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| Martin Sjardijn on 14 Dec 2000 22:54:21 -0000 |
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| Re: [Nettime-nl] YBRIS Returned I-Worm.Hybris.c3, I-Worm.KakWorm.z, I-Worm.Propec, MIME-Version: |
a mirror in outer space
visible from earth
with the naked eye
at clear nights
----- Original Message -----
From: "JODI" <jodi {AT} jodi.org>
To: <nettime-lat {AT} nettime.org>
Cc: <dramos {AT} uol.com.br>; <nijosi {AT} dodo.jyu.fi>; <teterin {AT} newmail.ru>;
<nettime-l {AT} nettime.org>; <nettime-ro {AT} nettime.org>; <nettime-fr {AT} ada.eu.org>;
<nettime-nl {AT} nettime.org>; <nettime-bold {AT} nettime.org>
Sent: Thursday, December 14, 2000 8:43 PM
Subject: [Nettime-nl] YBRIS Returned I-Worm.Hybris.c3, I-Worm.KakWorm.z,
I-Worm.Propec, MIME-Version:
> Date: Thu, 14 Dec 2000 12:47:43 GMT
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> Is being held until the list moderator can review it for approval.
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> Is being held until the list moderator can review it for approval.
>
> The reason it is being held:
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> Post to moderated list
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> ----------------------------------
> X-Authentication-Warning: server: jodi owned process doing -bs
> X-Sender: mikemosh {AT} mail.well.com
> Mime-Version: 1.0
> Date: Thu, 14 Dec 2000 11:21:18 -0500
> To: JODI <jodi {AT} jodi.org>
> From: mikemosh {AT} well.com (Mike Mosher)
> Subject: Re: *Subscription / nettime-lat {AT} nettime.org
> Cc: Jason Ditmars <u27534 {AT} SDSC.EDU>
>
> Jodi, you sure don't know how to set up a mailing list!
>
> And I really didn't need ten copies of a message only in HTML (I use
> Eudora), the mark of a real newbie y'know. I can use that big artists'
> mailing list though, so thanks.
>
> Cheers,
>
> --Mike M.
>
>
> ----------------------------------
> Date: Thu, 14 Dec 2000 12:15:25 +0100
> From: "Postmaster" <postmaster {AT} ns.ilimit.es>
> Sender: <postmaster {AT} ns.ilimit.es>
> To: <jodi {AT} jodi.org>
> Subject: Undeliverable Mail
>
> Delivery failed 20 attempts: janine {AT} artn.nwu.edu
> Delivery failed 20 attempts: mccormick {AT} brt.deakin.edu.au
> Delivery failed 20 attempts: joanna {AT} chel-vr.demon.co.uk
> Delivery failed 20 attempts: kevin {AT} chel-vr.demon.co.uk
>
>
> Original message follows.
>
> Received: from tro.filnet.es [195.77.1.10] by mail.ilimit.es with ESMTP
> (SMTPD32-6.00) id AEBEF9BA0084; Thu, 14 Dec 2000 02:13:34 +0100
> Received: from [62.82.11.42] [195.77.1.198] by tro.filnet.es with ESMTP
> (SMTPD32-6.00) id A08A55860082; Thu, 14 Dec 2000 01:12:58 +0100
> Message-Id: <v04003a05b65dbddc74ec {AT} [62.82.11.42]>
> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"
> Content-Transfer-Encoding: 8bit
> Date: Thu, 14 Dec 2000 01:19:53 +0100
> To: nettime-lat {AT} nettime.org
> Subject: Original message follows.-------------------- Returned message
> follows ---------------------
> Cc: hardi {AT} imagedesign.ch, j.bezzant {AT} mmu.ac.uk, j.dashow {AT} agora.stm.it,
