops/Seminars/Masterclasses                     
     Marjolein Berger <marjolein {AT} v2.nl>                                              

   Chicago: illegal art film and video festival                                    
     "geert lovink" <geert {AT} xs4all.nl>                                                

   \international\media\art\award 2003 : call for submissions --                   
     Petra Kaiser <kaiser {AT} zkm.de>                                                    

   ART, STORYTELLING, AND THE FIVE SENSES                                          
     Diane Ludin <duras {AT} thing.net>                                                   

   Video "=?ISO-8859-1?Q?Disobbedienti=22?=: upcoming presentations /  aktuelle Vor
     Oliver Ressler <oliver.ressler {AT} chello.at>                                       

   Rhizome.org Benefit February 25                                                 
     From: nettime's_roving_reporter <nettime {AT} bbs.thing.net>

   BitParts Digital Art Festival                                                   
     Rebsmason {AT} aol.com                                                               

   ART IN OUTPUT 2003: lost and found                                              
     "adriaaN" <astellingwerff {AT} hotmail.com>                                          

   FreeNetworks Conference 2003                                                    
     "geert lovink" <geert {AT} xs4all.nl>                                                

   Press Release - MasterPlan                                                      
     "Le Musee di-visioniste" <agricola-w {AT} netcologne.de>                             

   BANQUETE =?ISO-8859-1?Q?=2D?= international traveling exhibition                
     Oliver Ressler <oliver.ressler {AT} chello.at>                                       

   BANQUETE - international traveling exhibition                                   
     "geert lovink" <geert {AT} xs4all.nl>                                                


Date: Thu, 23 Jan 2003 10:07:15 +1100
From: "geert lovink" <geert {AT} xs4all.nl>
Subject: An Evening with Carey Young, MoMa, Monday January 27

From: "Intern3, Film" <fmintrn3 {AT} moma.org>
Sent: Thursday, January 23, 2003 8:40 AM
Subject: MediaScope: An Evening with Carey Young -- Monday January 27

MoMA at The Gramercy Theatre presents MediaScope
Monday, January 27, 8:30
An Evening with Carey Young (Great Britain/USA)

The London-based artist Carey Young infiltrates the inner
workings of the multinational corporation, adopting its language, codes, and
tools in order to reflect on ideas of identity, strategy, and progress.
Young will discuss works made in a variety of physical and electronic
mediums, including her recent performance-based videos Everything You've
Heard Is Wrong (1999) and I Am a Revolutionary (2001). Program approx. 90

Upcoming MediaScope Programs:

An Evening with Przemyslaw "Shemie" Reut (New York)
Monday, February 10, 8:15
An Evening with Miranda July (Portland, Oregon)
Monday, February 24, 8:15
An Evening with Piotr Wyrzyrowski (Gdansk/Kiev)
Monday, March 24, 8:15

MoMA at The Gramercy Theatre
127 East 23 Street at Lexington Avenue
For ticket information:

SUBWAY: 6 to 23 Street
BUSES: M23 to Lexington Avenue; M1 to Park Avenue and 23
Street; M101, M102, M103 to Third Avenue and 23 Street


Date: Fri, 24 Jan 2003 13:20:13 -0500
From: z <z {AT} apiece.net>
Subject: jihui Digital Salon presents Perry Hoberman

jihui Digital Salon
Perry Hoberman

Friday, January 31, 2003 7 PM
 {AT}  Parsons Center for New Design
55 West 13th Street, 9th Fl.
New York, NY 10011
Live Webcast  {AT}   http://agent.netart-init.org starts 7pm EST.

Perry Hoberman will be discussing his current exhibition at Postmasters
Gallery. In this exhibition, Hoberman tackles one of our current dilemmas:
in a world of ever-increasingly "powerful" media technologies, our own
power to creatively make use these technologies is under constant threat
on a variety of fronts. Restrictions and surveillance are being hard-coded
into the hardware, software and networks we use daily in a process that
seems determined to make us little more than fodder for an
ever-more-profitable army of passive and fearful consumers.

Several works satirize the endless attempts to price and profit from what
has become known as "intellectual property" - a term that emphasizes
ownership above all. A series of prints is based on the ubiquitous dialog
boxes that appear whenever we open, save, close, delete, or do anything at
all with the files on our computers. Another series of prints consist of
superimposed images of every spam email message that Hoberman received
over a given period of time, in an attempt to visualize the increasing
onslaught of unsolicited advertising and to transform an utterly debased
form of communication into something beautiful. Several works deal with
iconography of the All-Seeing Eye, recently repurposed as the symbol of
John Poindexter's "Total Information Awareness System," thus shifting its
meaning from a suggestion of divine omniscience to a more earthbound ideal
of total surveillance.

Perry Hoberman is one of the pioneers of new media art, having addressed
the form, content and social implications of media technology for over
twenty years. During that time, he has exhibited internationally, with
major shows throughout the USA and Europe. His work is currently on view
in the "Future Cinema" exhibition at the ZKM Center for New Media in
Karlsruhe.  Hoberman has been the recipient of numerous grants and awards,
and is both a 2002 Guggenheim Foundation Fellow and a 2002 Rockefeller
Foundation Media Art Fellow.

jihui (the meeting point), a self-regulated digital salon, invites all
interested people to send ideas for discussion/performance/etc. jihui is
where your voice is heard and your vision shared. jihui is sponsored by
Digital Design Department and Center for New Design  {AT}  Parsons School of

jihui is organized by agent.netart (http://agent.netart-init.org), a joint


Date: Sat, 25 Jan 2003 21:02:15 +0000
From: "file 2003" <filefile2003 {AT} hotmail.com>
Subject: FILE 2003- electronic language international festival

The FILE 2003- electronic language international festival is now open for 
new registrations:

This year the FILE 2003 electronic language international festival is 
launching a new project, the FILE HYPERSONICA that is also open for 

MSN Messenger: converse com os seus amigos online.  


Date: Tue, 28 Jan 2003 14:37:09 -0800
From: infrastructures {AT} ucsd.edu
Subject: Infrastructures of Digital Design - Graduate Conference - Immediate Release

For Immediate Release

http://infrastructures.ucsd.edu (information)
http://crca.ucsd.edu/livemedia/ (live event stream)

+ + +

Infrastructures of Digital Design Graduate Conference

January 31 -­ February 2, 2003 at UCS

"Infrastructures of Digital Design" is a graduate conference that will
take place January 31 to February 2 at the University of California San Diego
Center for Research in Computing & the Arts as part of the UC Digital
Cultures Initiative. This conference will feature paper presentations and
new media works from 30 graduate students inside and outside the University
of California, and will be supported by distinguished faculty members and
invited guest speakers.

"Infrastructures of Digital Design" will commence with a keynote speech
by Howard Becker leading sociologist of art and professor emeritus at the
University of California, Santa Barbara to be followed by two days of
plenary presentations that will address the following issues: Enabling
Design - What strategies and models of cultural production can be developed
from the realization of new infrastructures? Health Information Systems -
What are the ethical and technical questions produced through the
representation and collection of patient data and the formulation of new
medical knowledge? Spatiality and Built Environments -  How does the
collection, mapping and visualization of data affect the understanding built
environments and the relationship between the local and the global? Digital
Environments for Learning/Community/Identity -  What types of models
facilitate and produce new forms of understanding between both oneself and
the group or others? Designing Regulation and Regulating Design -  How are
infrastructures developed and employed by both the private and public
sector, setting standards for new policy and invention?

Graduate projects will be showcased in a New Media Works Festival, held at
the Herbert Marcuse Gallery in the Visual Arts Department, concurrent to the
panel presentations. Between exhibition and presentation, a night of
emergent performance, real-time data-mixing and sonic intervention
will take place the evening of Saturday, February 1st as part of the

All panels and paper presentations will be held at the Center for Research
in Computing and the Arts (CRCA) located in building #408 University Center
on the campus of UCSD. Artist presentations and installations will take
place at the Marcuse Gallery in the UCSD Visual Arts Facility across from
CRCA on Russell Lane.

All panels and presentations will be streamed and available for viewing at 
http://crca.ucsd.edu/livemedia/. Since the facility has limited seating, 
virtual attendance is encouraged via the Live Media website, although art 
events will be free and open to the public.

Support for Infrastructures of Digital Design is being provided by the UC
Digital Cultures Project; UCSD Departments of Visual Arts, Communication,
and Sociology; the UCSD Divisions of Social Sciences, and Arts and
Humanities; the Center for Research in Computing & the Arts, and the Science
Studies Program of UCSD.

A full conference program can be found at http://infrastructures.ucsd.edu.
Questions and requests for more information may be sent to
infrastructures {AT} ucsd.edu.

Maps and directions to CRCA and the UCSD Visual Arts Facility are available
at http://crca.ucsd.edu/information/map.html

+ + +



Date: Wed, 29 Jan 2003 15:26:53 +0100
From: Marjolein Berger <marjolein {AT} v2.nl>
Subject:  =?iso-8859-1?Q?V2=5F/DEAF03:_=91Exhibition_=91Data_Knitting_?= - From  =?iso-8859-1?Q?=92Wunderkammer=92?= =?iso-8859-1?Q?_to_Metadata=92.?=

Wednesday 26 February until Sunday 9 March, closed on Monday.
Open from: 11:00 - 20:00 hrs.
Location: Pakhuis Las Palmas, Wilhelminakade 66-68 (Kop van Zuid), 
Rotterdam, The Netherlands
Opening: Tuesday 25 February 18:30 - 21:00 hrs.

Admission: 7,- euro
Discount (student, cjp, RotterdamPas, 65+) 5,- euro
Entrance opening: free

The exhibition is part of the Dutch Electronic Art Festival  ‘DEAF03 Data 
Knitting’, organized by V2_, Institute for the Unstable Media (25 February 
- - 9 March 2003 in Rotterdam, The Netherlands).

