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announcer on Fri, 26 Jun 1998 20:27:56 +0200 (MET DST)


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<nettime> announcer 040


NETTIME'S WEEKLY ANNOUNCER - every friday into your inbox
calls-symposia-websites-campaigns-books-lectures-meetings
send your PR to sandra.fauconnier {AT} rug.ac.be in time!
0.......1........2........3........4........5........6


1...komninos zervos.......the adventures of i - poetic cybersoapie
2...shu lea cheang........launching BRANDON
3..."ana".................stanza
4...Inke Arns.............body of the message - invitation
5...Ron Wakkary...........Stadium: New Projects | Lawler |
                          Goldsmith and Paulsen | Wisniewski
6...info {AT} pfom.org.........PRIVACY FOR OPEN MARKETS - Press Release
7...strike {AT} gn.apc.org.....sTALk 8
8...rtmark.WORKSERV.......DATED! NY action request


........1..............................................

Date: Sat, 20 Jun 1998 14:11:01 +1000 (GMT+1000)
From: s271502 {AT} student.uq.edu.au (komninos zervos)
Subject: the adventures of i - poetic cybersoapie


i have just posted the first ten animated gifs of a series  which i am
putting up at my site as a continuous narrative about the letter/character
i.

this piece is a narrative cyberpoem which i first began working on in 1995
for my cyberpoetry
cd-rom.
that version, called "reality is a construct" was created in logo-motion in
3D and ran for seven
minutes.
this version, because of different connection speeds, different browsers,
different hosts, etc.,
has to be restricted to animated gifs and whatever comes packaged with
netscape 3.
it is my intention to post five new webisodes of this poetic cybersoapie
each week, keeping it
moving in a fairly linear way into the future.
it is also my wish for participation and collaboration with others on the
internet who wish to add
tangential journeys from my linear
narrative.(http://student.uq.edu.au/~s271502/iwb/info.html)
the linear story of i that i will maintain is only one possible path for i,
there is opportunity for
diversion right from the very second webisode.
so please contribute(all contributions will be acknowledged).
eventually i hope a story will evolve which is purely told by words moving
in time and space,
their colour, weight, action and speed adding to the narrative.
check out the first webisode  at
http://student.uq.edu.au/~s271502/iwb/intro.html

regards,
komninos.

**********************************************************************
komninos's cyberpoetry site  http://student.uq.edu.au/~s271502
poetry jukebox  http://student.uq.edu.au/~s271502/jukebox.html
cyberpoetry site:finalist:most creative/innovative website:atom awards:1997.
honourable mention:.net category:prix ars electronica:austria:1997.
**********************************************************************


.................2.....................................

Date: Wed, 24 Jun 1998 00:45:44 +0200
From: shu lea cheang <shulea {AT} earthlink.net>
Subject: launching BRANDON


MUSEUM INAUGURATES ARTISTS' PROJECTS ON THE WEB WITH SHU LEA CHEANG'S
BRANDON, 1998-1999

One-Year Project, to be Launched in June 1998, is Part of Major Initiative
For Guggenheim's Expanded On-line Presence

http://brandon.guggenheim.org

In association with Society for Old and New Media, DeWaag, Amsterdam

Join us ON-LINE for an Amsterdam-New York netlink launch on June 30.

13:00-15:00,  videowall public and press preview, Guggenheim Museum SoHo
20:00-22:00,  a bloody merry party, Theatrum Anatomicum, Amsterdam

On June 30, 1998, the Guggenheim Museum will launch its first artist's
project commissioned for the World Wide Web. Conceived by filmmaker and
media artist Shu Lea Cheang, BRANDON: A One-Year Narrative Project in
Installments  explores issues of gender fusion and techno-body in both
public space and cyberspace.