> j.drever {AT} dartington.ac.uk, j.fairclough {AT} auckland.ac.nz,
j.hyatt {AT} mmu.ac.uk,
> j.k.brown {AT} mmu.ac.uk, j.m.clarke {AT} hud.ac.uk, J.S.Bielicki {AT} geod.geonet.de,
> j.thomson {AT} ucl.ac.uk, j.webb {AT} cqu.edu.au, jackox {AT} bway.net,
> James.A.Johnson {AT} colorado.edu, james.sayers {AT} sheridanc.on.ca,
> james {AT} ethereal.demon.co.uk, JamesFaureWalker {AT} compuserve.com,
> jane {AT} cairn.demon.co.uk, janine {AT} artn.nwu.edu, JArtoux {AT} aol.com,
> jbeckmann {AT} axismundi.com, jbutkus {AT} ne.uswest.net, jditmars {AT} artic.edu,
> Jean-Paul.Monteil {AT} cnam.fr, jeff {AT} kuhub.cc.ukans.edu, jensen {AT} uscolo.edu,
> jesis {AT} xs4all.nl, jevbratt {AT} cadre.sjsu.edu, j-ferolo {AT} nwu.edu,
> jfshan0 {AT} pop.uky.edu, jfxm {AT} echonyc.com, jgh {AT} virginia.edu,
> jgranner {AT} email.sjsu.edu, jharriso {AT} attila.stevens-tech.edu,
> jhogle {AT} wahoo.sjsu.edu, jhunt {AT} accessmedia.com, jjc {AT} merlin.com.au,
> JKlabbers {AT} csu.edu.au, jliebert {AT} crim.ca, jmacsva {AT} earthlink.net,
> jmalloy {AT} artswire.org, jmalloy {AT} well.sf.ca.us, jmccampb {AT} ringling.edu,
> jmilutis {AT} alpha1.csd.uwm.edu, jmilutis {AT} csd.uwm.edu, jmosle {AT} artic.edu,
> joanna {AT} chel-vr.demon.co.uk, Jody.Diamond {AT} dartmouth.edu,
> Jody.Diamond {AT} mac.dartmouth.edu, joel {AT} well.com, joel {AT} well.sf.ca.us,
> joelle {AT} ina.fr, joey {AT} media.mit.edu, johanna.drucker {AT} yale.edu,
> john.f.sherman.1 {AT} nd.edu, john.tonkin {AT} onaustralia.com.au,
> johnmc {AT} deakin.edu.au, johnny {AT} ultralux.demon.co.uk, jon {AT} kzsu.stanford.edu,
> jonmc {AT} bruce.cs.monash.edu.au, jons1 {AT} alpha2.axp.mdx.ac.uk, jools {AT} ucc.ie,
>
> [message truncated]
>
> -------------------------------
> From: LUIS_CRUZ {AT} eu.yr.com
> X-Authentication-Warning: localhost.my.domain: jodi owned process
doing -bs
> Mime-Version: 1.0
> Date: Thu, 16 Nov 2000 12:49:01 +0000
> Subject: AVISO_mail infectado
> To: jsmachado {AT} mail.sitepac.pt, sons {AT} publico.pt, ofaria {AT} publico.pt,
> arco {AT} ifema.es, dnot {AT} mail.telepac.pt, publico {AT} publico.pt,
> cultura {AT} publico.pt, jose.manuel.fernandes {AT} publico.pt,
> vanessa.rato {AT} publico.pt, marginal {AT} ip.pt, mail {AT} mega.fm,
> noticias {AT} jnoticias.pt, musicnet {AT} forum.pt, mcameira {AT} publico.pt,
> sei {AT} avu.cz, fact {AT} fact.co.uk, jodi {AT} jodi.org,
joaoonofre {AT} hotmail.com,
> isast {AT} sfsu.edu, lieshout {AT} wirehub.nl, dazed {AT} confused.co.uk,
> digest {AT} rhizome.org, rolux-owner {AT} rolux.org, fjp {AT} virose.pt,
> ecoclic {AT} mail.telepac.pt, rt {AT} ip.pt, sandra.gomes {AT} co.ip.pt,
> arnaldopedro {AT} ip.pt, risco {AT} mail.telepac.pt,
> barbara.says {AT} mail.telepac.pt, cecl {AT} fcsh.unl.pt,
stonix {AT} mail.telepac.pt,
> mutelifedept {AT} hotmail.com, discos {AT} valentim.pt,
> pedrotudela {AT} mail.teleweb.pt, ines.belo {AT} edimoda.pt,
> mramos {AT} focus-online.net, storrao {AT} focus-online.net,
miso.music {AT} ip.pt,
> plobo {AT} focus-online.net, ruth {AT} esoterica.pt, esap {AT} esoterica.pt
>
> ATENCAO!