DEAF03’s exhibition presents recent, mostly interactive art that addresses 
the role and meaning of information in our knowledge based society in an 
inventive, confronting, but at the same time witty manner. DEAF03’s running 
theme is the use of archives and databases, where information is viewed in 
its wider sense as a building block for our knowledge and view of the 
world. As individuals we are being bombarded with streams of information 
that should provide us with knowledge but which are often so ‘out of 
control’ that they tend to confuse rather than enlighten us.
Visitors to the exhibition can interact with these artworks at several 
levels by changing and manipulating them. In this way they can use the 
databases and archives these artworks deploy, to generate experiences and 
images of a world that is forcing itself upon us as increasingly complex 
and global, but which at the same time is more and more local.

The presented installations are:

‘Pockets full of Memories’, George Legrady (H) - 2001 
‘Synthia’, Lynn Hershman (USA) - 2002
‘PoliceState’, Jonah Brucker-Cohen (USA), in samenwerking met RSG - 2002
‘Erotogod’, Stahl Stenslie, Asbjørn Flø, Knut Skagen en Trond Lossius (N) - 
‘Nybble-Engine-Toolz’, Margarete Jahrmann en Max Moswitzer (A) - 2003
‘Poetry Machine 2.0’, David Link (D) - 2002
‘100.000 STRATEN’, Geert Mul (NL) - 2002
‘PainStation’, Volker Morawe en Tillman Reiff (D) - 2001
‘Soft Cinema’, Lev Manovich (RUS/USA) - 2002
‘Agent Ruby.com’, Lynn Hershman (USA) - 1990 - 2002 <www.agentruby.com>
‘Zgodlocator’, Herwig Weiser (A) - 1998 - 2002
‘Phonic Frequencies’, Tamás Szakál (H), in samenwerking met MARS 
Exploratory Media Lab -  2002
‘Web of Life’, Jeffrey Shaw (AUS/D) - 2002 <www.web-of-life.de>
‘World Processor’, Ingo Günther (D)  -1988 - 2003 <worldprocessor.com >
‘They Rule’, Josh On & Futurefarmers (NZ) - 2001< www.theyrule.net>
‘Code Zebra’, Sara Diamond en Code Zebra inc. (CDN), een ‘European Culture 
2000’ programma.
‘East by West’, Sher Doruff (USA/NL), Johannes Birringer (D/USA), Orm 
Finnendahl (D) en Arjen Keesmaat (NL) - 2002, een ‘European Culture 2000’ 
‘Exactitudes’, Ari Versluis en Ellie Uyttenbroek (NL)
‘Arena’, Atelier van Lieshout (NL) - 2003
‘Can You See Me Now?’, Blast Theory (GB) - 2001
‘Globe Jungle Project’, Yasuhiro Suzuki (J) - 2001

More information about the festival program, associated programs and 
coproductions can be found on ‘DEAF03 Online’: http://deaf.v2.nl. ‘DEAF03 
Online’ offers the possibility to view the festival online and to 
participate in various festival activities.

For educational programs and/or guided tours during DEAF03 please contact 
Valentijn Webbers, valentijn {AT} v2.nl or +31 (0)10 750 15 18 


Date: Thu, 30 Jan 2003 02:14:31 EST
From: MWMWMSPACE {AT} aol.com
Subject: ART FILM  -- by Chris Murray


Shocked that the Brooklyn Police purportedly ransacked the 
apartment of a late conceptual artist, an Australian television
producer conducts interviews and searches for the truth.

A film by Chris Murray

Tuesday, February 4th
8:30PM -- $3 at the door

Carroll Gardens  Brooklyn  {AT}  Boudoir 
273 Smith Street, between Sackett & Degraw 
F or G trains to Bergen or Carroll Street stops

For more information please visit
www.artfilm.biz or call 718.388.9897
- ------------------------------------------------
“Art Film” has or will screen at:
- ------------------------------------------------
The Jeonju International Film Festival (JIFF 2003) in South Korea & as well 
- ------------------------------------------------
International Documentary Film Festival in Amsterdam (IDFA 2002)
Docs for Sale
- ------------------------------------------------
Nominated for Best Documentary
Awarded Special Prize for Artistic Merit 
Dahlonega International Film Festival (DIFF)
- ------------------------------------------------
The Scope Art Fair NYC  • “Cinema-scope” 
Curated by: Artist Lilah Freedland & 
Anne Ellegood Curator for The New Museum.
- ------------------------------------------------
Artsfest Film Festival (AFF)
- ------------------------------------------------

Directed by Chris Murray

Featuring: Jesse Bercowetz, Claudio Orrico, Chris Murray, Hajoe
Moderegger, Ruth Adams, Aron Namenwirth, Steve Rhodes,
Chris VandeGuchte, Lisa Ng, Pablo Helguera, Seth
Founds, Jocelyn Shipley, Aimee Mower, Vallessa Monk,
Ward Shelley, Tom Frank, Kristen Todd, Tom Smith,
Laszlo Sulyok, Glenn Reynolds, Matt Bua, Franzy
Lamprecht, Chris Wert, Lars Haga


Date: Fri, 31 Jan 2003 16:37:05 +0100
From: Marjolein Berger <marjolein {AT} v2.nl>
Subject: V2/DEAF: Subject: WOSEMA - Workshops/Seminars/Masterclasses

Wednesday 26 February until Friday 7 March 2003
Locations: V2_groundfloor, Eendrachtsstraat 10, Rotterdam
Calypso, Mauritsweg 5, Rotterdam
Pakhuis Las Palmas, Wilhelminakade 66-68 (Kop van Zuid), Rotterdam
Goethe-Institut, Westersingel 9, Rotterdam

The WOSEMA-progam is part of the Dutch Electronic Art Festival  ‘DEAF03 
Data Knitting’, organized by V2_, Institute for the Unstable Media. (25 
February - 9 March 2003 in Rotterdam, The Netherlands)

WOSEMA includes the following program parts:

Seminar ‘Copy the Rights!’
26 February, 11:00 - 17:00 hours, Calypso.
Admission € 25,-
Discount (student, cjp, RotterdamPas, 65+) € 20,-.

‘Copy the Rights!’ is a seminar about copyright. It will address various 
copyright aspects of digitizing and opening up archive collections or 
databases (online), as well as the issue of copyright in a changing art 
practice: unstable art projects that center around recycling and copying 
material often arise out of collaborative efforts where the classic notion 
of authorship no longer applies.
In a number of hands-on presentations some examples of ‘good practice’ will 
be demonstrated.
Artists from both the Netherlands and abroad will present their activities 
to the audience.
‘Copy the Rights!’ has invited a number of prominent foreign speakers to 
inspire the debate on alternative copyright models  copyleft, open source, 
open content, open access  and whether these may fit within the Dutch context.

Moderator: Paul Rutten, head of the Information and Communication unit of 
The seminar will be in English.

Media Academy Day
27 February, 11:00 - 18:00 hours, Pakhuis Las Palmas, in the Arena.
Admission € 10,-
Discount (student, cjp, RotterdamPas, 65+) € 8,-.

The space of media art education begins to expand and cross ever-new 
disciplinary borders. We see an explosion of educational methodologies and 
structures. Both in the Netherlands and abroad, experimental educational 
models are being tested, responding to transformations within the social, 
economic and cultural domain where communication media play such a crucial 
role. Five institutions from the Netherlands and Europe chosen for their 
unique and innovative curricular models have been invited to present their 
programs and discuss their concepts and methodologies. Students will be 
invited to demonstrate their projects. Those creating the academic agenda 
will participate in a public panel to discuss their vision and strategy.

Invited academies are:
School of Communication and the Arts, Malmö (S),
Bauhausuniversität Weimar (D),
Intermedia Dept., Hungarian Academy of Fine Arts, Budapest (H),
Interaction Design Institute, Ivrea (I),
Hochschule für Gestaltung und Kunst, Zürich (CH),
Piet Zwart Institute, Willem de Kooning Academy, Rotterdam (NL)

The program is moderated by Geert Lovink (NL)

During DEAF03 there will be a number of workshops that focus on the 
transfer of knowledge and expertise, aiming to stimulate (inter)national 
collaborative efforts. These workshops will treat DEAF03’s theme and 
discuss various aspects of information design, information accessing, data 
visualization, copyright issues and open-source software developments. The 
workshops are intended for artists, producers and developers from various 
segments of the cultural field and representatives of the scientific community.

Workshop ‘Media Knitting’, in collaboration with Exstream, as a European 
Culture 2000 program.
A three-day hands-on workshop, the selection of participants is closed.
26 - 28 February, 12:00 - 22:00 hours, V2_ groundfloor.
Workshop presentation: 28 February, 20:00 - 22:00 hours, V2_ groundfloor
Admission free, reservations via ticketline

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 will work 
together to discover and patch each other’s domains 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’. The participants and the workshop 
leaders will work together on the realisation of performances or media jam 
sessions. The end result of the workshop will be presented in an informal 
media concert open to the audience.

Workshop ‘Data Perception’
1 March, 13:00 - 17:00 hours, V2_ groundfloor.
Admission € 15,-.

As we’ve become more immersed in our digital environment, it occurs more 
significant that data can not be seen as neutral entities: the atoms of 
information acquire their meaning through contextualization and 
visualization. The constantly changing dynamics of the digital context has 
a tremendous impact on our experience. How can we master this constantly 
changing data environments and knitting these qualities together into a new 
single experience? Artists could question the shifting paradigms, and lead 
the way into new representations and their readings. ‘Data Perception’ 
tries to get a grip on such aspects as navigation, retrieval and perception 
in the field of multi dimensional environments; dynamic or static 
information; familiar geometries or abstract topologies; and mapping data 
spaces or assigning metadata.
‘Data Perception’ brings together diverse speakers who will present and 
demonstrate their own project specific requirements and solutions:Julie 
Tolmie (CDN), Ben Schouten (NL), Zoltán Szegedy-Maszák and Márton 
Fernezelyi (H), Sheelagh Carpendale (CDN) and Brigit Lichtenegger(NL).

Presentations/debat ‘Data Quilting: XX Patterns in Media Practice and 
Theory Salon-like event’.
2 March, 14:00 - 17:00 hours, V2_ groundfloor.
Admission € 8,-.

