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Table of Contents:
Telematic Connections at San Francisco Art Institute
roy_ascott@compuserve.com
Retrospective of German Documentary Filmmaker Harun Farocki at NY MOMA
"Berger, Sally" <Sally_Berger@moma.org>
announcement: april april+
aries@pyromedia.org
Re: Switch Launches New Issue V6N2!
Sheila Anne Malone <Pythonldy@aol.com>
Guerrilla News Network
Stephen Marshall <stephen@guerrillanews.com>
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"Mr. Bad" <mr.bad@pigdog.org>
livestreams of this year's transmediale.01
Thomas Munz <tm@transmediale.de>
------------------------------
Date: Thu, 8 Feb 2001 07:09:16 +1100
From: "geert" <geert@basis.desk.nl>
Subject: Telematic Connections at San Francisco Art Institute
from: roy_ascott@compuserve.com
TELEMATIC CONNECTIONS: THE VIRTUAL EMBRACE
BEGINS TOUR AT SAN FRANCISCO ART INSTITUTE
Contact: Patricia Quill
Director of Communications
415/749.4546 pquill@sfai.edu
Exhibition: Telematic Connections: The Virtual Embrace
Location: Walter & McBean Galleries
San Francisco Art Institute
800 Chestnut Street, San Francisco, CA 94133
Opening Reception: Wednesday, February 7, 2001, 5:30-7:30pm
Exhibition Dates: February 7-March 25, 2001
Gallery Hours: Monday-Saturday, 11am-6pm
Online Exhibition: www.telematic.walkerart.org
Curators Statement: www.sfai.edu click on "What's Hot"
Telematic Connections: The Virtual Embrace, a major exhibition exploring
artists' use of the global communications network, opens at the San
Francisco Art Institute on February 8, 2001. The exhibition presents art
that uses the technologies of telecommunications and computing (a
combination which French writers Alain Minc and Simon Nora have coined
"telematique") to investigate connections between people and nature and
computing devices. Telematic Connections: The Virtual Embrace, is comprised
of some forty works by twenty-five artists, and includes both "classic" and
new installations and online projects. The exhibition, which continues
through March 25, 2001, is organized by Independent Curators International
(ICI), New York, and curated by Steve Dietz, Director of New Media
Initiatives at the Walker Art Center in Minneapolis.
Since the middle of the twentieth century, telematic systems have been
connecting the world in an ever-tightening "virtual embrace." Rather than
focusing on interactive artworks that react only with the local viewer, or
online works that exist exclusively in cyberspace, Telematic Connections
presents hybrid works that explore computer-mediated connections between
distant parties, whether human-to-human, human-to-machine,
machine-to-machine, or even human-to nature. In essence, what the
viewer/participant does in the installations, or via a terminal interface to
online projects, has some effect on-or is affected by-someone or something
located somewhere else.
Telematic Connections includes a historic context for the exhibition's
contemporary works, highlighting seminal projects and earlier works that
predate the World Wide Web. It also explores the popular depiction in film
and on television of what artist and theorist Roy Ascott has called the
"telematic embrace."
"Computer" and "network" are seemingly neutral terms, but they represent
powerful forces that are indelibly transforming contemporary culture, from
the global marketplace, to a surveillance society, to the virtualization of
the everyday. In this sense, the exhibition is a reflection of, and a
commentary on, the desire of contemporary telematic culture for connection
and the grim reality of a world with "no time." This is exemplified in
Victoria Vesna's eponymous project, A Community of People with No Time.
Nevertheless, the artists featured in the exhibition envision the networked
future as ripe for counter-action.
Telematic Connections: The Virtual Embrace is organized into four "zones":
TELE-REAL, DATASPHERE, TELE-WOOD, AND TELEMATICS TIMELINE.
TELE-REAL
The Tele-Real zone examines telematic connections in a hybrid of virtual and
actual reality, in eight installations that make human connections with, and
despite, the network. Some of these projects are classics in the unwritten
history of telematic art, but have only been seen infrequently, and
generally outside of the United States. One such installation is Eduardo Kac
's Teleporting an Unknown State (1996/98), a computer-based
telecommunications piece in which a biological process is an integral part
of the work. Kac refers to the process as the "teleportation of particles
(photons) to create the metaphor of the Internet as a life-supporting
system." In a darkened room, a pedestal holding soil serves as a nursery for
a single seed. Visitors send light via the Internet through a video
projector suspended above and facing the pedestal, enabling the seed to
photosynthesize and grow in an otherwise dark environment.