>
> a Viatura responsavel pelo Via: cidade: suburbio: capital.
>
> teve conhecimento que foi enviado por mariana.mata {AT} publico.pt um email com
o
> virus navidad.exe para todos os enderecos que constam da nossa mailing
list
>
>
> pedimos as maiores desculpas, por este incidente
>
>
> a Viatura
>
>
>
>
> Viatura, responsible for Via
> just acknowledged that an email containing thr virus navidad.exe was sent
by
> mariana to all the addresses in our mailing list
>
> please accept our apologies for the incident
>
>
> Viatura
>
> ybris o la desmesura
>
>
> La hybris era para los griegos la 'desmesura'. Hay
momentos
> y espacios propicios para la desmesura, como en las
elecciones.
> En todo proceso electoral se exacerban las efusiones
> emocionales. Las campañas ja, Niemcy. Dêwi´ki jakie jest
mi dane dobyç z tego sk½adaka sà równie> sporà rozpi´toÊcià, tak jak i
> samo poj´cie el kustyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊci!
> wie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki.
P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie
mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na!
> tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na
tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´ w½aÊciwie mo>na tyki. P½yt´
w½aÊciwie mo>na podzieliç na par´ cz´Êci- na szcz´Êcie brzmi to w miar´
spójnie dla wytrawnego odbiorcy wszelkiego rodzaju eksperymentu.
> Weêmy takiego John`a Palmer, który tworzy niekontrolowane, wr´cz
chaotyczne ha½asiki posk½adane ze wszelkiego rodzaju urywanych dêwi´ków w
sprytny kola>, b´dàcy na
> pierwszy odbiór niezrozumia½à, wibrujàcà plamà bezsensu i absurdu
muzycznego- w efekcie okazuje si´ byç ewenementem swego rodzaju, gdy> poÊród
tego m´tliku da si´ odczuç
> ca½à nerwowoÊç systemu ludzkiego i za½amania temu towarzyszàce. Podobnie
Martin Alejandro Fumarola z Argentyny. Wariacje zahaczajàce o wspó½czesnà
muzyk´ powa>nà,
> acz w elektronicznym wydaniu. Pe½ne napi´cia i swoistego rodzaju grozy
dêwi´ki przedstawione w iÊcie surrealistycznym stylu. Mo>e nie jest to
mistrzostwo Êwiata, ale dla
> sympatyków gatunku na pewno b´dzie to mi½a chwila. Podobnie Pete Stollery,
który zaczyna od niepokojàcych "przesuwanych" dêwi´ków, by zamilknàç na
chwil´, by dotar½a do
> nas cisza, wzgl´dnie odg½osy spoza naszego pokoju. Wszystko jest
niepokojàce, wyczekujàce i "przedmiotowe"- odg½osy niby znane z
codziennoÊci, przekszta½cone w
> zwariowanà struktur´. To jakby dêwi´ki otoczenia, porozrzucane i w efekcie
wwiane w mroczny kocio½. Nast´pnie pojawia si´ Rudiger Gleisberg ze swoim
"African Moods"- znów
> cisza, za chwil´ rytualne, transowe g½osy afrykaYskich wojowników, by
szybko przekszta½ciç si´ w elektroniczny pasa> próbujàcy stworzyç afrykaYski
nastrój- moim zdaniem niezbyt