‘Data Quilting’ focusses specifically on gender issues in interdisciplinary 
collaborations and technology networks. Before 1920 American women were not 
allowed to vote and they had therefore been deprived of a public voice. The 
action of quilting had literally been the text/ile for expressing 
political, social and emotional positions. Nowadays quilts still signify 
palimpsests of meanings, which make up a testimony of their makers and 
time. One could argue that quilts are fabrics of knowledge: patches of data 
stitched together in particular ways to form a coherent whole. ‘Data 
Quilting’ considers the interstitial [inter/stitchial] information spaces, 
where a collaborative effort is made to thread skills and knowledge 
together. It wants to investigate which strategies women working in new 
media apply to foster collaboration and spur interdisciplinary practice.The 
major focus will be on identifying, testing, mapping, and exchanging patterns.
Moderator: Nat Muller (NL). Featured Guests a.o.: Michelle Teran (CDN), 
Nina Czegledy (CDN), Sara Diamond (CDN), Sharon Daniel (USA), Susan Kozel 
(CDN/GB), Thecla Schiphorst (CDN), Kristina Anderson (DK/GB), Anke Bangma (NL).

Presentations ‘Knitted Europe’, a ‘European Culture 2000’ program.
27 February, 13:00 - 18:00 hours, Goethe-Institut.
Admission free, reservations via ticketline

‘Knitted Europe’ will showcase a range of best practice projects that are 
part of European programs like ‘Culture 2000’ and the ‘Information Society 
Technologies Program (I.S.T.)’ that promote collaboration between European 
art institutes and cultural organisations. These consortia will present 
either work in progress or recently finished projects and share their 
experiences with the audience. These projects are ‘Realtime and Presence’, 
‘MIR ­ Microgravity Interdisciplinary Research’, ‘Code Zebra’, ‘Virtual 
Media Centre’, ‘Exstream’, ‘Worldinfo.com’, ‘Playing Field’, ‘Interfacing 
Realities’ and ‘Worldinfo.com’.
A representative of the European Committee will comment on these programmes 
and four institutes will then present their projects and discuss the 
results with the audience. Dutch representatives of the programmes will 
discuss the chances for European collaboration in the future. ‘Knitted 
Europe’ is supported by the Goethe-Institut Rotterdam.

Masterclass ‘Collaborative Culture’, a ‘European Culture 2000’ program.
Part of a series of four master classes, called ‘Interfacing Realities’.
3 - 7 March, 11:00 - 18:00 hours, V2_ groundfloor.
Admission € 200,- Student discount € 100,-
For more information see also: www.v2.nl/Projects/interfacing_realities

Interdisciplinarity in current arts practice has several aspects. One of 
them is within the medium itself: digitized mediums or modalities such as 
sound, image, text, touch and gesture meld together. Another one is the 
collaboration between disciplines, including the sciences, engineering, 
technology, interdisciplinary arts and critical theory. The ‘Collaborative 
Culture’ master class will analyse these two aspects in their relationship 
with one another and with the emergent aesthetics within the culture of 
online communities.
Sher Doruff, a digital artist, will guide ten participants.This master 
class is part of a series of four master classes, called ‘Interfacing 
Realities’. They focus on new concepts for information management in 
general, and the usage and creation of databases and archives in 
contemporary art practices in particular.

More information can be found on ‘DEAF03 Online’: http://deaf.v2.nl
‘DEAF03 Online’ offers the possibility to view the presentations online and 
to participate in various festival activities.

For educational programs and/or guided tours during DEAF03 please contact 
Valentijn Webbers, valentijn {AT} v2.nl or +31 (0)10 750 15 18 


Date: Thu, 23 Jan 2003 07:46:41 +1100
From: "geert lovink" <geert {AT} xs4all.nl>
Subject: Chicago: illegal art film and video festival

From: "edmar" <ed {AT} lumpen.com>

Illegal Art Film Festival
February 7 and 8 2003
Buddy, 1542 n. milwaukee ave,
Chicago il 6022

Illegal art Film and video program, at Select Media's gallery, buddy, 1542
N. Milwaukee Avenue, 2nd floor. 773.342.7332.  Evolution Control Committee
is scheduled to perform. Films will also be available for viewing at the In
These Times exhibit space.



Program One  Friday , February 8
Shorts program 7pm: Illegal Art
These films and videos appropriate others' intellectual property, whether
through the use of found footage, unauthorized music, or shots of
copyrighted or trademarked material. (Filmmakers and videographers now have
to get permission for just about every concert t-shirt, store sign, or other
piece of intellectual property that happens to appear onscreen).

    Phil Patiris
"Iraq Campaign 1991"
Video, 1991, 19 min.
Video artist Phil Patiris transformed network news footage, clips from Star
Trek, and sports coverage into a critique of the media/industrial complex.

    Brian Boyce
"State of the Union"
Video, 2001, 2 min.
In this brief video, Brian Boyce combines unauthorized CNN footage of George
W. Bush with clips from The Teletubbies.

    Joe Gibbons
"Barbie's Audition"
Pixelvision, 1995, 12 min.
Gibbons' darkly comic take on the Hollywood casting couch was rejected by
Sundance lawyers.

    Paul Harvey Oswald
"Fair Use," 2002, 2 min.
"A Natural Thing," 2000, 4 min.
Two video collages from Paul Harvey Oswald, a collective based in Rockford,

    Bill Wasik, Eugene Mirman, and Brian Spinks
"Black Thunder"
Video, 2001, 2 min.
These parodies of political advertising are composed of found footage.

    Naomi Uman
Film, 1999, 5 min.
Using a soft porn film from the 70s, nail polish, bleach and a magnifying
glass, Naomi Uman transforms a writhing, naked woman into a hole--an empty,
animated space.

    Michael Colton
"Puppy Love"
Digital video, 2002, 1 min.
This improvisational short, starring a bull terrier named Punchie, was
created in the offices of the Modern Humorist.

    D. Jean Hester
"Buy Me"
Digital Video, Super 8, 2002, 4 min.
For this surreal meditation on consumer culture, D. Jean Hester recorded
images from fast-food and automotive commercials.

Negativland and Tim Maloney
"Gimme the Mermaid"
Quicktime video, 2002, 5 min.

Disney animator Tim Maloney created this new short for Negativland using his
employer's equipment after hours.

Keith Sanborn
"The artwork in its age of mechanical reproducibility"

PROGRAM One Friday , February 8
8:30 pm

    Todd Haynes
"Superstar: The Karen Carpenter Story"
Film, 1987, 43 min.
With Barbie dolls as the principal actors, Superstar portrays the life of
Karen Carpenter and her battle with anorexia.
Used without permission.

Mark Denardo (Gameboy player and hero)
Doug Harvey Olwald??/ tentative remixers of video (TBD)

DJ Mark of Evolution Control Committee : http://evolution-control.com/
Hopefully playing his hit!

DJ Spin-Laden, the master of the turntablism (TBD ... we pray he will fly in
from Bharain)


PROGRAM TWO Digital Video Detournement
February 8,2003   7pm

Digital Video Détournement is a selection of works by radical cultural
workers and experimental video makers critiquing various coercive forces and
systems. Using  desktop editing techniques mixed with humorous direction
many of these makers appropriate work,  divert and re-edit it as a way to
register their dissent or to create something surreal. Described as tactical
mediaticians, culture jammers, troublemakers, media activists and humorists,
these makers create works that are a sampling of the digital video
underground that is impacting our cultures during a time of global crisis.

GNN [ S-11 (Channel) Surfing the Apocalypse ]
2001, Video, Color, Approx 12 min.
Culled from over 20 hours of television footage recorded over a one month
period and across 13 networks, S-11 Redux is a sound-bite blitzkrieg that
challenges the messages we have been fed from our mainstream media and the
government it serves. Be warned - this video moves quickly and will require
at least two viewings to digest its full impact. You may never be able to
look at the coverage of S-11 and its post-impact coverage the same way, ever

2000, Video, Color, Approx 8 min.
Patriotism Shopping, and mind control

Davy Force! [ MF-47 TV NETWORK - CELL PHONE] 2001, Video, Color, Approx 3
The MF-47 Network is an Information Agency that operates in conjunction with
the Office of Fatherland Defense. This last MF-47 Network news blurb entices
you to use
the cell phone.

Bryan Boyce  [Special Report ]- 1999, video, Color, Approx 4 min.
What if TV news wasn't merely horrifying but literally came from horror
movies? Bryan Boyce (maker of last year's State of the Union) puts
terrifying words in the mouths of America's top-rated merchants of terror.

Fensler [Knowing was half the Battle]
2001, Animation, Color, Approx 6 min.
Public Service Announcements from our pals at GI Joe , Agreat American hero
cartoon series

Mike Nourse [Terror, Iraq, Weapons ]
2002, Video , Color, aprox 4 min
President Bush re-edited for meaning during anti-iraq speech in Ohio.

Paper Rad [Videos de Paperrad]
2002, video, color, 12 min
the new media lo-tech aesthetic . www.paperrad.org


Feature Documentary
February 8,2003 8:30  pm
    Brian Springer
Video, 1995, 60 min.
The behind-the-scenes maneuverings of politicians and newscasters in the
early 1990s are exposed in Brian Springer's documentary.


9:30 pm
Rotten Milk :
Evolution Control Committee :  http://evolution-control.com/
DJ Douggpound  and DJ JaimeReid  : mash up -o-rama


Information about the free CD you get when coming to the festival:
Hear the music now..