The Tele-Real section also presents several world premieres, including the
Bureau of Inverse Technology's BangBang, which uses customized smart video
cameras positioned in areas of violent political conflict around the world.
Current sites include, Kosovo, East Timor, Los Angeles, and South Africa.
When the noise of explosives or gunfire is detected in the vicinity of the
sensor/camera system, the camera captures a two-to-five-second segment of
video. The sum of this footage-which is transmitted to receivers and
automatically posted to the work's website-is then played in a series of
projections in the exhibition space, along with the original noise. This
work offers a less than utopian view of global interconnectivity, and frames
several conceptual and technical phenomena that have political consequences.
Other works in Tele-Real include projects by Ken Goldberg with Randall
Packer, Wojciech Matusik, and Gregory Kuhn; Steve Mann, Paul Sermon,
Victoria Vesna with Gerald de Jong and David Beaudry; Lynn Hershman, and
Maciej Wisniewski.
DATASPHERE
Projects in the second zone, Datasphere, all make telematic
connections-through the network and computers-often to a physical device at
the "other end," outside the gallery space. This zone includes Masaki
Fujihata's Light on the Net which allows users anywhere in the world to
manipulate a bank of lights in Japan over the Internet.
Datasphere also includes new works by Tina LaPorta and Angie Waller. LaPorta
's Re:mote_corp@REALities functions as an extended, self-reflexive
conversation taking place in both real and delayed time, among
geographically dispersed participants, mediated by the surface of their
computer-screens. Waller's Cellophone allows users to send humorous animated
personal messages via a cellphone and the web.
TELE-WOOD
The third zone, Tele-Wood, is a compilation of excerpts from films and
videos that portray, in various contexts, the theme of a telematic
future-from a telematic world disaster in Fail-Safe (1964) to Star Trek's
"Beam me up"(1966-69), from a telepathic embrace in Flash Gordon (1936) to
teleportation by telephone in The Matrix (1999). The zone also includes
segments from Franois Truffaut's Fahrenheit 451, Robert Longo's Johnny
Mnemonic, and Audrey Hepburn in Desk Set.
TELEMATICS TIMELINE
This zone provides a critical context for the new and recent work in the
exhibition, including emblematic projects created prior to the World Wide
Web, such as Interplay (1979), the first telematic project in which European
artists participated; Hole in Space (1980) by Kit Galloway and Sherrie
Rabinowitz, founders of the Electronic Caf; Douglas Davis's
Pompidou-Guggenheim event, Double Entendre (1981); and Robert Adrian's The
World in 24 Hours (1982), which used the IP Sharp network and allowed
multiple venues around the world to participate. Also included is Roy Ascott
's La Plissure du texte (1983) from the Electra exhibition at the Muse d'
art Moderne de la Ville de Paris; and Van Gogh TV's Piazza virtuale, created
for Documenta IX in 1992.
Also on view in this section are even earlier proto-telematic works such as
Laszlo Moholy-Nagy's Telephone Pictures (1922); Nicholas Schffer's
Tele-Luminoscope (1962); and the 1966 Nine Evenings at the 69th Regiment
Armory in New York. In addition the timeline is "open source," allowing
individuals to enter their own information or reactions to the timeline's
content, forming a community-based history of telematic art.
RELATED PROGRAMS
In conjunction with the exhibition several public programs will explore
issues surrounding art in a technological age. Immediately following the
opening reception on Wednesday, February 7, curator Steve Dietz will present
a lecture and roundtable with artists in the exhibition. Panel discussions
will take place on Saturdays, March 10 and March 17. The first panel, titled
"Women, the City, and Technology," will be moderated by Art Institute
faculty member Anna Novakov; the second, "Digital Dialogues: Curating
Byte-Based Art," will include Steve Dietz with Christiane Paul of the
Whitney Museum of American Art and Benjamin Weil of San Francisco Museum of
Modern Art. The community education course, titled "Investigating New
Media," comprised of six sessions, including the panels, will be taught by
digital media artist and Assistant Professor at Santa Clara University,
David Familian.