> udanie, gdy> jest to bli>sze kulturze raczej europejskiej, no tak Rudiger
pochodzi z Niemiec. Utwór swym doÊç wznios½ym (niestety czasem pompatycznym)
nastrojem, jak gdyby
> zaczyna drugie oblicze sk½adanki- bardziej elektroniczne, nastrojowe,
pe½ne kolorów i swoistej onirii. Taki jest Alejandro Iglesias, który zaczyna
doÊç wyciszonymi dêwi´kami, by za
> chwil´ atakowaç pot´>nymi gromami i grozà niczym ze staro indiaYskich
mitów- to ju> moja wyobraênia, gdy> Alejandro pochodzi z Argentyny i myÊl´,
ten Êwiat ma wp½yw na
> tworzone przez niego dêwi´ki. Przynajmniej ja to tak odbieram. MyÊl´, >e w
tego typu twórczoÊci jest to g½ównà si½à i podstawowym argumentem, dlatego
warto si´gnàç po
> zaczarowanà muzyk´, pe½nà "otoczeY", ilustracji- nasza wyobraênia ma
wówczas niesamowite pole do popisu. Polecam taplanie si´ "dêwi´kowych
opowiastkach" (ArtH.93) SIC #4 - CD Tym razem zbiór nagraY archiwalnych z
lat 1964-1971!!! Sàdzàc po nazwiskach w ca½oÊci poÊwi´cone
> rosyjskim twórcom, co w sumie po zapoznaniu si´ z ca½oÊcià wygenerowanych
dêwi´ków jest dla mnie bardzo du>à niespodziankà w pozytywnym tego s½owa
znaczeniu. Archiwum
> owo dowodzi, >e lata industrialne dotyczy½y równie> i naszych wschodnich
sàsiadów i czuç tu bardzo du>e zaanga>owanie i klas´ poszczególnych twórców.
Dêwi´ki konkretne,
> swoiste zewy "kosmosu" i Êwiata przebiegajàcego równolegle, sà tu bardzo
wyraênà kreskà wyrysowane. Cisza i rosnàcy niepokój ery industrialnej
przejawiajàcej si´ w
> nawiàzaniach do pierwotnych zalotów nieznanej natury Âwiata. Wszystko
zbudowane z próbek dêwi´ku, zap´tlone, zilustrowane w tajemniczy, acz
znajomy dla najg½´bszych
> pok½adów psychiki sposób. Wszystko co znajduje si´ na tej p½ycie spotykamy
nocà w cichnàcym mieÊcie, w ustronnych miejscach zindustrializowanej natury.
To cisza, która
> "zjada" nasze ego i wypluwa na zewnàtrz. Tak tworzono ponad 30-ci lat temu
w Rosji i na Wyspach, gdzie tworzy½a si´ scena kierowana przez Genesisa
P-Orridge, gdzie
> s½ychaç dronowatoÊç La Monte Young`a- ciekawe co na wyczyny obecnych tu
twórców powiedzieliby by panowie Balance i Christopherson z kultowego dziÊ
przedstawiciela
> WORLD SERPENT, projektu o nazwie COIL. Ciekawe ile> wp½ywów zaczerpnà½
legendarny ju> dziÊ mistrz S. Stapleton (m.in. NURSE WITH WOUND), ile razy
zachwyci½by si´
> niejaki Lustmord. Z p½yty Electroshock v.4 bije alchemia dêwi´ku i to na
bardzo wysokim poziomie. Pojawia si´ swoisty eksperyment z instrumentami
nieobcymi muzyce klasycznej (z
> wyjàtkowà psychodelà). Czasem te> s½ychaç przyjazne trzaski, dobywajàce
si´ niczym z p½yt a comiciales crean un contexto en el
> que la tolerancia retrocede y los más exaltados tienden a
copar
> el escenario hasta el punto de no dejar oír a los que más
y
> mejor han meditado lo que dicen.