This free CD will be given away at exhibit events

01 Negativland U2: Special Edit Radio Mix (5:46)
02 Biz Markie Alone Again (2:52) *
03 People Like Us Swinglargo (5:20)
04 Culturcide They Aren't the World (4:30) *
05 The Evolution Control Committee Rocked by Rape (4:28)
06 Beastie Boys Rock Hard (4:53) *
07 Dummy Run f.d.(1:23)
08 John Oswald black (2:01)
09 Corporal Blossom White Christmas (3:19)
10 Tape-beatles Reality of Matter (2:37)
11 Public Enemy Psycho of Greed (3:11)
12 The Verve Bittersweet Symphony (4:35) *
13 Wobbly Clawing Your Eyes Out Down to Your Throat (1:21)
14 De La Soul Transmitting Live from Mars (1:07) *
15 Buchanan and Goodman The Flying Saucer (4:18) *
16 The JAMs The Queen and I (4:50) *
17 Elastica Connection (2:20) *
18 Steinski and Mass Media The Motorcade Sped On (4:26) *
19 Invisibl Skratch Piklz white label edit (5:30) *
20 Xper.Xr Wu-chu-tung (1:43)
21 Boone Bischoff Happy Birthday To You (0:28)
* used without permission


Music has always been a craft of borrowing. In traditional, or folk, music,
melodies and lyrics were handed down from generation to generation. At every
stage, musicians would change the tune or substitute words at will, adapting
songs to their own situations.

Like their predecessors, the artists featured here have drawn from the music
around them--whether by borrowing a guitar riff or taking a digital
sample--to create something new. But unlike their folk ancestors, they all
run the risk of getting sued.

Two technologies, separated by centuries, have brought us to this point.
First, writing and printing gave birth to the composer and the idea that a
single person could own a piece of music. Second, sound recording allowed
music performances to be stored and replayed--again, permitting an
individual (or a company) to claim it as property.

These two kinds of musical property are reflected in present-day copyright
law: "publishing rights" apply to the ownership of written music and "master
rights" apply to the ownership of a recording of that music. When you use a
portion of someone else's recording of a song, you need permission from the
publisher and "clearance" from the owner of that recording. When you record
without these permissions--and the exorbitant fees that go with them--you're
in trouble. Not surprisingly, only a few musicians, like Puff Daddy and
Fatboy Slim, can afford to sample legally.

For our culture to be a space for free expression and for creativity to
flourish, audio artists must be able to build on bits and pieces of
preexisting music. While the "fair use" doctrine allows artists to
appropriate other works, it does so only in cases of commentary or parody.
Fair use doesn't apply to the majority of "second-takers," those artists who
reuse sounds without directly referring to the original.

Most of these tracks would never have existed if the artists had adhered to
copyright law. Many other works might never be heard unless we act soon to
grant artists the right to create them.

"U2: Special Edit Radio Mix"
The story behind this track and why it is officially "unavailable" is
perhaps one of the best-known cases of a corporate giant record company
crushing obscure artists in the name of intellectual property. In summary,
U2¹s label, Island Records, sued Negativland and SST Records for trademark
and copyright infringement. The resulting fiasco inspired Negativland to
publish a book, Fair Use, which meticulously documents the entire affair.
Negativland is now a tireless advocate of relaxing copyright laws and has
often helped other artists fight off litigation; many major labels now
understand that messing with Negativland will almost certainly result in bad

Biz Markie*
"Alone Again"
Gilbert O¹Sullivan¹s 1991 lawsuit against Biz Markie for the uncleared use
of 20 seconds from O¹Sullivan¹s "Alone Again (Naturally)" was a major
turning point in the evolution of hip-hop. Markie lost the case; the judge
told him, verbatim, "Thou shalt not steal." With that, the era of carefree
sampling was over. Sample-heavy albums in the vein of Public Enemy¹s It
Takes a Nation of Millions to Hold Us Back or the Beastie Boys¹ Paul¹s
Boutique became impossibly expensive and difficult to release. Many artists
continued to sample but retreated into using more and more obscure source

People Like Us
England¹s People Like Us (a.k.a. Vicki Bennett) hasn¹t been sued yet,
perhaps because most of her source materials are obscure. Her work is almost
100% uncleared samples.

"They Aren¹t the World"
In 1987 a group of artists based in Houston took the name Culturcide and
released a record called Tacky Souvenirs of Pre-Revolutionary America. The
album had no information about who was in Culturcide or how to contact
them­perhaps because what they had done could have gotten them into legal
trouble. Each track on the record is a pop hit with new lyrics recorded
crudely over the top, sometimes with bits of noisy guitar added on. The new
words are extremely pointed criticisms of the music industry.

The Evolution Control Committee
"Rocked by Rape"
Built from AC/DC¹s "Back in Black" and snippets from Dan Rather newscasts,
this piece was released as a single in 1999 by Eerie Materials but then
withdrawn under threat of litigation from CBS.

Beastie Boys*
"Rock Hard"
The Beastie Boys released this as a single in 1985, and it quickly went out
of print. The song was to reappear on their 1999 The Sounds of Science
anthology, but they had to cut it after AC/DC refused permission for the use
of "Back in Black." Beasties member Mike D reportedly talked to the band
personally on the phone: "AC/DC could not get with the sample concept. They
were just like, ONothing against you guys, but we just don¹t endorse

Dummy Run
British collagists Dummy Run make their music almost completely from other
music. Taken from their 1996 album Pink Rocket, this piece is a
self-reflective glimpse at some of the issues involved in sampling.

John Oswald
Oswald constructed this piece out of a dizzying array of James Brown
samples, partially as a commentary on just how often Brown¹s work has been
reused by others. The track originally appeared on his 1989 CD
Plunderphonic, which brought Oswald threats of legal action from the
Canadian Recording Industry Association. He eventually was forced to
relinquish all remaining copies of the disc, which were then physically
destroyed. Despite all this, the album has become a cult classic in the
genre of sample-based music.

Corporal Blossom
"White Christmas"
This track, which originally appeared on A Mutated Christmas (Illegal Art,
2001), combines various recordings of the classic Christmas carol. None of
the samples have been cleared. If Corporal Blossom were forced to pay for
all of them, the track would have to disappear.

"Reality of Matter"
The Tape-beatles¹ goal since their inception in 1987 has been to explore the
potential of making music without musical instruments, using only recording
technology. They also believe that "recontextualization of previously
Ofinished¹ works can be done ethically and can in itself constitute
authorship." This example of their work comes from their 1999 disc Good
Public Enemy
"Psycho of Greed"
This unreleased track was recorded for PE¹s latest CD, Revolverution. It
contains a sample of the Beatles¹ song "Tomorrow Never Knows." The clearance
fee demanded by Capitol Records and the surviving Beatles was so high that
PE decided to pull the track from the album.

The Verve*
"Bittersweet Symphony"
This hit pop song uses a sample from a string arrangement of "The Last Time"
by the Rolling Stones. The Verve had trouble getting a licensing agreement
from the Stones¹ publisher, Alan Klein, who said, "I don¹t agree with
sampling as a matter of principle, and certainly not on a Stones song."
(This is a strange stance, given that the Stones launched their career with
covers of blues songs without compensating the original artists.) Eventually
Klein gave in, but only after the Verve agreed to sign over all royalties to
"Bittersweet Symphony" to the Stones. Later, when Nike approached the Verve
about using the song in a commercial, the band refused. Nike then approached
Klein about recording a cover version, since he owned the publishing rights.
When members of the Verve found out about this, they agreed to let Nike use
their version and donated their fee to charity. "The last thing in the world
I wanted was for one of my songs to be used in a commercial," said Richard
Ashcroft of the Verve. "I¹m still sick about it. But it could have been
worse. If we didn¹t fight for the song, OSymphony¹ would have ended up in a
cheeseburger ad and no one could ever have taken our record seriously

"Clawing Your Eyes Out Down to Your Throat"
>From Wobbly¹s Playlist (Illegal Art, 2001), this song contains samples from
a variety of sources, including several Johnny Cash songs. Like many
sample-based works that don¹t explicitly criticize the source material, this
track would probably not be defendable in court as Fair Use.

De La Soul*
"Transmitting Live from Mars"
This track, from the album 3 Feet High and Rising, samples a song by the
1960s band The Turtles, which sued De La Soul in 1989 and won a judgment of
$1.7 million. For its next album, De La Soul made sure to clear all samples,
which cost a total of $100,000.

Buchanan and Goodman*
"The Flying Saucer"
Released in 1956, this record is probably the first successful use of
"sampling" in popular music. It was done with magnetic tape, as digital
technology did not yet exist. Dickie Goodman and Bill Buchanan edited
together this alien invasion skit out of popular songs, for which they were
sued for multiple copyright infringements. Their record label came to an
agreement with the publishers of the original songs, and the record went on
to sell close to a million copies, spawning a whole genre of "break-in" or
"snippet" records. The hit record also served to boost sales of the sampled
songs, and spurred interest in their creators, many of whom were
African-American singers whose original renditions had never been heard by a
mainstream (white) audience. Ironically, a recently released retrospective
CD of Goodman¹s work substitutes an alternative version of "Flying Saucer"
(with reworked snippets) for the original, most likely due to licensing

The JAMs*
"The Queen and I"
The iconoclastic Justified Ancients of Mu Mu released their first album in
1987, called 1987: What the Fuck¹s Going On? It included many tracks that
contained uncleared samples of popular music, but this one got them into
particular trouble when they were sued by the Swedish group Abba for using
almost all of "Dancing Queen." The album was deleted and remaining copies
destroyed. The record¹s original label read: "All sounds on this recording
have been captured by The JAMs in the name of Mu. We hereby liberate these
sounds from all copyright restrictions, without prejudice." (The JAMs are
also known as the KLF, which stands for Kopyright Liberation Front.)

The British punk band Wire thought the main guitar riff from this song
sounded too similar to its "Three Girl Rhumba," released in the 70s. In
1995, Wire threatened Elastica with legal action, and the matter was settled
out of court.

Steinski & Mass Media*
"The Motorcade Sped On"
Steven Stein created this cut-up of Kennedy assassination coverage. His
label, Tommy Boy, was unable to officially release it because CBS refused to
grant clearance for the use of Walter Cronkite¹s voice. It was instead
released as a white label 12-inch single in 1986.

Invisibl Skratch Piklz*
white label edit
The Piklz are a special sort of band composed of a rotating lineup of
hip-hop DJs, including Q-bert, Mixmaster Mike, and Shortcut. These highly
skilled turntablists scratch out songs together live, each using a record
and a record player as an instrument, each contributing, in real time, a
different part (like drums, bass line, or horn stabs) to the music. This
track comes from a 12-inch record pressed and circulated in 1996 with no
information (a "white label"). Hip-hop and dance records often appear in
this limited, underground manner and then vanish forever, never to be
officially released due to copyright issues.