WEBSITE AND CD-ROM
www.telematic.walkerart.org/ici/
Telematic Connections: The Virtual Embrace is accompanied by a website that
accesses the online projects, documents the installations, and provides a
critical context with essays by Steve Deitz and other contributors. The
website is hosted and co-presented by the Walker Art Center's online Gallery
9. A CD-Rom produced by ICI also accompanies the exhibition. A companion to
the website, it also documents the work in the exhibition and provides hot
links to the web projects and related resources.
SPONSORSHIP
Telematic Connections: The Virtual Embrace is organized by Independent
Curators International (ICI), New York, and curated by Steve Dietz, Director
of New Media Initiatives at the Walker Art Center in Minneapolis.
The exhibition has been made possible, in part, by a grant from The
Rockefeller Foundation.
Support for the San Francisco Art Institute presentation of the exhibition
has been provided by Mr. and Mrs. C. Richard Kramlich.
Opening events at the San Francisco Art Institute are fueled by Ground Zero,
the Art and Technology Network.
CURATOR
Steve Dietz is the director of New Media Initiatives, Walker Art Center and
curator of
Gallery 9, its virtual exhibition space. He has curated the exhibitions
Beyond Interface:
net art and Art on the Net (www.walkerart.org/gallery9/beyondinterface);
Digital Documentary: The Need to Know and the Urge to Show
(www.partsphoto.org/digidoc); Shock of the View
(www.walkerart.org/alons/shockoftheview) and Art Entertainment Network
(aen.walkerart.org), with over 30 projects from around the world. Links to h
is writings and presentations can be found at www.walkerart.org/
gallery9/dietz.
INDEPENDENT CURATORS INTERNATIONAL
For twenty-five years, the nonprofit Independent Curators International
(ICI) has sought to enhance the understanding and appreciation of
contemporary art. ICI makes this art accessible to the broadest possible
public, providing diverse audiences around the globe, many of them not
regularly exposed to contemporary art, with innovative, challenging
exhibitions. Collaborating with a wide range of distinguished curators to
offer exhibitions and catalogues that introduce and document works in all
mediums, by both emerging and established artists from around the world, ICI
is a leader in its field. Since it's founding, over 5 million people have
seen ICI exhibitions. Further information may be found at
www.ici-exhibitions.org.
SAN FRANCISCO ART INSTITUTE
Founded in 1871, the San Francisco Art Institute is the nation's only visual
arts college dedicated to the fine arts. Its distinguished history features
a long list of affiliated artists who have won prestigious awards and who
are included in important national and international collections and
exhibitions. In 1994 the Art Institute created the Center for Digital Media
to teach and explore digital media as a fine art. The San Francisco Art
Institute is a fully accredited fine art college awarding Bachelor of Fine
Arts and Master of Fine Arts degrees, and a Post-Baccalaureate certificate.
------------------------------
Date: Thu, 8 Feb 2001 07:04:15 +1100
From: "geert lovink" <geert@xs4all.nl>
Subject: Retrospective of German Documentary Filmmaker Harun Farocki at NY MOMA
From: "Berger, Sally" <Sally_Berger@moma.org>
Sent: Thursday, February 08, 2001 4:14 AM
Subject: Harun Farocki Press Release
THE MUSEUM OF MODERN ART TO PRESENT RETROSPECTIVE OF GERMAN FILMMAKER HARUN
FAROCKI
Harun Farocki
February 9-15, 2001
The Roy and Niuta Titus Theater 2
One of the most innovative filmmakers working in Europe today, Harun Farocki
challenges the way we perceive images through his dramatic and nonfiction
films and videos. Starting with his 1969 analysis of modern warfare,
Inextinguishable Fire, Farocki’s distinctive style joins image and text in a
manner that elicits different levels of sociopolitical consciousness. The
Farocki retrospective, organized by Sally Berger, Assistant Curator,
Department of Film and Video, comprises eleven films and five videos, all in
German with English subtitles. The Museum of Modern Art holds the largest
collection of work by Farocki in the United States, all of which are
available through The Museum’s Circulating Film and Video Library. The
filmmaker will be present to introduce and answer questions following select
screenings. Harun Farocki at The Museum of Modern Art runs from February 9
through February 15 at the Roy and Niuta Titus Theater 2.