>
> Esta irracionalidad no sería tan lamentable si el
contenido de la
> discusión se ocupara de temas cardinales. Eso al menos
> colocaría el foco de atención sobre lo que vale la oi NI
> >I was wondering if you (both or either one of you) would have interest
and time
> >to take part in my (PhD) research concerning artists and technology, the
role
>
> h8ypin
> -------------------------------------------------------===================
=======
>
>
asdfghjklkjhgfqwertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-09876543
2
>
asdfghjklkjhgfqwertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-09876543
2
>
asdfghjklkjhgfqwertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-09876543
2
> asd fghj klkjhgfq
wertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-098765asdfghjklkjhgfqwe
rtyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-098765432
>
asdfghjklkjhgfqwertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-09876543
2
>
asdfghjklkjhgfqwertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-09876543
2
> asd fghj klkjhgfq
wertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-098765432asdfghjklkjhgf
qwertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-098765432
>
asdfghjklkjhgfqwertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-09876543
2
>
asdfghjklkjhgfqwertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-09876543
2
> asd fghj klkjhgfq
wertyuiop[-0987654321zxcvbnm,.';lkjhgfdsaqwertyuiop[-098765432432
> pena. Pero no
> es así. El eje de la discusión se ha situado casi
exclusivamente en
> asuntos que debieran ser de interés privado: los
negociados de
> los políticos, las preferencias sexuales, los manejos
dolosos de
> este o aquel funcionario, las calificaciones
zoológicas... Pareciera
> esto más bien la Granja de animales de George Orwell que
unas
> elecciones de un país de humanos, pues el debate se
dirime
> entre gallinas, águilas, moscas, serpientes y otras
bestezuelas.
>
> Lo más grave no es solo que se distraen las energías en
temas
> de poca monta, sino que se ocultan y escamotean los que
son
> verdaderamente cruciales z ATROPOS i za choler´ nie wiem
co niby jedno z drugim mia½oby mieç wspólnego- przeci´tnoÊç? Mo>na by si´
zgodziç, ale o ile ATROPOS mo>na
> jeszcze posàdziç o jakàÊ przysz½oÊç, tak tu... kolejny "mortiis`ek" nam
si´ zrodzi½! Kolejny koleÊ, który swe elektroniczne próby zechcia½ wypuÊciç
na Êwiat½o dzienne... ups!
> przepraszam- na mrok nocy, bo koledzy z bloku obok powiedzieli, >e fajne i
trzeba by wydaç. Có>, po ponad dwóch latach le>enia w szufladzie wype½z½o to
w Êwiat. Jaka szkoda,
> >e i tak pe½na przeci´tniactwa firma COLD MEAT postanowi½a swego czasu
zawojowaç ch½onà scen´ metalowà. Oto efekty. A> przykro, gdy potem czyta si´
w biografiach tego
> typu projektów, ile to oni majà wspólnego z Ambient. A mog½o sobie le>eç w
szufladzie... (ArtH.93)
>
> Ciemno wsz´dzie, mrocznie wsz´dzie... Miki sentara Barlog`owi kaset´
wydawaç b´dzie- a w½aÊciwie wyda½. I tak mamy tu bardzo mroczny po cz´Êci
industrialny, po cz´Êci
> zahaczajàcy o Illbient materia½. Wolno, monotonnie sunàce si´ plamy
dêwi´kowe, które dajà popaliç strzaskanym nerwom. P. Quisiéramos un debate
electoral que
> concentrara sus enfoques en cuestiones como la política
> fronteriza, la educación, el papel de la Fuerza Armada,
la
> economía, el petróleo, la reconstrucción de Vargas, la
> autonomía de los poderes regionales, la seguridad, las
> telecomunicaciones, etc. Una lista enorme si consideramos
> también los asuntos de interés estadal, municipal y hasta
> parroquial que no por ello carecen de interés.