Originally from Hong Kong and now based in London, Xper.Xr adds his own
personal accompaniment to EMF¹s pop hit "Unbelievable." From his album Lun
Hsiao Shai (Vaseline).

Boone Bischoff
"Happy Birthday To You"
Yes, the song the entire Western world sings at birthday parties is actually
owned by a large corporation, and every time someone sings it in public
without permission, it is an infringement of copyright. The song¹s tune was
published by schoolteachers Mildred and Patty Hill in 1893 as "Good Morning
to All" in their book Song Stories for the Kindergarten. Children began
singing it at birthday parties but with words they came up with themselves,
which is how folk music typically develops. Nevertheless, the song­lyrics
and all­is now owned by AOL Time Warner, the largest entertainment company
on earth, and the corporation aggressively defends its property.

Selected Sources

Jeremy J. Beadle, Will Pop Eat Itself: Pop Music in the Soundbite Era, Faber
& Faber, London, 1993.

Kembrew McLeod, Owning Culture, Peter Lang Publishing, New York, 2001.

Peter Shapiro, "Tangents", The Wire, April 2002, issue 218, p. 47.

* used without permission
Track research, selection, and liner notes by Philo T. Farnsworth, Steev
Hise, and Carrie McLaren. Thanks also to Alexandra Ringe.

For more information:




Date: Fri, 24 Jan 2003 13:28:55 +0100
From: Petra Kaiser <kaiser {AT} zkm.de>
Subject: \international\media\art\award 2003 : call for submissions --

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\international\media\art\award 2003 ::  call for submissions

Constructed Life: Scenarios of Fiction
among computer games, cyber-sex, nanobytes and robotic arts

One impact of global medias on culture and economy, on politics and
society is the progressive substitution of the mechanisms of the social
construction of reality by the mechanisms of the media construction of
reality. The media are not only fields of action but also the
constructors of prescriptions for the action. «How to make things with
media»: thatís the performative turn of media society.

>From laptop-music to the standardized entertainments industry, from the
computer game to genetic engineering, from the daily «chat» in the
Internet to the use of intelligent tools, we see the increase of
constructibility and artificiality. Whether in business and in
correspondence, whether in leisure time or in private relationships ?
for their organization we use the virtual data space.

This year the \\international\media\art\award wants to know from artists
all over the world: How do you see the «Constructed Life»? What is your
vision of our future? Where are the chances and dangers of this

- - Peter Weibel -

The competition for the \\international\media\art\award 2003 is being
jointly organised by Südwestrundfunk Baden-Baden (SWR) and ZKM | Center
for Art and Media Karlsruhe in cooperation with the Swiss television
station SF DRS, and ARTE. This award is the successor to the
International Video Art Award, awarded for the first time in 1992. The
general term »media art« is intended to provide a forum on the
television and in the general public for artistic videos as well as
other media and interactive arts projects.

\\\\\ prizes \\\\

\\international\media\art\award 2003 \\ VIDEO \ EUR 12,000

\\ international\media\art\award 2003 \\ INTERACTIVE \ EUR 12,000

special award \\ production at ZKM and TV documentary on SWR viewers'
award \\non-monetary prize

deadline: 1st april 2002
Only entries postmarked no later than the deadline for submission will
be accepted.

SWR Südwestrundfunk
Redaktion Medienkunstpreis
D-76522 Baden-Baden

\\information and entry form:
medienkunstpreis {AT} swr.de

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Date: Sat, 25 Jan 2003 09:49:25 -0800
From: Diane Ludin <duras {AT} thing.net>

We invite you to the first public exhibition of the children's workshop

(Comité Santísimo Sacramento, Asociación Tepeyac)

With a special performance by multi-media artist
based on the acclaimed book "The Story of Colors."

Friday January 31, 6pm-8pm
34-43 of 93rd Street, Jackson Heights, Queens.
(see directions at end of message)

1. About the Special Performance:

La historia de los colores/The Story of Colors:
A Bilingual Folktale from the Jungles of Chiapas
Anne Bar Din
Subcomandante Marcos
Domitilia Dominguez
March, 1999

Adapted and performed by Ricardo Dominguez

2. About the Artist:
Among many other issues, Ricardo Dominguez' multi-media work explores
the relationship between art, technology, and social engagement. He
has been involved with numerous individual and collective initiatives
including Critical Art Ensemble, Electronic Disturbance Theater, and
The Thing. You can visit his site at:

3. About Our Workshop and Exhibition:
Art, Story-Telling, and the Five Senses is an experimental arts
workshop for bilingual children (English-Spanish) initiated and run
through the efforts of the Asociación Tepeyac, its after-school
program "Encontrando Nuestras Raíces," and the community of Santísimo
Sacramento in Queens. Asociación Tepeyac is an organization run by
and for the Hispanic community in New York. Please visit:

Through various narrative techniques and artistic disciplines we are
working toward the completion of a book, an audio piece, and an art
video for a mixed community who wishes to share the dreams and labors
of the Hispanic community in New York and elsewhere. As the students
strengthen their own voice, they also learn to appreciate and use
their complex heritage against today's favorite backdrop: New York

Our first exhibition includes two videos, a slide narrative,
booklets, costumes, sculpture, drawing, and games, all produced and
executed by the students themselves.

Daisy Rosenblum
Polina Porras
Juventino Mosso
Vicencio Márquez
Peter Lasch

Peter Lasch

4. We thankfully acknowledge:
Ricardo Dominguez
Asociación Tepeyac
Dedalus Foundation
Comité Santísimo Sacramento
Padres y Madres de Familia
Iglesia de Blessed Sacrament
Televisión Tepeyac Service

5. Directions:
Take the #7 train to Flushing. Get off on Junction and walk on
Roosevelt Ave until 93rd Street. Turn right and keep walking until
you reach the corner with 35th Ave. We're in the church's basement.

For more information on the workshop or this exhibition contact:
Peter Lasch
plasch {AT} duke.edu


Te invitamos a la primera exposición pública del taller infantil
(Comité Santísimo Sacramento, Asociación Tepeyac)

con una presentación especial del artista multi-media
basada en el célebre libro "La historia de colores."

Viernes 31 de enero, 6pm-8pm
34-43 de 93rd Street, Jackson Heights, Queens.
(vea direcciones al final del mensaje)

1. Sobre la presentación especial:

La historia de los colores/The Story of Colors:
Un Cuento Bilingüe de las Selvas de Chiapas
Anne Bar Din
Subcomandante Marcos
Domitilia Dominguez
Marzo, 1999

Adaptado y representado por Ricardo Dominguez

2. Sobre el artista:
La obra de Ricardo Dominguez trata, entre otros temas, sobre la
relación entre el arte, la tecnología y el compromiso social. Ha
participado en un gran número de iniciativas individuales y
colectivas como Critical Art Ensemble, El Teatro del Disturbio
Electrónico, y The Thing. Puedes visitar su sitio en:

3. Sobre nuestro taller:
El arte, el cuento y los cinco sentidos es un taller de arte
experimental para niños bilingües (Español-Inglés) iniciado e
impulsado por los esfuerzos de la Asociación Tepeyac, su programa de
escuela de tarde "Encontrando Nuestras Raíces" y la comunidad de
Santísimo Sacramento en Queens. La Asociación Tepeyac es una
organización de y para la comunidad hispana en Nueva York. Por favor

A través de varias técnicas narrativas y disciplinas artísticas
estamos completando un libro, un audio-cassette y un video para una
comunidad mixta que desee compartir los sueños y las labores de la
comunidad hispana en Nueva York y otras partes. Mientras toman
confianza y fuerza en su propia voz, los niños también aprenden a
valorar y usar su compleja herencia cultural frente al telón de fondo
favorito de nuestros días: la ciudad de Nueva York.

Nuestra primera exposición incluye dos videos, una narrativa de
proyecciones, libretos, vestuarios, escultura, dibujo, y juegos,
todos producidos por los alumnos del taller.

Daisy Rosenblum
Polina Porras
Juventino Mosso
Vicencio Márquez
Pedro Lasch

Pedro Lasch

4. Agradecemos a:
Ricardo Dominguez
Asociación Tepeyac
Dedalus Foundation
Comité Santísimo Sacramento
Padres y Madres de Familia
Iglesia de Blessed Sacrament
Televisión Tepeyac Service

Tome el tren #7 hacia Flushing y baje en Junction. Camine sobre
Roosevelt Ave. hasta la calle 93. Vire a la derecha y siga hasta
llegar a la esquina con la avenida 35. Estamos en el sótano de la

Para mayor información sobre el taller o la exposición escriba a:
Pedro Lasch
plasch {AT} duke.edu


Date: Mon, 27 Jan 2003 18:38:26 +0100
From: Oliver Ressler <oliver.ressler {AT} chello.at>
Subject: Video "=?ISO-8859-1?Q?Disobbedienti=22?=: upcoming presentations /  aktuelle Vorfuehrungen 

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A video by / Ein Video von Oliver Ressler
In cooperation with / in Kooperation mit Dario Azzellini
Video, 54 min, 2002

Upcoming screenings / Kommende Videopräsentationen:
(announcement in the language of the presentation)

The Cube Cinema, Bristol (GB), 28.01.03, 8 p.m.

transmediale.03, Haus der Kulturen der Welt, Berlin (GER), 01.02.03, 12 
Uhr, http://www.transmediale.de

"Sichere Freiheit", lothringer13, München (GER), 01.02.03

"Vorwärts", Rote Fabrik, Seestraße 395, 8038 Zürich (CH), 08.02.03, 20 Uhr

Norrköping Konstmuseum, Norrköping (SE), 11.02.03, 6 p.m. 