Avoiding traditional forms of representation, Harun Farocki (German, b.1944)
assembles news and industrial reels, historic film footage, and his own
dramatic and nonfiction work into narratives that examine the way we
perceive and understand an image. His early, groundbreaking film,
Inextinguishable Fire, looks at the impact and manufacture of the deadly
chemical weapon napalm during the Vietnam war and brings to the surface the
hidden relationships between labor, industry, and destruction.
Following the theme of employees and the workplace, Workers Leaving the
Factory (1995) considers the implications of an image that has been depicted
throughout cinematic history, starting with a historic clip from the Lumière
brothers’ film of the same title. With Workers, Farocki shows several
variations of this scene from different films to examine its meaning as a
historic and filmic trope.
Images of the World and the Inscription of War (1988), one of Farocki’s most
renowned works, is a film essay that explores the “blind spot” of the
evaluators of aerial footage taken by American bombers over Poland in 1944.
The photographs reveal that this “blind spot” of the Allied Forces was the
Auschwitz concentration camp, situated next to their intended industrial
bombing target. The CIA did not notice this proximity until decades later.
The circumstances surrounding the image provoked Farocki’s investigation
into the obfuscation of this horrific reality.
“Farocki’s films consistently dissolve our perceived boundaries by looking
more deeply at what is beneath the surface of the making of a film-an object
of beauty, an advertising message, or the production of a deadly weapon,”
remarks Berger, who organized the exhibition.
Regarding his work, Farocki states, “one must work with existing images in
such a way that they become new. There are many ways to do this. Mine is
to look for buried meanings and to clear away the debris lying on top of the
pictures. In so doing, I try not to add ideas to the film; I try to think in
film so that the ideas come out of filmic articulation.”
Although in keeping with similarly analytic filmmakers like Jean-Luc Godard,
Chris Marker, and Alain Resnais, Farocki has had far less exposure in the
United States than in Europe, where he is renowned. The Harun Farocki
series coincides with the recent addition of Farocki’s films and videos into
the Museum’s Circulating Film and Video Library, which is the North American
distributor of his work.
Harun Farocki is presented in collaboration with the Goethe Institut New
York and Deutsches Haus, New York University.
Harun Farocki Screening Schedule:
Friday, February 9, 6:00 p.m.
Wie man sieht (As You See).† 1986. West Germany. Directed by Harun Farocki.
Farocki observes, “My film As You See is an action-filled feature film. It
reflects upon girls in porn magazines to whom names are ascribed and about
the nameless dead in mass graves, upon machines that are so ugly that
coverings have to be used to protect the workers’ eyes, upon engines that
are too beautiful to be hidden under the hoods of cars, upon labor
techniques that either cling to the notion of the hand and the brain working
together or want to do away with it.” 72 min.
Friday, February 9, 8:00 p.m.
Thomas Elsaesser, author and professor of film and television at the
University of Amsterdam, will introduce the screening and discuss Farocki’s
work.
Nicht löschbares Feuer (Inextinguishable Fire).† 1969. West Germany.
Directed by Harun Farocki. The filmmaker has noted, “When we show you
pictures of napalm victims, you’ll shut your eyes. You will close your eyes
to the pictures; then you’ll close them to the memory; and then you’ll close
your eyes to the facts.” According to critic Hans Stempel, “Farocki refrains
from making any emotional appeal. His point of departure is the following:
‘When napalm is burning, it is too late to extinguish it. You have to fight
napalm where it is produced: in the factories.’ Resolutely, Farocki names
names: the producer is Dow Chemical, located in Midland, Michigan, in the
United States.” 25 min.
Arbeiter verlassen die Fabrik (Workers Leaving the Factory).† 1995. Germany.