BRANDON derives its title from Brandon/Teena Brandon of Nebraska, USA, a
gender-crossing individual who was raped and murdered in 1993 after his
female anatomy was revealed. Cheang's project deploy's Brandon into
cyberspace through multi-layered narratives and images whose trajectory
leads to issues of crime and punishment in the cross-section between real
space and virtual space. The project, a
multi-artist/multi-author/multi-institutional collaboration, will unfold
over the course of the coming year, with interface developed (1996-1997)
for artist collaboration and public intervention: bigdoll interface,
roadtrip interface (Jordy Jones, Susan Stryker, Cherise Fong); Mooplay
interface (Francesca Da Rimini, Pat Cadigan, Lawrence Chua) and panopticon
interface (Beth Stryker and Auriea Harvey). System programming by Linda
Tauscher. During 1998-1999, we would invite guest curators to institute
multi-author upload for each interface.

In development with Society for Old and New Media, DeWaag, two netlink
forum/installation are also scheduled for Theatrum Anatomicum interface
(with Mieke Gerritzen, Roos Eisma, Yariv Alterfin, Atelier Van Lieshout):
The first, "Digi Gender Social Body: Under the Knife,  Under the Spell of
Anesthesia," to be held in fall 1998, will bring together noted cultural
critics, genderists, surgeons, and bio-technologists to reconsider binary
codes of male-female and the mapping of the digital body.  The second
forum, held in May 1999 in conjunction  with the Institute on Arts and
Civic Dialogue at Harvard University, is entitled "Would the Jurors Please
Stand Up? Crime and Punishment as Net Spectacle."  The event, which will
incorporate avatar performance and the deployment of a virtual court
system, will convene a panel of legal scholars and provocateurs to preside
a net public trial of sexual assaults in RL (real life) and cyberspace.

BRANDON is curated by
Matthew Drutt, Associate Curator for Research, Guggenheim Museum
(http://www.guggenheim.org)
and produced in association with
Society for Old and New Media, Amsterdam (http://www.waag.org)
Caroline Nevejan and Suzanne Oxenaar/curators; Institute on the Arts and
Civic Dialogue, Harvard University (http://www.arts-civic.org)
Anna Deavere Smith and Andrea Taylor/directors;
Banff Center for the Arts,
Alberta  (http://www-nmr.banffcentre.ab.ca)
 Sara Diamond/director of media arts.
BRANDON is part of a broader program in the media arts being led by John G.
Hanhardt, Senior Curator of Film and Media Arts at the Guggenheim Museum.

Funding for BRANDON has been made possible by grants from The Bohen
Foundation, a Moving Image Installation and Interactive Media Fellowship
from The Rockefeller Foundation, a Computer Arts Fellowship from the New
York Foundation for the Arts, and in Holland, grants from The Mondriaan
Foundation and the Ministry for Cultural Affairs. This project is
supported, in part, with public funds from the New York City Department of
Cultural Affairs Cultural Challenge Program. The project is being hosted by
USWeb Los Angeles.  Artist in residency (New York): Woo Art International .
Artist-in-residency (Amsterdam): Amsterdams Fonds voor de Kunst.


FOR FURTHER INFORMATION:
Scott L. Gutterman
Director of Public Affairs
Guggenheim Museum SoHo
Tel (212) 423-3840
Fax (212) 941-8410
E-mail: sgutterman {AT} guggenheim.org


..........................3............................

From: "ana" <ana {AT} proarte.com>
To: <nettime-l {AT} Desk.nl>
Date: Tue, 23 Jun 1998 11:41:29 +0100

Hello

I thought my site may be of interest and below is some information .
Maybe you could review it or put a link  in?

http://www.sublime.net/stanza

Stanza
92 Lilford Road.
London. SE5 9HR.


If you are interested in digital only works.
www.sublime.net/stanza/subcity
which is internet art specific then maybe you could review this work.