Filmcasino, Wien (A), 13.02.03, 18 Uhr

Kulturzentrum röd {AT} , Steyr (A), 20.02.03, 20 Uhr

AK-Bildungshaus Jägermayrhof, Römerstraße 98, 4020 Linz (A), 26.02.03, 
20 Uhr (im Rahmen der Veranstaltungsreihe "Stopp GATS")

Diagonale - Festival des österreichischen Films, Graz (A), 24 - 30.03.03

Centre for Contemporary Arts - Belgrade, Belgrade (YU), 29.04.03

(for a German video description and a video still please scroll down)

The video "Disobbedienti" thematizes the Disobbedienti's origins, 
political bases, and forms of direct action on the basis of 
conversations with seven members of the movement.
The Disobbedienti emerged from the Tute Bianche during the 
demonstrations against the G8 summit in Genoa in July 2001. The "Tute 
Bianche" were the white-clad Italian activists who used their bodies - 
protected by foam rubber, tires, helmets, gas masks, and homemade 
shields - in direct acts and demonstrations as weapons of civil 
disobedience. The Tute Bianche first appeared in Italy in 1994 in the 
midst of a social setting in which the "mass laborer," who had played a 
central role in the 1970s in production and in labor struggles, was 
gradually replaced in the transition to precarious post-Fordist means of 
production. By forcing the closing of detention camps through specially 
developed acts of dismantling the Tute Bianche became involved in 
protests against precarious working conditions and the immigrants' 
struggle for freedom of movement. The Tute Bianche were part of the 
demonstration against the WTO in Seattle in 1999 and the IMF in Prague 
in 2000. They sent delegates to the Lakandon rainforest in Chiapas and 
accompanied the Zapatist Comandantes 3,000 kilometers to Mexico City.

At the G8 summit in Genoa the Tute Bianche decided to take off their 
trademark white overalls that had given them their name and instead 
blend in the multitude of 300,000 demonstration participants. The 
transition from the Tute Bianche to the Disobbedienti, the disobedients, 
also marked a development from "civil disobedience" to "social 
disobedience." The repressive actions and massacre by the police force 
in Genoa brought the practice of social disobedience in from the streets 
to the most diverse social realms. In the video, the Disobbedienti 
spokesperson Luca Casarini describes the Tute Bianche as a subjective 
experience and a small army, whereas Disobbedienti is a multitude and a 
Disobbedienti maintains the political form of the Tute Bianche and 
attempts to create a better legal justice for and from the people. 
Spectacular actions are still being carried out against detention 
centers, such as the dismantling of the detention camp in the Via Mattei 
in Bologna on 25 January 2002, as shown in the video. Additionally, 
attempts are being made to further develop "social disobedience" as a 
collective practice of various groups, to block the flows of goods and 
communication, to make general the strikes of individual groups, and to 
plan and carry out general strikes.

The conversations with the Disobbedienti were carried out in Italian in 
Bologna and Genoa in July 2002. There are two versions of the video 
"Disobbedienti," one with German and one with English subtitles.

Concept, interview preparation, editing, realization: Oliver Ressler
Interviews, conceptual work, translation: Dario Azzellini
Camera: Claudio Ruggieri
Sound: Rainer Antesberger
Interview partners: Luca Casarini, Ulia Conti, Gianmarco de Pieri, 
Enrico Ludovici, Federico Martelloni, Francesco Raparelli, Francesca Ruocco

D e u t s c h :

Das Video "Disobbedienti" thematisiert die Entstehungsgeschichte, die 
politischen Grundlagen und die Aktionsformen der Bewegung der 
Disobbedienti (die Ungehorsamen) anhand von Gesprächen mit sieben 
Die Disobbedienti gingen während der Demonstrationen gegen den G8-Gipfel 
im Juli 2001 in Genua aus den Tute Bianche hervor. "Tute Bianche" war 
die Bezeichnung für jene weiß gekleideten AktivistInnen aus Italien, die 
ihre durch Schaumstoff, Reifen, Helme, Gasmasken und selbst gemachte 
Schilde geschützten Körper bei direkten Aktionen und Demonstrationen als 
Waffe des zivilen Ungehorsams einsetzten. 1994 traten die Tute Bianche 
erstmals in Italien in einem gesellschaftlichen Umfeld in Erscheinung, 
in dem der in den 70er Jahren in der Produktion und in Arbeitskämpfen 
eine zentrale Rolle spielende "Massenarbeiter" schrittweise durch 
prekäre postfordistische Beschäftigungsformen abgelöst worden war. Die 
Tute Bianche beteiligten sich an Protesten gegen prekarisierte 
Arbeitsbedingungen und am Kampf der MigrantInnen für Bewegungsfreiheit, 
indem sie mit der speziell entwickelten Aktionsform der Demontage die 
Schließung von Abschiebelagern erzwangen. Die Tute Bianche waren Teil 
der Demonstrationen gegen die WTO in Seattle 1999 und den IWF in Prag 
2000, entsandten Delegationen in den Lakandonischen Regenwald in Chiapas 
und begleiteten die zapatistischen Comandantes 3000 Kilometer weit nach 

Beim G8-Gipfel in Genua beschlossen die Tute Bianche, die 
identitätsstiftenden und namensgebenden weißen Overalls abzulegen, um in 
der Multitude der 300.000 DemoteilnehmerInnen aufzugehen. Der Übergang 
von den Tute Bianche zu den Disobbedienti, den Ungehorsamen, ist auch 
eine Entwicklung vom "zivilen Ungehorsam" zum "sozialen Ungehorsam". 
Durch das repressive Vorgehen und die Massaker der Polizeikräfte in 
Genua wurde die Praxis des sozialen Ungehorsams von der Straße in die 
verschiedensten gesellschaftlichen Bereiche hineingetragen. Der 
Disobbedienti-Sprecher Luca Casarini beschreibt daher im Video die Tute 
Bianche als subjektive Erfahrung und kleine Armee, die Disobbedienti 
hingegen als Multitude und Bewegung.
Die Disobbedienti setzen die Politikform der Tute Bianche fort und 
versuchen, eine gerechtere Legalität von unten zu schaffen. Es werden 
weiterhin spektakuläre Aktionen gegen Abschiebelager durchgeführt, wie 
die im Video gezeigte Demontage des Abschiebelagers in der Via Mattei in 
Bologna am 25. Januar 2002. Dazu kommen Versuche, den "sozialen 
Ungehorsam" als kollektive Praxis unterschiedlicher Gruppen 
weiterzuentwickeln, Waren- und Kommunikationsflüsse zu blockieren, 
Streiks einzelner Gruppen zu generalisieren, Generalstreiks zu planen 
und durchzuführen.

Die Gespräche mit den Disobbedienti wurden im Juli 2002 in Bologna und 
Genua auf Italienisch geführt. Das Video "Disobbedienti" gibt es mit 
deutscher und englischer Untertitelung.

Konzept, Interviewvorbereitung, Schnitt, Realisation: Oliver Ressler
Interviews, konzeptionelle Mitarbeit, Übersetzung: Dario Azzellini
Kamera: Claudio Ruggieri
Ton: Rainer Antesberger
GesprächspartnerInnen: Luca Casarini, Ulia Conti, Gianmarco de Pieri, 
Enrico Ludovici, Federico Martelloni, Francesco Raparelli, Francesca Ruocco


Date: Mon, 27 Jan 2003 17:16:35 -0100
From: nettime's_roving_reporter <nettime {AT} bbs.thing.net>
To: nettime-l {AT} bbs.thing.net
Subject: Rhizome.org Benefit February 25

Honorary Chairperson
    Yoko Ono

Honorary Co-Chairpersons
    Morgan Fairchild
    Yvonne Force Villareal & Leo Villareal

    Jeffrey A. Dachis
    Rachel Greene, Raymond J. McGuire

And the
    Board of Directors of Rhizome.org
    invite you to an evening of dining, dancing, and digital art
    in honor of our friend and founding board member  David Ross.

Tuesday, February 25, 2003
    7PM Cocktails  8PM Dinner  9:30PM Dancing
    540 West 21st Street, New York City

Benefit Committee
    Sandra Gering & Russell Calabrese
    Sue de Beer, Devon Dikeou, Matthew Dontzin
    Nadine Hack & Jerry Dunfey, Ruth Lloyds & Bil Ehrlich
    Lia Gangitano, Richard Gluckman, Iara Lee & George Gund
    Robert Hammond, John G. Hanhardt,  Walter Hopps
    Todd James , Claire Jervert, John Johnson, Paul Judelson
    Hedy & Arnold Kanarick, Christiane Paul & John Klima
    Pamela & Richard Kramlich, Julian Laverdiere
    Ann Tenenbaum &, Thomas H. Lee, Vicki & Kent Logan
    Barbara London, Irena & Mike Medavoy, Jill Medvedow
    Paul Miller, Tim Nye, Catherine Orentreich, Lisa Phillips
    Andrew Rasiej, Adeo Ressi, Kristin Rey, Ned Rifkin
    Douglas Rushkoff, Jonathan Schwartz
    Nina Bauer & Andrew Shapiro, Debra Singer
    Michael Ward Stout, Margaret Sundell
    Carolyn & Laurence Tribe, Kira Perov & Bill Viola
    Bruce Wands (in formation).

+ + +


Gigabyte Sponsorship Table(s)
$10,000 each
Includes ten (10) places, acknowledgement on the program if purchased
by February 11, cocktail, prime seating at dinner, and dancing, and
a named Rhizome Commission (call Mark Tribe at 212.989.2363 for details).

Megabyte Sponsorship Table(s)
$5,000 each
Includes (10) places, acknowledgement on the program if purchased
by February 11, cocktails, preferred seating at dinner, and dancing.

Kilobyte couple(s)
Includes two (2) places, acknowledgement on the program if purchased
by February 11, cocktails, priority seating at dinner, and dancing.

$350 each
Includes cocktails, one (1) place at dinner, and dancing.

$100 each
Includes one (1) place for dancing after 9:30 pm.

+ + +

To purchase tickets by credit card or for more information, please call
Michele Scherz at 212.989.2363 or email benefit {AT} rhizome.org.

Checks may be made payable to "Rhizome.org" and mailed to: 180 Varick
Street, 11th Fl, New York, NY 10014. Please include a note with your
check indicating the number and type of tickets you are purchasing.