Directed by Harun Farocki. According to the writer Klaus Gronenborn, the
film takes its title from “the first cinema film ever shown in public. For
forty-five seconds, this still-surviving sequence depicts workers at the
photographic products factory in Lyon owned by the brothers Louis and
Auguste Lumière, hurrying, closely packed, out of the shadow of the factory
gates and into the afternoon sun. Only here, in departing, are the workers
visible as a social group. But where are they going? To a meeting? To the
barricades? Or simply home? These questions have preoccupied generations of
documentary filmmakers. The space before the factory gates has always been
the scene of social conflicts.” 36 min.
Saturday, February 10, 2:00 p.m.
Nicht löschbares Feuer (Inextinguishable Fire).† 1969. West Germany.
Directed by Harun Farocki. See description above. 25 min.
Etwas wird sichtbar (Before Your Eyes: Vietnam).† 1981. West Germany.
Directed by Harun Farocki. Asked why he made war films, Farocki responded in
the words of a character in his own film, Between Two Wars: “I tried to
learn something for the living from the lives of the dying.” In the film, a
voiceover suggests that war is basically an experiment, perhaps not unlike
film itself. 114 min.
Saturday, February 10, 4:30 p.m.
Ein Bild (An Image).† 1983. West Germany. Directed by Harun Farocki. The
director writes, “Four days spent in a studio working on a centerfold photo
for Playboy magazine provided the subject matter for my film…. The magazine
itself deals with culture, cars, a certain lifestyle. Maybe all those
trappings are only there to cover up the naked woman. Maybe it’s like with a
paper doll. The naked woman in the middle is a sun around which a system
revolves: of culture, of business, of living! (It’s impossible to either
look or film into the sun.) One can well imagine that the people creating
such a picture, the gravity of which is supposed to hold all that, perform
their task with as much care, seriousness, and responsibility as if they
were splitting uranium.” 25 min.
Jean-Marie Straub und Daniele Huillet bei der Arbeit an einem Film nach
Franz Kafkas “Amerika” (Jean-Marie Straub and Daniele Huillet at Work on
Franz Kafka’s “Amerika”).† 1983. West Germany. Directed by Harun Farocki.
The directing technique of Straub and Huillet is so repetitive and
detail-obsessed that the performers are made to rehearse the scenes to the
point of exhaustion. The unusual nature of this working method makes it well
worth documenting. Farocki’s account of these short scenes is unforgettable.
In documenting Straub and Huillet’s method, Farocki reveals their resistance
to traditional cinema, against which his own films rebel. 26 min.
Saturday, Feburary 10, 5:30p.m.
Bilder der Welt und Inschrift des Krieges (Images of the World and the
Inscription of War).† 1988. West Germany. Directed by Harun Farocki. Christa
Blümlinger, a professor of film in Berlin, has written, “The vanishing point
of Images of the World is the conceptual image of the ‘blind spot’ of the
evaluators of aerial footage of the IG Farben industrial plant taken by the
Americans in 1944…. Commentaries and notes on
the photographs show that it was only decades later that the CIA noticed
what the Allies hadn’t wanted to see: that the Auschwitz concentration camp
is depicted next to the industrial bombing target.” 75 min.
Sunday, February 11, 2:00 p.m.
Videogramme einer Revolution (Videograms of a Revolution).† 1992. Germany.
Directed by Harun Farocki and Andrej Ujica. The Romanian revolution
of December 1989 provided Farocki and Ujica an opportunity to found a new
media-based form of historiography. As Ujica noted, “Demonstrators occupied
the television station (in Bucharest) and broadcast continuously for 120
hours, thereby establishing a new historical site: the television studio….
The twentieth century is filmic. But only the video camera, with its
heightened possibilities in terms of recording time and mobility, can bring
the process of filmifying history to completion. Provided that there is
history.” 106 min.
Sunday, February 11, 4:00 p.m.
Was ist los? (What’s Up?).† 1991. Germany. Directed by Harun Farocki.
The critic Jörg Becker has written, “How a look can be turned toward its
goal by grasping and measuring its covetousness is shown in an exemplary
fashion in What’s Up? in a motif depicting a postcard of a painting by
Titian in an eye-mark recorder (which tracks the movement of a viewer’s
eye). Elsewhere, topographical test images of the human brain record
stimulus-response patterns during visual trials by measuring brainwaves….