The Central City area an interactive city experience. Towers,
maps, the sounds of the city, an audio visual experience. A piece of
internet art, pushing the limits of internet technology. Embedded shockwave
movies in frames and specially composed backgrounds sounds forming a
collage with texts and computer works.



www.sublime.net/stanza
This is the main site of Steve Tanza; please visit.
The site contains multimedia work and electronic music; cd
players are built into the site so that you can listen to STANZA music as
you browse. Further work which specifically addresses the internet as a
medium is also online, for example the project The Central City.
The main feature is the integration of various media elements within
one page of a web site.  From each of the cells on the STANZA home page you
can go to to various areas of the site. These areas can be identified
easily if you are in NETSCAPE. You can also read the javascript title
guides at the bottom of the page.The site also contains fine
art paintings, videos and conceptual pieces. The intention is to make an
interesting interactive multimedia website with sounds pictures and
artworks.

To help guide you......The areas in the STANZA site include:-

PLAY area with embedded shockwave animations with sound. Cells that mutate
and grow move around the screen and birth new objects. These are
'electronic paintings' that continually change.

THE STATE area with information about the my electronic music  releases,
video
releases, and a streaming audio cd player which plays  my lastest 30 mins
of music, in a shockwave cd player I have built.

Internet art specific project. THE CENTRAL CITY.
www.sublime.net/stanza/subcity

ART area, with painting, photographs and video work. Oil painting,
including the "Control" series; large blacks and whites on canvas and the
newer sublime series which is integrated into a javascript animation. A
selection of fine art works I have made.


SUBLIME. A link back to the main SUBLIME site and other sites: Including
sites for
Proarte, and Belladonna at the ICA,Check it out,Arte for everybody online
shop.
www.sublime.net
The site acts as a forum for dynamic art and audio visual work.
Art and entertainment as well as content and innovation are the prime focus
of the site.


As a working artist Stanza works in painting, installation, sound, the
moving image, and computer technology. Stanza has exhibited paintings and
made installations, directed videos, composed music for LPs and CDs. Themes
or motifs that occur within the context of this work include: Networks of
information technology contrasted with organic networks and city networks
as grids. Cities as grids and computer chips as grids. Repetition of
imagery. Symbols of the city situations and environments. Tower blocks,
maps, streets, factories and housing estates. The juxtaposition of urban
sounds and sights. These motifs find some form of representation in
paintings, soundscapes, videos and interactive computer works. Underpinning
all this work is an open experimentation with multi media focusing on
aspects of environment, urbanisation, conceptual understanding of space,
and a regard for the textures, colours sounds and experiences of the city.


Technical points. You will need shockwave for some areas and will not be
able to listen to my music unless you get shockwave. You must have
downloaded and installed the shockwave plug-in available from the
macromedia website. This plug in goes in the plug - ins folder within
netscape. The audio has been compressed using the highest compression rates
allowing for faster downloads over low bandwidth lines but does not
compromise the sound quality. If your line drops below 1.7kb/sec you may
experience dropouts or stalling in the audio stream.

Please promote the site and if you are interested in the artworks get in
touch........at Stanza {AT} sublime.net
TEL 0171 737 1524
Thanks

stanza


...................................4...................

X-Sender: inke {AT} berlin.snafu.de
Date: Tue, 23 Jun 1998 22:45:00 +0200
To: inke {AT} berlin.snafu.de
From: Inke Arns <inke {AT} berlin.snafu.de>
Subject: body of the message - invitation
Mime-Version: 1.0
X-MIME-Autoconverted: from quoted-printable to 8bit by eduserv2.rug.ac.be
id XAA27429
Status: RO
X-Status:

PRESS RELEASE

Ortsbegehung 4 - body of the message
Sandra Becker • Blank & Jeron • Daniel Pflumm
curated by Inke Arns

4 July - 16 August 1998

check now the URL for body of the message:
<http://www.snafu.de/~inke/NBK/body.html>


The Neuer Berliner Kunstverein is now showing the fourth exhibition in the
Ortsbegehung (‘site inspection’) series: an annual presentation of
contemporary positions in new art featuring three representatives from
Berlin. We place each of these projects in the hands of guest curators in
order to guarantee the necessary pluralism of opinion, and do justice to
the varying approaches possible in view of a diverse spectrum of artistic
observation, experience and conclusions. After the first three ‘Site
Inspections’ of the past years, the fourth presentation now organized by
curator Inke Arns is titled body of the message, and features installations
deploying new electronic media -- video, computer, Internet.