+ + +

Rhizome.org is a not-for-profit 501(c)(3) organization. For U.S.
taxpayers, contributions to Rhizome are tax-deductible, minus the value
of any goods or services received, to the extent allowed by law. If you
would prefer not to receive emails like this one in the future, you can
opt out at http://rhizome.org/preferences/email.rhiz.


Date: Wed, 29 Jan 2003 10:12:04 -0500
From: Rebsmason {AT} aol.com
Subject: BitParts Digital Art Festival

FACT presents BitParts, a series of seven newly commissioned digital arts projects by leading British and international artists. The works will be premiered in venues across the West Midlands between February and April 2003. 

These projects include:

Paul Sermon’s interactive Peace Talks and Gair Dunlop & Dan Norton's Console, a modern, stripped down version of a control room open at Worcester Museum and Art Gallery, 1 February - 1 March. Paul Sermon’s piece presents an absurdist virtual theatre in which the
performer/users unwittingly participate in a simulated peace talks conference.   
Dunlop and Norton’s joint project explores the ‘Industrial Sublime’, in which mighty technological forces are seen to be the powerhouse of the workplace.  

Lucy Kimbell unveils The Most Beautiful Thing in the Gallery, her interactive installation at New Art Gallery, Walsall, 14 February – 30 March. She takes as her point of departure the commonly held view that art’s value is in accordance with its beauty.  Presenting us with statements defining beauty, her artwork is essentially a 3-D questionnaire where our response to the title of the work is registered by a hidden computer, which aggregates our replies and calculates a score, effectively issuing a performance rating for the piece.

Austrian artist Herwig Weiser will be presenting a major new work, The Intimator at The Custard Factory, Birmingham, 28 February – 15 March. This project continues the artist’s exploration into the representation and reinterpretation of the raw stock that fires new technologies by creating a remarkable sound sculpture containing reactive magnetic substances modulated via a live internet based sound source.

Ken Feingold’s animatronic installation, Animal, Vegetable, Mineral (Virtual); and Alison Craighead and Jon Thomson’s internet-based Weather Gauge open at Shrewsbury Museum and Art Gallery, 8 March - 26 April.  Feingold’s latest project features three virtual characters whose personality, vocabulary, habits and obsessions are embodiments of ways of thinking about human nature and violence.  Weather Gauge is a deceptively simple installation which presents live-linked information publicly accessible via a world weather site. Numerical weather data from over 150 countries is projected on the gallery wall accompanied by a soundtrack arranged from web radio streams.  By re-presenting this found material, the artists hope to produce ‘an hypnotic abstraction of what in reality amounts to just a grid of numbers, place names and songs.’

BitParts also includes a series of internet TV programmes by artists Geoff Broadway, Jose Ferreira and the collective C21 Vox’s.  These will broadcast on the Superchannel network (www.superchannel.org).

BitParts is supported by regional arts board, West Midlands Arts, who are committed to developing digital arts practice in the region and to supporting the infrastructure for future commissioning and exhibition. 

FACT was selected by West Midlands Arts, to commission and manage this important digital arts initiative, in recognition of FACT’s expertise in this area. FACT is the UK’s leading agency for the commissioning, production and presentation of artists’ film, video and new media, and in February 2003 opens the FACT Centre, a major new centre for film, art and creative technology, in Liverpool.

BitParts also coincides with Metapod, an annual showcase of innovative, experimental digital media arts in Birmingham, 28 February – 3 March 2003.
BitParts also presents a series of artists’ talks and seminars exploring the range of issues and ideas suggested by these artworks, such as artificial intelligence and creative developments in streaming media. 

Ken Feingold is in conversation at the Music Hall, Shrewsbury, 8 March at 2.00pm. 
Paul Sermon is in conversation at Worcester Museum and Art Gallery, 8 February at 2.00pm.

For further information please contact either:
Vanessa Booth on 0121 685 2621 x 29 
email: vanessaboothpr {AT} yahoo.co.uk
Or Eddie Berg at FACT on 0151 707 4444


Date: Tue, 28 Jan 2003 17:45:25 +0100
From: "adriaaN" <astellingwerff {AT} hotmail.com>
Subject: ART IN OUTPUT 2003: lost and found

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ART IN OUTPUT 2003: lost and found

Festival on the intersection of art, technology and society


February 17 - March 2

Technische Universiteit Eindhoven

Eindhoven, The Netherlands




ART IN OUTPUT is a biennial festival in the field of art, technology, =
and society. The Technische Universiteit Eindhoven and its over 6000 =
students constitutes a unique supportive environment for the festival.=20

Technology is an increasingly common aspect of modern art. The merge of =
art and technology in ART IN OUTPUT has the unusual benefit of being =
embedded in an environment of advanced technological research and =


ART IN OUTPUT 2003: lost and found takes a look at data files as if they =
were objects from the lost and found department of an airport or railway =
station. Once upon a time the suitcase was part of a meaningful context: =
the life of its owner. Having been found but not collected, it becomes a =
fragment that can be given any desired function or meaning by an =
outsider. =20

The heart of the festival is a major exhibition of media art. Other =
elements of the festival are the seminar lost data, a continuous video =
program, the multimedia theatre show Chinese Whispers and a film night.=20

A special feature of the festival is the Hidden Track project.




Exhibition of interactive art installations

February 17 - March 2


People are collectors. What started as a necessity, gathering food to =
survive the winter, has become a goal in itself. The collecting craze =
has many faces, from chaotic kitchen drawers full of rubbish to neatly =
organized stamp collections. In the digital era all practical barriers =
for collecting have disappeared. We can store almost anything as digital =
data, and that's exactly what we do; wanted and unwanted, conscious and =


The interactive installations at the ART IN OUTPUT exhibition reflect =
the data-collection-craze of the digital era in their own unique ways. =
The tricky questions remain the same: How do you visualize data? How do =
you ever find anything? How can you get rid of your collection? Or how =
do you create even more data? And what about privacy?


The following works are exhibited:


You think therefore I am (following you) - Magali Desbazeille and =
Siegfried Canto (France)

Remain in light - Haruki Nishijima (Japan)=20

The giver of names - David Rokeby (Canada)

S.N.O.W.D.O.M.E. reanimated - Jennifer Petterson (Sweden/Netherlands)

Homo indicium - Ioannis Yessios (USA)

Summoned voices - Iain Mott en Marc Raszewski (Australia)

DAP Disguises - Roel Wouters (Netherlands)




Hidden Track

A mobile multimedia installation.

February 26 - March 2

A bus is useful but can be rather dull. It takes groups of people from A =
to B, but as a passenger you can do little else but stare straight ahead =
while underway. Looking out of the window many images flash by - =
stimulations of the retina. Now imagine the bus commenting on what you =
see. Imagine it providing you with background information. This would =
turn your bus ride into an audiovisual experience!

Hidden Track is a bus containing a multimedia installation that during =
the ride responds to its surroundings; location, speed and acceleration =
generate a continuous flow of sounds inside the bus. Sounds that tell =
you about the surroundings and your journey.

Between February 26 and March 2, Hidden Track will function as a shuttle =
service between the DEAF festival in Rotterdam, and the ART IN OUTPUT =
festival in Eindhoven. Tickets for the trip can be bought at both =

Hidden Track is a co production of ART IN OUTPUT and DEAF03, and is =
realized by artists' collective e-Xplo (USA).


Chinese Whispers

February 26-28


Chinese Whispers is a musical theater performance consisting of =
compositions by Nora Crane, Alison Isadora, Christoph Maria Wagner, =
Harry de Wit and Yorrit Tamminga, that are performed as one coherent =

Chinese Whispers takes its lead from the children's game where a message =
is passed on by whispering, and the content of the message slowly =
changes. Here, it is the composers whispering their message to the light =
designer, and the light designer to the video-artist, and so on.

Chinese Whispers is a theatrical performance of five compositions, in =
which the composers have whispered there message to the light designer, =
the light designer to the video artist, and so on.

Chinese Whispers is a location performance developed for the unique =
space of the former university laboratory for high pressure experiments, =



Composers:                               Nora Crane, Alison Isadora, =
Christoph Maria Wagner, Harry de Wit, Yorrit Tamminga=20

Musicians:                                 John Addison, Marcel =
Andriessen, Stefani Liedtke, Jacob Plooy, Lorenda Ramou, Andrea =
Zierleyn, Maartje de Lint=20

Instrument builders:                    Harry de Wit e.a.

Direction & video installation        Henk Schut   =20




More information is available on:



Date: Thu, 30 Jan 2003 21:12:18 +1100
From: "geert lovink" <geert {AT} xs4all.nl>
Subject: FreeNetworks Conference 2003

From: "Cory Doctorow" <doctorow {AT} craphound.com>

The FreeNetworks Conference (FN-CON) 2003 is focused on
giving the public an in-depth  look into the the fast
growing worldwide movement of Community Wireless Networking 

FN-CON aims to gather the experts and implementors in
community wireless networking  groups from across the globe,
innovators from the wired community and municipal  networks,
and the technologists designing the hardware for future
phases of this amazing  movement. 

The conference will combine overviews of the technologies
and motivations, status reports  from the frontline, and
in-depth coverage of implementation details that provide
the  conference attendee with the knowledge to bootstrap a
CWN in their own locale.

Link: http://con.freenetworks.org/cfp.phtml
Discuss: http://www.quicktopic.com/boing/H/UzvAgqa2nyvs
(Thanks, Schuyler! [http://nocat.net])

- --

Posted by Cory Doctorow to Boing Boing Blog at 1/29/2003
10:58:40 AM

Powered by Blogger Pro

- ----

> http://con.freenetworks.org/cfp.phtml


The FreeNetworks Conference (FN-CON) 2003 is focused on
giving the public an in-depth look into the the fast growing
worldwide movement of Community Wireless Networking (CWN).
In the past few years, these decentralized, non-commercial
networks have gained world recognition and populist support
as the adoption of the IEEE Standard for wireless ethernet,
802.11b, more commonly known as WiFi has gained ground.
FN-CON will show you how these networks started, the
directions they are taking, and provide you with enough
technical knowledge to bootstrap your own networking group. 