The film binds its subjects into conceptual pairs of various jargons which
appear to be laid out side-by-side in a domino-like fashion
(‘test/money-money/credit-middle class/beauty…’); an authorial text,
condensed into intertitles with the character of pauses, breaks and cuts.”
60 min.
Sunday, February 11, 5:30 p.m.
Der Auftritt (The Appearance).† 1996. Germany. Directed by Harun Farocki.
The head of a Berlin advertising agency proposes a strategy to his potential
client, a Danish optical company: “The communication strategy that we
ultimately came up with as a basis for any creative act or means of
communication has three headings. The first is ‘relevant, not arrogant,’ the
second, ‘varied, not uniform,’ and the third is, ‘creative, not pushy.’
These are essentially translations, strategic translations of your basic
requirements and your analysis of the market, as well.” 40 min.
Die Bewerbung (The Interview).† 1996. Germany. Directed by Harun Farocki.
The director notes, “In the summer of 1996, we filmed application training
courses in which one learns how to apply for a job. School-leavers,
university graduates, people who have been retrained, the long-term
unemployed, recovered drug addicts, and mid-level managers-all of them are
supposed to learn how to market and sell themselves, a skill to which the
term “self-management” is applied. The self is perhaps nothing more than a
metaphysical hook from which to hang a social identity.” 60 min.
Monday, February 12, 3:00 p.m.
Zwischen zwei Kriegen (Between Two Wars).† 1978. West Germany. Directed by
Harun Farocki. The conceptual images in this work revolve around the
analysis of the interrelationships among technology, work, the economy, and
politics developed by the Marxist economist Alfred Sohn-Rethel on the eve of
Hitler’s seizure of power. This analysis explains German fascism’s war of
aggression as a consequence of marketing and overproduction problems in the
steel industry. 83 min.
Monday, February 12, 6:00 p.m.
Schnittstelle (Interface).† 1995. Germany. Directed by Harun Farocki. The
director was commissioned by the Lille Museum of Modern Art to produce a
video about his own work. His response was a 1995 installation for two
screens; the film developed from the installation. Reflecting on Farocki’s
documentaries, it examines what it means to work with existing images rather
than producing new images. The title plays on the double meaning of Schnitt,
which refers both to Farocki’s workplace, the editing table, as well as the
“human-machine interface,” where a person operates a computer using a
keyboard and a mouse. 25 min.
Bilder der Welt und Inschrift des Krieges (Images of the World and
the Inscription of War).† 1988. West Germany. Directed by Harun Farocki.
See description above. 75 min.
Ich glaubte, Gefangene zu sehen (I Thought I Was Seeing Convicts).† 2000.
Germany. Directed by Harun Farocki. Images from the maximum-security prison
in Corcoran, California. A surveillance camera shows a pie-shaped segment of
the concrete yard where the prisoners, dressed in shorts and mostly
shirtless, are allowed to spend half an hour a day. When one convict attacks
another, those not involved lay flat on the ground, arms over their heads.
They know that when a fight breaks out, the guard calls out a warning and
then fires rubber bullets. If the fight continues, the guard shoots real
bullets. The pictures are silent, the trail of gun smoke drifts across the
picture. The camera and the gun are right next to each other. 25 min. Total
running time 125 min.
Tuesday, February 13, 3:00 p.m.
Der Auftritt (The Appearance).† 1996. Germany. Directed by Harun Farocki.
See description above. 40 min.
Stilleben (Still Life).† 1997. Germany. Directed by Harun Farocki. Just as
in the seventeenth century, when the objects of everyday life-food, drink,
table decorations-were depicted in still-life paintings, so today the
advertising industry produces photographs of goods at great expense and with
a high degree of specialization. In this film, Farocki connects these two
worlds of pictures. He visited photographers’ studios in France, the United
States, and Germany and for days observed them at their work. Three
documentary sequences resulted, on the arrangement of a cheese platter, of
beer mugs, and of a valuable watch. In juxtaposition, Farocki presents an
essay in four segments on classical Dutch and Flemish still-life painting.
The film suggests the idea of projecting ideas from art history onto
advertising and, conversely, that our view of still-life painting may be
altered by the ritualistic efforts Farocki discovers in the studios. 56 min.
Tuesday, February 13, 6:00 p.m.