The works to be premiered in the exhibition by Sandra Becker, Daniel Pflumm
and Joachim Blank & Karl Heinz Jeron are linked by a common interest in the
radical re-structuring/re-invention of public space currently in progress.
Although invisible to the human eye, the process has far-reaching
implications. The works are concerned with those new types of media
structures that, as nomadic and ephemeral extensions, graft themselves onto
our public spaces, and qualitatively change them -- in a political sense,
too. The artists strive to make visible the unseen motion in these new
urban spaces of transit, to visualize specific streams of signs,
merchandise, bodies and information -- those elements, in other words, that
are in transit through these new territories. The term ‘body of the
message’ comes from the field of e-mail communications, where it
desig-nates that part of an electronic message addressed to a human reader
as opposed to the program code directed to the machine.

Becker, Pflumm, and Blank & Jeron choose approaches which scrutinize
various aspects of ‘message bodies’ in contemporary mediatized urban
spaces: the movements by people in these spaces; the fluctuation of
signifying bodies, as well as the increasing digitization (i.e. the radical
reduction) of bodies that, until now analog, are caught up in a process of
transition into the realm of information.

The positions represented in body of the message are ones of a generation
of artists that uses new media as part of its ‘natural’ environment, so to
speak, and therefore does not need to explicitly labour the concept of
‘media art’, in part even rejects this notion. They work with a minimum of
technical expenditure (consumer technology), and have no need of a large
battery of machines -- in contrast to the spectacular works of media art
meantime canonized in the museums.

For her work metro scan (4 videos, combined with large format
photographies, 1998) Sandra Becker uses recorded images of passers-by in
the subways of New York, Berlin, Moscow and Tokyo. The ‘message bodies’
shown to us by Becker are obviously ‘real’: human bodies in motion,
standing on escalators, rushing in their hundreds along subway passages.
Although Sandra Becker is citing in her work the aesthetic of public
surveillance cameras, she immediately subverts the normative distanced
totality of this view by adopting a number of standpoints. It is de
Certeau’s metaphorical or migrational city that one encounters in her works.

In Daniel Pflumm’s ‘minimalist’ video (1998) the ‘message bodies’ are
reduced to the ‘glossy veneer’ of pure surfaces: colourful logos, corporate
identities and brandnames frenetically alternate with each other. These
‘message bodies’ point to supra-individual, multi-national corporations,
geographically distributed enterprises making products sold worldwide in a
globalized economy, and therefore requiring images that are globally
recognizable. These control characters pass through the urban realm and
collective global subconscious, indicating in passing the velocity of an
almost instantaneous world-wide presence. At the same time, there is
something especially fragile and transient about those logos the artist
‘censored’ or ‘de-cored’ -- stripped of all text and reduced to their
minimal graphic form. Daniel Pflumm’s videos are archives recording the
rapid transformations in advertising and media aesthetics.

Scanner++ (12 scanners, computer, video projection, Internet, 1998) by
Joachim Blank & Karl Heinz Jeron is a hybrid project that incorporates the
Internet at the same time as it extends into ‘real’ space by means of an
interactive installation. Via a ‘walk-on’ scanner, ‘real’ bodies enter the
virtual realm, their physical mass becomes information, ‘traces of bodies’;
compatible, globally retrievable and archivable <http://sero.org>. The
principle of the search engine, actually an industrious, invisible software
program scouring the Internet for information, is here lent almost
obscenely material form as a symptomatic object now superimposed over real
space, which it proceeds to systematically scan. Blank & Jeron ironically
blur the narrow precipice separating information from disinformation, and
with their contribution they question the ‘ "true" value of information in
our society’.

A bilingual catalogue (German / English) will be published (18 DM, 64 p.,
many illustrations, full colour; with texts by Inke Arns, Ralph Lindner,
Gerrit Gohlke, Thilo Wermke).