>
> En este asunto los medios de comunicación tienen una
> responsabilidad decisiva. Es por ello que Venezuela
Analítica
> reitera que sus páginas están abiertas a todos los
candidatos
> de todos los niveles para que expongan sus puntos de
vista
> sobre materias del tipo de las que mencionamos arriba,
que
> mantendrían el debate en la altura que requieren los
asuntos
> nacionales de
> Rewelacja! Wspó½czesna muzyka improwizowana mo>e nie ma zbyt wielu
wyznawców, ale Êwiadczy to te> o trudnoÊci w odbiorze takich dêwi´ków. Tak
jak i poprzedni materia½
> Jesionki wywar½ na mnie multum wra>eY, tak i teraz jestem pe½en
ró>norakich odczuç. Po raz pierwszy wys½ucha½em tego materia½u przy otwartym
oknie, skàd dobiega½y mnie
> dodatkowe atrakcje w postaci odg½osów z ulicy, pobliskiego podwórka i
przyznaj´, >e po pewnym czasie pogubi½em si´ co skàd dobiega- czy to jeszcze
dêwi´ki z g½oÊników, czy
> ju> z ulicy i vice versa. Niby zboczone, bo przecie> Warszawska to taka
elita pe½na duchowych uniesieY. Có>, tak ukierunkowana ma psychika- te
wariacje powa>kowe odbieram w
> taki a nie inny sposób. Doskonale odzwierciedlajà klimat muzyki tytu½y,
chocia>by "Z wizytà u muzykologa", gdzie to w Êwietny sposób zobrazowano
panujàcy tam nastrój (czy>by
> próba wejÊcia w g½ow´ pe½nà ch½oni´tego dêwi´ku tego> fachowca? Wspó½czuj´
wi´c muzykologowi che che), nast´pnie "Ma½y koncert na klarnet i baterie",
czy wczeÊniejsza
> "Kuwertura do opery MISTACHE". Awangardowe podejÊcie do tworzenia, pe½ne
za½amaY, niespodziewanego chaosu, pozornego nie½adu, trzasków,
niekontrolowanych
> dêwi´ków instrumentów klasycznych, które uk½adajà si´ w niemal>e free
jazzowe, zgrabne formy. Wielopoziomowa struktura, gdzie na ka>dej z osobna
toczy si´ opowieÊç,
> niejednokrotnie bardzo zaskakujàca. Sztuka, która zmusza do wysi½ku i po
jakimÊ czasie mo>e wywo½aç ból g½owy- jest wi´c efekt, i o to chyba chodzi?
Gratuluj´. (ArtH.93)
>
>
> Artiemiy jest szefem ELECTROSHOCK Recs.- o jego wydawnictwach (sk½adanki i
genialne dzie½o Edwarda Artemiev`a) przeczytacie jeszcze w tym numerze
WIATRÓW. Jest to ju>
> piàte wydawnictwo, którego dane jest mi wys½uchaç i przyznam, >e robi ono
na mnie najwi´ksze wra>enie z dotychczasowych dokonaY tego twórcy. Na pewno
dojrza½e i pe½ne w
> swym przekazie, treÊci i formie. Brak b½azeYskiej przypadkowoÊci (co nie
oznacza, >e na poprzednich wydawnictwach by½o to ra>àco s½yszalne!). MyÊl´,
>e tytu½ na pewno du>o
> podpowie o dêwi´kach tu zawartych ludziom, którzy z podobnego rodzaju
klimatem si´ spotkali. W½aÊnie, Artemiy ponownie roztacza plamy dêwi´kowe,
kojarzone z ambientalnymi
> zewami, pojawiajàce si´ ilustracje muzyczne sà pe½ne spokojnych, wolno
mijajàcych przed naszymi oczami obrazów. Nastrój tej p½yty jest przepe½niony
niepewnoÊcià, zadumà,
> grozà i zaczajonym gdzieÊ za rogiem strachem. Dêwi´ki z drugiej strony
kontemplujà cisz´ i ezoteryczne rejony. Mój zdecydowany faworyt, to
"Cataclysm Of The XX Century"
> objawiajàcy obok taplajàcych odg½osów, przeciàg½ych zewów, monotonny,
transowy, "uÊpiony" g½os, niczym z powolnej, skupionej tybetaYskiej mantry.
W tle, jak wspomnia½em
> dziejà si´ pomalutku, ale konsekwentnie dziwne zajÊcia, wyciàgni´te niczym
z innego Êwiata- niekoniecznie z innej planety, a raczej na pewno nie, choç
skojarzenia z ciszà
> kosmosu mogà byç równie> jak najbardziej na miejscu. Wszystko to przelewa
si´ wcià> przez blisko 77 minut- niepokojàce, stonowane (jakkolwiek
wyobrazicie sobie te
> przeciwieYstwa) przenoszà w inny wymiar. To dobre... wr´cz wskazane jest
wieczornà porà zrzuciç szaty zabrudzone i przesiàkni´te ulicà, by zasiàÊç
przy Êwiecy i potaplaç si´ w
> takim mistycyzmie. (ArtH.93)
>
> esta hora: la máxima jerarquía en la atención de
> todos.