Ein Bild (An Image).† 1983. West Germany. Directed by Harun Farocki. See
description above. 25 min.Leben-BRD (How to Live in the FRG).† 1990.
Germany. Directed by Harun Farocki. From a wealth of observations on life in
Germany, the commentator Dietrich Leder observes, Farocki assembles “a
picture of a society in which childbearing and dying, crying and taking care
of people, crossing streets and killing are taught and learned in state or
private institutions. The real mechanical ballet is not danced by machines
but by people, who move to a music that feeds on bombastic phrases from the
realms of social work, bureaucracy and therapy.… And yet How to Live in the
FRG goes beyond such an interpretation. The participants in the games,
tests, and therapy sessions are not degraded into pieces of evidence for
some theory or other. They retain, to varying degrees, something of their
dignity.” 83 min.
Thursday, February 15, 3:00 p.m.
Schnittstelle (Interface).† 1995. Germany. Directed by Harun Farocki. 25
min.
Videogramme einer Revolution (Videograms of a Revolution).† 1992. Germany.
Directed by Harun Farocki and Andrej Ujica. 106 min. See descriptions above.
Thursday, February 15, 6:00 p.m.
Arbeiter verlassen die Fabrik (Workers Leaving the Factory).† 1995. Germany.
Directed by Harun Farocki. 36 min.
Zwischen zwei Kriegen (Between Two Wars).† 1978. West Germany. Directed by
Harun Farocki. 83 min. See descriptions above.
† Film is available for rental from the Circulating Film and Video Library
of
The Museum of Modern Art.
No. 8
Press Contact: Beth English, 212/708.9874 or beth_english@moma.org.
Public Information:
The Museum of Modern Art, 11 West 53 Street, between Fifth and Sixth Avenues
The public may call 212/708-9400 for detailed Museum information
Hours: 10:30 a.m.-5:45 p.m. daily; 10:30 a.m.-8:15 p.m. Friday; Closed
Wednesday
Admission: $10; $6.50 students with ID and people 65 and over; free for
members and children under 16 accompanied by an adult. Friday, 4:30
p.m.-8:15 p.m. pay-what-you-wish
Visit us on the Web at www.moma.org
- ------
Sally Berger, Assistant Curator
Department of Film and Video
The Museum of Modern Art, 11 West 53 Street
New York, NY 10019
PH: (212) 708-9689/FAX: (212) 708-9531
email: sally_berger@moma.org
------------------------------
Date: Wed, 7 Feb 2001 22:13:34 -0500
From: aries@pyromedia.org
Subject: announcement: april april+
a p r i l
in parking meters
april in parking meters und if... present music+
friday, 09.02.01, 20.00
if....
"april" is a project by andreas reihse, a pop-musician from cologne with various musical
identities and passions. these include membership in the techno project "binford" and the pop
band "kreidler".
he releases his solo works on italic under the name "april." "if..." is his debut 12"
maxi-single.
"if it doesn't happen naturally (don't leave it)" on side a with its bright house piano and pop
quotations turns dancefloors into catwalks: euphoric, decadent and dreamy.
"the if-girl", the first song on side b, is a duet with "april" and dsseldorf artist, thea
djordjadze. the second track on side b, "if - the tube edit", is pure pop amour. very italic
italic is a flamboyant dancelabel from cologne. founded out of love for pop in 1999.
the exhibition "feeler" of mark bain continues until 03.08.01.
april in parking meters
weidengasse 24-26, 50668 kln
openingtimes: fri thur 17.00 21.00 uhr, sa 15.00 19.00 uhr
contact: apirl-in-parkingmeters@gmx.de
tel. anja dorn 0221 3100239, alice koegel 0221 2409080
------------------------------
Date: Wed, 07 Feb 2001 23:31:00 -0800
From: Sheila Anne Malone <Pythonldy@aol.com>
Subject: Re: Switch Launches New Issue V6N2!
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2 Final//EN">
<HTML>
<HEAD>
<TITLE>SWITCH LAUNCHES NEW ISSUE</TITLE>
<META NAME="generator" CONTENT="BBEdit 4.5">
</HEAD>
<BODY>
<P>
As managing editor of Switch, I am proud to announce the launch of the
current issue of Switch: Social/Networks.