We would like to invite you for a press preview of the exhibition, which
will take place at 11 a.m. on the day of the opening (3 July 1998). The
artists and the curator of body of the message will be present between 11
a.m. and 1 p.m.


With kind support from
Hitachi Business Systems Division, Duesseldorf
and
Jet-Foto, Berlin


ORTSBEGEHUNG 4 - body of the message
Sandra Becker • Blank & Jeron • Daniel Pflumm
curated by Inke Arns

4 July - 16 August 1998

Opening: Friday, 3 July 1998, 7 p.m.

Opening hours:
Tuesday - Friday 12 - 6 p.m.
Saturday + Sunday 12 - 4 p.m.

Neuer Berliner Kunstverein
Chausseestrasse 128/129
10115 Berlin (Mitte), Germany
Tel ++49 - (0)30 - 280 70 20
Fax ++49 - (0)30 - 280 70 19
e-mail: <nbk {AT} berlin.snafu.de>
URL: <www.nbk.org> (soon to come)

Inke Arns <inke {AT} berlin.snafu.de>
URL for body of the message: <www.snafu.de/~inke/NBK/body.html>


............................................5..........

Subject: Stadium: New Projects | Lawler | Goldsmith and Paulsen | Wisniewski
Date: Wed, 24 Jun 98 00:49:38 -0000
From: Ron Wakkary <rwakkary {AT} stadiumweb.com>
To: <launch {AT} stadiumweb.com>
Mime-Version: 1.0
X-MIME-Autoconverted: from quoted-printable to 8bit by eduserv2.rug.ac.be
id GAA16561
Status: RO
X-Status:

**Please reply with the message 'unsubscribe' to unsubscribe from this list**

New Projects at STADIUM:
	http://stadiumweb.com

Louise Lawler WITHOUT MOVING / WITHOUT STOPPING
	http://stadiumweb.com/without_moving/without_stopping

Kenneth Goldsmith with Clem Paulsen FIDGET
	http://stadiumweb.com/fidget

Maciej Wisniewski TURNSTILE PART II
	http://stadiumweb.com/turnstile

Stadium is pleased to announce the launch of three new projects.

Louise Lawler's Without Moving/Without Stopping is a series of QTVR
(QuickTime Virtual Reality) movies of the Museum fur Abgüsse Klassischer
Bildwerke in Munich and captions written by the artist. The many captions
are not fixed to the specific movies. Each time a page is downloaded, new
captions and new relations between captions and images will appear. The
lack of fixed relations is intrinsic to Without Moving/Without Stopping
where the viewer is engaged in a series of 'frameless' photographs.  Each
QTVR affords a 'total' picture of the scene, but because the viewer must
constantly frame and reframe the image, the work goes beyond traditional
still panoramic photographs,  investigating the concepts of frames and
boundaries. Without Moving / Without Stopping is an instance where a
picture is worth a thousand pictures and a caption contextualizes only a
moment.

Fidget is a java applet programmed by Clem Paulsen based on Kenneth
Goldsmith's Fidget, a transcription of recordings by Goldsmith in which he
spoke every body movement he made for thirteen hours on June 16, 1997
(Bloomsday). Goldsmith and Paulsen's collaboration have reconfigured the
text of Fidget to substitute the human body with the computer. The java
applet reduces the text of Fidget into its constituent elements of words
and phrases. The relationships between these elements is structured by a
dynamic mapping system that is organized visually and spatially instead of
grammatically. In addition, the java applet invokes duration and presence.
The applet is divided into 'chapters' for each of thirteen hours. Each time
the applet is downloaded it begins at the approximate time of day it is
being viewed and every mouse click or drag that the user initiates is
reflected in the visual mapping system. The sense of time is reinforced by
differing font sizes, background colors and degree of "fidgetness" for each
hour (these parameters may also be altered by the user) and the diminishing
contrast and eventual fading away of each phrase as seconds pass. Fidget is
a collaboration between Stadium, the Whitney Museum of American Art at
Philip Morris, and Printed Matter.  A collaboration with Goldsmith and
vocalist Theo Bleckmann commissioned by the Whitney Museum of American Art,
is made available online at Stadium via Real Audio. The text of Fidget is
also available online.