FN-CON aims to gather the experts and implementors in
community wireless networking groups from across the globe,
innovators from the wired community and municipal networks,
and the technologists designing the hardware for future
phases of this amazing movement for a conference like no

The conference will combine overviews of the technologies
and motivations, status reports from the frontline, and
in-depth coverage of implementation details that provide the
conference attendee with the knowledge to bootstrap their
own CWN in their locale. 

The conference will start with one day of in-depth, hands-on
tutorial. Attendees will leave the tutorial with a working
piece of hardware that they can build, configure and
replicate for use in their own community wireless network. 

The second and third day will be done in standard fashion
with multiple tracks and multiple speakers on each track. 


Bring together both wireless and wired FreeNetworks

Educate people on the benefits and impact of FreeNetworks. 

Enable people to use available technologies (802.11b and
others) and to prepare for future technologies. 

Showcase the status of FreeNetworks worldwide and learn from
the experience of the early adopters. 

Discuss upcoming social, political and technological
developments that affect the FreeNetworks movement. 


Alexis Park Resort - Las Vegas, Nevada, USA 

When  June 6-8, 2003 

Call For Papers 

We are now accepting presentation proposals for FN-CON. 

Here are some possible topics that come to mind however we
are in no way limiting it to these, and we expect that you
will have some creative ideas in addition to those listed

New advanced routing protocols that could benefit Free
Networks and ad-hoc networks in general, reports on use of
said protocols in a real world environment. 

Examples of community networks in use serving a real world
purpose that may or may not be possible on traditional
carrier-built networks. 

Research and development of networking technologies that can
help further the FreeNetworks movement. 

Applications/tools which might be considered useful for

Hands on tutorials that will enable people to build their
own wireless router or some other cool and useful wireless

What To Send Us 

A brief description (two, three paragraphs max) of your

Your bio, resume, portfolio or whatever you have that says
something about your experience, why you are qualified to
discuss said topic and any other major achievements you may
have accomplished. Please include URLs wherever possible. 

If you plan on doing something other than a traditional
slideshow, please let us know of any special requirements
you may have; i.e. duelling projectors, laser shows, two
turntables and a microphone. We want to know if you will
need anything other than the usual projector and PA setup. 

Contact unformation; at the very least, you must provide us
with an email address that you check on a frequent basis.
Physical address and phone numbers if you desire. 

Submit material in ASCII or PDF format to
conference {AT} freenetworks.org. 

Program Committee 

SeattleWireless - Ken Caruso (Chair), Matt Westervelt 
Bay Area Wireless Users Group - Matt Peterson, Cliff
Skolnick, Tim Pozar 
NYCwireless - Terry Schmidt, Ben Serebin 
Consume - Ben Laurie 
NoCat - Rob Flickenger 
Security Travel - Tina Greene 


Think you would like to sponsor what has the potential to be
one of the coolest and most unique conferences yet? Please
let us know. 

Last Modified 01/15/03  {AT}  22:34 PST 

- -- 

DRM is Theft!  We are the Stakeholders!

New Yorkers for Fair Use

[CC] Counter-copyright:

I reserve no rights restricting copying, modification or
distribution of this incidentally recorded communication. 
Original authorship should be attributed reasonably, but
only so far as such an expectation might hold for usual
practice in ordinary social discourse to which one holds no
claim of exclusive rights.


Date: Thu, 30 Jan 2003 16:33:18 +0100
From: "Le Musee di-visioniste" <agricola-w {AT} netcologne.de>
Subject: Press Release - MasterPlan

Press Release

"Le Musee di-visioniste"
is happy to launch
its latest online showcase
within the 'Featured artists' series,

net-based art works

The exhibition is open from
30 January 2003 and will run until May/June 2003,
but will be available online for permanent afterwards

"Edition 06 of Featured Artists series, entitled
"MasterPlan" is featuring following artists:

1. Daniel Young, USA
2. Patrick Simons/Kate Southworth, UK
3. jimpunk, France
4. Dan Norton, Scotland
5. Nicolas Clauss, France


represents an exhibition reporting about five most individual artists'
personalities each one following a strong individual conception:
a "MasterPlan" determining the course of events.

Daniel Young,
collects in his generative project "NewZoid"
continously daily news,
chops them up and endlessly reassembles the pieces into absurd,
funny, shocking and thought-provoking headlines,
resulting a kind of "infotherapy".

The artists Patrick Simons and Kate Southworth
investigate in their collaborative project
"Glorious Ninth"
the material world and communicate their findings
using many different approaches to 'knowing'.

jimpunk explores in his >www.nowar.nogame.or-project<
controlling and the hypnotic feeling
of being contolled and helpless.

Dan Norton opens in his generative project
"ablab" interactive fields and
lets the users search for the limits
of 2D-interactivity.

Nicolas Claus collects in his "Flying Puppet" project
examples of human entaglements.
The selection of the four
works <The Cry, The Sleepers,
Trauma and Before the night>
shows the artist/user as the "Creator" holding
the human individual (like a puppet on string)
who remains unable to escape from the "MasterPlan".

The exhibition "MasterPlan"
is curated and created by Agricola de Cologne.


Le Musee di-visioniste www.le-musee-divisioniste.org
is an online museum based on a philosophical idea,
currently partially under reconstruction,
and corporative member of
the experimental platform for art in Internet.

Agricola de Cologne, multi-disciplinary media artist from Germany
is the creator, founder, editor, producer of NewMediaArtProjectNetwork
and its seven corporate sites.


PRESS NewMediaArtProjectNetwork
contact: press {AT} nmartproject.net

Minimum technical requirements:
1024x768 VGA resolution, soundCard
Pentium III 800 Mhz or comparable MAC
Flash 6, MS Internet Explorer 5.0+ or
Netscape 6.0+
minimum 56K or 64K ISDN modem,
recommended DSL highspeed modem


Date: Thu, 30 Jan 2003 13:40:45 +0100
From: Oliver Ressler <oliver.ressler {AT} chello.at>
Subject: BANQUETE =?ISO-8859-1?Q?=2D?= international traveling exhibition

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international traveling exhibition

Palau de la Virreina, Barcelona (January/March 2003)
ZKM - Center for Art and Media, Karlsruhe (May/August 2003)
Centro Cultural Conde Duque, Madrid (September/November 2003)

Concept and direction:
Karin Ohlenschläger / Luis Rico

Iván de la Nuez / Karin Ohlenschläger / Luis Rico / Peter Weibel

Humanity is made up of an irregular tapestry of relations involving six 
thousand million individuals who are co-evolving within an ecosystem of 
limited resources. The complexity of contemporary experience, and the 
diversity of sensibilities and outlooks mingling within this tapestry, 
together with the vertiginous process of transformation in which we are 
immersed on a global scale, have generated countless tensions and 
uncertainties. "Their comprehension requires us to overcome lineal and 
monosectorial technical schemas to arrive at a totally different 
hermeneutics if we wish to approach this new reality". (José Vidal Beneyto).

In this context, banquete has been conceived of as an exploratory and 
open conversation between art, science, thought and society. A 
conversation understood as a process in which information and values, 
experiences, knowledge and meanings flow, mingle and act reciprocally; 
in which they are revealed by means of a metabolic process that 
synthesises and transforms the abstract ingredients and materials that 
shape daily experience. [...]

The project banquete formulates the analogy between metabolism and 
communication as a productive mechanism that makes it possible to carry 
out a critical, and also propositional analysis of the models and 
instruments that govern flows of food and information; study the 
possible extrapolation of dynamics, processes and structures from one 
field to another, for the purpose of determining some of the symptoms - 
tensions, dysfunctions, contradictions, interferences or abuses, among 
others - and also the potentialities that characterise a global 
metabolic process that includes materials, information and energy, as 
well as people, symbols, ideas and emotions.

Likewise, banquete proposes to establish relations between different 
metabolic scales that range from endosomatic processes in the spheres of 
physics, biology and the cognitive sciences, to social, political, 
economic and cultural dimensions, interpreted as a species of 
exosomatic, collective metabolism.

Overall, the aim of banquete is to articulate a choral seismograph 
capable of registering new transdisciplinary cartographies; explore and 
develop a multidimensional and interdependent dialogical vision of 
interconnected processes, and try out new ways of thinking and 
perceiving the world.

Invited artists:

Marina Abramovic (Holland/Serbia)
Joseph Beuys (Germany)
Mark Boswell (USA)
Tania Bruguera (Cuba)
Maureen Connor (USA)
Daniel Crooks (Australia)
Douglas Davis (USA)
Juan Downey (Chile)
Peter Fend (USA)
Kit Galloway & Sherrie Rabinowitz (USA)
Daniel García Andújar (Spain)
Ramon Guardans (Spain) & Adolf Mathias (Germany) & Martin Schüttler 
Jenny Holzer (USA)
Knowbotic Research (Switzerland)
Hilla Lulu Lin (Israel)
Gordon Matta-Clark (USA)
Ryoichi Majima (Japan)
Lisa May Post (Holland)
Nicos Navridis (Greece)
Nam June Paik (South Korea/USA) & Charlotte Moorman (USA)
Oliver Ressler (Austria)
Jill Scott (Australia)
Paul Sermon (Great Britain)
Jiri Suruvka (Czech Republic)
Minnette Vari (South Africa)
Liu Wei (China)
Peter Weibel (Austria)

Oliver Ressler (Austria) is part of the exhibition with the work

This video records a banned march against the World Economic Forum that 
took place in Salzburg in July 2001.
The central theme of this documentary is the suspension of a basic 
democratic right, that of protest, and reflection on the physical and 
structural violence exercised by state power, and which in this case 
took the shape of a seven-hour police siege of around 900 people.
The video also alludes to media manipulation, the tendency to 
criminalise any expression of dissidence whilst legitimising a 
supranational economic and financial structure that, although not 
instituted democratically, nevertheless exercises power of decision over 
millions of people all over the world.
Video material from Indymedia Austria, Filmliga Linz, Offscreen-Offenes 
Film Forum Salzburg, UTV Vienna and Oliver Ressler.


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