>
> De otro modo ocuparemos toda nuestra energía intelectual
en
> resolver, si acaso, solo los problemas personales de los
> interesados en envilecer el debate porque solo en ese
nivel saben
> desenvolverse. En la sere
>
> Profile
> Virus Name
> Una tarjeta virtual hoax
>
> Aliases
> A virtual card hoax
>
> Variants
> None
>
>
>
> Description Added
> 11/16/00 11:16:45 AM
>
> Virus Information
>
>
> Discovery Date:
> 11/16/00
>
> Origin:
> N/A
>
> Length:
> N/A
>
> Type:
> Hoax
>
> SubType:
> E-mail
>
> Risk Assessment:
> -
>
> Minimum Dat:
> N/A
>
> DAT Release Date:
>
>
> Virus Characteristics
>
> AVERT HOAX Notice!!
>
> NAI Labs AVERT would like to inform you of a new email
HOAX.nidad alguien puede tener la razón,
> pero en este nivel de envilecimiento y de trivialidad
nadie puede
> tener la razón.
> Recomendar esta página a un amigo
> Preparar esta página para imprimir
>
> ybris o la desmesura
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> F-Secure Anti-Virus AVP 3.0 Weekly Engine
> Updates
>
>
>
>
> By: F-Secure Inc.
>
>
>
>
>
> Latest Version:
> 001208
>
> Last Updated:
> 11-Dec-00
>
> Platform:
> Windows 95/98/NT
>
> Product Type:
> Freeware
>
> File Size:
> 18.8 KB
>
> No. of Downloads:
> 10,087
>
> Approx. Download Times:
> At 56k: 3 sec
> At 28k: 7 sec
> At 14k: 13 sec
> --------------------------------------
> X-Authentication-Warning: server: jodi owned process doing -bs
> Date: Fri, 01 Dec 2000 20:58:25 +0900
> From: Marc Voge <marc {AT} totalmuseum.org>
> Reply-To: marc {AT} totalmuseum.org
> Organization: Total Museum
> X-Accept-Language: en,ko
> MIME-Version: 1.0
> CC: Hyungmin Moon <hyungmin {AT} earthlink.net>
> Subject: The Opening of Web Project 8
>
> Dear everyone,
>
> Thank you for your fine work.
>
> Please take a look at the show, and if you see anything that bugs you
> about your work, give a yell -- to Hyungmin -- and pass it along to me.
>
> More soon.
>
> Yours,
>
> Marc
>
> http://www.totalmuseum.org/webproject8.html
>
>
>
>
> ====================================================================
> Abomb.728, Abomb.730, Alcom.257,
> BAT.IBBM.Rbm, BAT.Rbm,
> Backdoor.Cafeini.11.dr,
Backdoor.ControlTotal,
> Backdoor.Gift,
> Backdoor.IRC.Flood,
> Backdoor.Incommander.16.f,
Backdoor.Monster,
> Backdoor.RAdmin.10b,
Backdoor.Studio,
> Backdoor.Sub7X.21,
> Backdoor.TDS.SE.32,
Backdoor.Udps.10,
> Backdoor.WebCT2,
> Backdoor.WebDL, Belial.717,
CLME.Ming.1950,
> CLME.Ming.2027,
> Constructor.DPOG,
Constructor.IRC.SenSi.02,
> Constructor.SennaSpy.OEM.10,
>
Constructor.TrojanRunner.EliteWrap.103,
> Constructor.TrojanRunner.Gr,
DL.326, DL.328,
> DemoCrazy.225, EE.a,
> Eocb.899, Funk.501, HLLC.7322,
HLLP.6384,
> HLLP.9344, Hoax.AnDum,
> I-Worm.Benny, I-Worm.Energy.b,
> I-Worm.Energy.c,
I-Worm.Hybris.c3,
> I-Worm.KakWorm.z, I-Worm.Propec,
> -----------------------------------------
>
>
>
>
>
>
>
>
>
>
>
> ReAS sdfghjkree SpDiritdA67890-=s Of ddA PeDDmiADan Man, ODr D21D69
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+-* -* -* -* ==== * -* +-* -* -* -* ==== * -* +-* -* -* -* ====
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