Turnstile Part II, by the artist Maciej Wisniewski is an XML (Extensible
Markup Language) based server application and Java client applet that
together cull live network 'objects' like lines of HTML code, text from web
pages, chat and email and from Stadium itself, incoming and outgoing email,
telephone calls, faxes and regular mail. In essence, virtual turnstiles are
placed at various nodes within the internet, the Stadium network and its
physical space. Turnstile Part II turns to the network as a source but the
work dissolves into the 'space' of the network as defined by Turnstile Part
II; a space where a telephone call to 411 from Stadium share proximity to
rants in the "ALL FEMANAST SUCK!!" chat room. Turnstile Part II defines the
network by searching objects based on keywords and various matching
strings. In its first weeks the keywords are: 'love' and 'loneliness'. The
ambient eavesdropping of Turnstile Part II extends the critical defining of
the network as space. The fractured syntax and combination of languages
express in a twitch manner the space of the network but it is one that can
be disrupted further by 'clicking' on a line of text to reveal its network
source, however, 'click' the same line again and another source will be
revealed showing that although this is a shared space it is not a static
one.

Stadium is dedicated to exploring the possibilities of the network as a
site for aesthetic production and distribution. Its focus is on
collaborating with artists to produce site-specific art works that are best
realized on the network, as well as documenting past works of ephemeral
media.

http://stadiumweb.com. Send e-mail to comments {AT} stadiumweb.com. Send mail to
400 w13th Street, New York City, NY 10014. Telephone 212.691.4095  or fax
212.691.5734


......................................................6

Date: Tue, 23 Jun 1998 23:05:14 +0100
From: Andreas Broeckmann <abroeck {AT} v2.nl>
Subject: (fwd) PRIVACY FOR OPEN MARKETS - Press Release
Cc: infowar {AT} aec.at

PRESS RELEASE

Global Privacy Association June 8, 1998

PRIVACY FOR OPEN MARKETS

The Global Privacy Association is presently distributing the document,
Privacy For Open Markets. It details an international structure with
incentives to protect an Individual's sensitive and identifiable
information from being distributed on the open market.

"Privacy For Open Markets promotes methods of retaining fair treatment and
distribution of an Individual's sensitive and identifiable information.
Privacy For Open Markets regulates commercial sales of this data, and
simultaneously compensates the appropriate Individual with a percentage of
that transaction."

The document outlines the international and national bodies needed to
fulfill the technological support and administrative tasks for the creation
of the system. It describes in detail the steps taken for an Individual and
Proprietor to register and how transactions would clear.

Increasingly, the consumer is being informed about the immense
repercussions  of the personal data trade. Even though "certain countries
and continents have begun to exercise privacy practice, this is not enough.
It is important that standards be met worldwide, since the information
being exploited is of international concern."

"The Global Privacy Association was initiated as an international coalition
of qualified lawyers, government officials, libertarians, financiers,
bankers, consumer rights activists, database industry leaders, and
encryption specialists. Its goal is to understand the problems of
international electronic commerce and trade, and conceive an alternative
doctrine for the protection of an Individual's sensitive and identifiable
data."

The document is located at the Privacy For Open Markets web site.

http://www.pfom.org

For further detail and information please email
info {AT} pfom.org


7......................................................

From: strike {AT} gn.apc.org
Date: Thu, 25 Jun 1998 16:34:53 -0200
To: strike {AT} stalk.net
Subject: sTALk 8

sTALk 8 : pride sTALk: tactics of difference

You are cordially invited to stalk with ANGELA MASON, director of Stonewall,
PAUL CRAIG of PAF!  [Pride Arts Festival]
and the artist MICHAEL PETRY

Live audio and video webcast at: http://www.stalk.net/stalklive
_________________________________________________
Sunday 	28th June1998
 {AT}        	4:00pm
 {AT}        	strike, 11-29 Fashion Street [top floor],  London E1
_________________________________________________
Tactics of Difference
What are the aims of Pride 98?
How does gay politics today situate itself in a broader context of cultural
contestations and how do gay artists define their tactics of representation
in the climate of Tony Blair's cultural 'rebranding'?
Can the theatre of the media marketing of identity help serve any radical
agenda; how does the assimilation of representation of difference reflect
the way difference is actually allowed to operate?
.................stalk 8>
_________________________________________________
sTALking Tickets  £2.00


Contact 	Siraj Izhar at strike
* email   	strike {AT} gn.apc.org
* tel     	+44  [0]171 375 3596
* fax     	+44  [0]171 366 4469
*  {AT}        	strike, 11-29  Fashion Street [top floor],  London E1

Nearest tube: Liverpool Street Station, Aldgate East

_________________________________________________
sTALk >  experimental curating for the nineties.........................>+
a forum to examine independent work>
focus on work to project new ideas, ideas to project new work>
experiment and collide curatorial agendas with science & technology>
__________________________________________________


........8..............................................

Date: Thu, 25 Jun 1998 18:30:48 -0700 (PDT)
From: "rtmark.WORKSERV" <work {AT} rtmark.com>
Subject: DATED! NY action request

For those in NY--this Saturday, an action request from RTMARK.

Conveying an action request from Black Books, Camel, and Smirnoff.  Full
details at end of this e-mail.

They desire "saboteurs" to attend their event, at which they will be promoting
some useful products, including two known to the state of New York to cause
debilitating and permanent illnesses--these products especially are quite
useful.  RTMARK conveys this request and interprets it.  "Saboteurs" might
traditionally, at such an event, do one of many things, including but certainly
not limited to:

taking many free cigarettes and disguising them as canapes;

creating new dishes with liberal admixtures of Smirnoff vodka;

creating new corporate hairstyles with liberal admixtures of Smirnoff vodka;

spreading ALL the free items on the ground, together, simultaneously, by
manual, explosive, or other traditional sabotage means, so that they might be
inspected more easily;

creating commodity museums utilizing the free goods--and what better location
than the hosts' clothing for such museums?

disturbing fixtures of the hosting residence by means of liberal admixture of
Smirnoff vodka, Camel cigarettes, Revlon hair-care products, etc.;

disturbing fixtures of the hosting residence's yard in a similar way, if you
are ejected by your suddenly humorless hosts;

causing damage as lasting as possible to the residence, the yard, the
magazine's image--this part's the hardest--and the psyches of the hosts.

Please, use your imaginations.  Bring as many and as large and as frightening
friends as you can.

Don't say that RTMARK sent you, because we'd like them to give us money.

Thank you,
rtmark.WORKSERV


-----

Dearest artmark--if you have any sabatouers in the NYC area, please let
them know about this...

So if you've been keeping up, you know that when you mix Black Book
magazine with a liquor sponsor and Don Hills, you have a party that is,
hype aside, very, very cool.

So join us once more.

Saturday, June 27th 10 pm
Don Hills 511 Greenwich Street at Spring

Free Smirnoff until midnight, free smokes from Camel, free theatrical rock
and roll from Psychotica, followed by DJ Tim on the wheels of steel, and,
if you are in need, free styling products from L'Oreal.

Drinking, smoking, hair gel, and rock and roll. If you need anymore reason
to show up, then, seriously, we can't help you.

Open bar goes from ten to midnight. Party goes until 4. If you show up
before midnight, just say Black Book at the door. If not, you may have to
finesse your way in.

Hope to see you there. Really.

Black Book

"Are you about The Cause?"

Black Book
116 Prince Street
2nd floor
New York, NY 10012
tel: [212] 334-1800
fax: [212] 334-3364



---
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