</P>
<P>
If any social system functions and exists within a describable, measurable
network structure, then perhaps the question at hand is: can any network
structure be described as a social system? In this issue <A
HREF="http://switch.sjsu.edu/web/v6n2/mainnetwork.html">Social &
Networks</A>, we explore, describe, define, represent and even test
social network theories on individuals, organizations, art and technology.
Like most social theory we are looking at how individuals, organizations,
and software exist and behave within a network. With the bombardment of
interactive capability in the past few years our social networks are quite
extensive and complex. They have become increasingly more difficult to
describe and visually represent. Switch aims to look beyond the expected and
into areas relevant to artists today.
<P>
In <A HREF="http://switch.sjsu.edu/web/v6n2/articles/wright.html">Racism and
Technology</A>, Michelle Wright looks at the concepts associated with "the
digital divide" in which different sections of the community living side by
side, exist within different social systems and therefore have access to
different powers.
Beryl Graham's <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/graham.html">Live from
Bangladesh</A> reveals other aspects of globalization
and theories of postindustrial society influencing/creating new media.
Graham touches on many of the similarities and differences between India,
the U.S. and Great Britain.
Marc Böhlen's <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/bohlen.html">Time Types and
Table Manners</A> describes experiments with artificial intelligence.
Böhlen explores ideas of time, machine interaction, and authorship. In
<A HREF="http://switch.sjsu.edu/web/v6n2/articles/wittig.html">Situated and
Distributed Knowledge Production in Network Space</A>, Geri
Wittig examines issues of identity and self-organizing social networks
amidst the mutable boundaries of network space.
Joel Slayton's <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/slayton.html">Social
Software</A> develops arguments on "how membranes enable autopoiesis in
software." Slayton infers that software is social and behaves socially.
Wendy Angel's <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/angel.html">IdeaConsciousness
NetWorks</A> is an obscure look at abstraction and consciousness in
relationship to network theory and painting.
Matt Mays looks at the role of the artist as lawyer and the lawyer as artist
in <A HREF="http://switch.sjsu.edu/web/v6n2/articles/mays-law.html">Defining
the Lawyer/Artist</A>. Mays touches on some of the biggest cases to
influence Information Technology.
In Exclusive interviews Matt Mays, Nora Raggio, and Sheila Malone look at
the role and function of individuals in progressive and ground-breaking arts
organizations; <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/mays-creative.html">Creative
Disturbance</A>, <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/raggio-takahara.html">GroundZ
ero</A>, <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/raggio-viola.html">Bill
Viola</A>, <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/malone.html">The Kitchen</A>.
Cindy Ahuna reviews Ken Goldberg's newest book, <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/ahuna.html">The Robot in the
Garden</A>. Jody Berland and Rob Riddle may have opposing ideas about
social interaction and the sound art scene today. In <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/berland.html">Musicking
Machines</A>, Berland looks at how machines have changed the nature of
collaboration and musicianship. Riddle's <A
HREF="articles/riddle.html">Audiononlocation</A>, argues that the internet
has empowered a new kind of collaboration and exploration of sound art form.
Susan Otto's <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/otto.html">Manifesto for a
Virtual Favela</A> is a haunting but sober look at art practice in the
complicated mediated world we live in today.
Steve Cisler, assists local community networking advocates and has
lectured worldwide on the promise and the cultural challenges of the
Internet and in his latest <A
HREF="http://switch.sjsu.edu/web/v6n2/articles/cisler.html">Letter from
Aspen: Cultural policy</A>furthers his dialogue about private vs. public,
culture vs nature.
</P>
<P>
Examples of social network complexities can be found in our Projects
section. Code Zebra is a highly interactive interdisciplinary, performance
and software system where art meets science. Sara Diamond creator and
developer of <A HREF="http://www.codezebra.net">Code Zebra</A> is a
television and new media producer/director, artist, curator, critic, teacher
and artistic director who has represented Canada and the USA at home and
internationally
for many years.
<A HREF="http://switch.sjsu.edu/web/v6n2/images/conference.gif">Conference
Mapping Project</A> by graduate students Ben Eakins, Darby Smith, Minqing
Zhou is an intricate web of visual representation of the contemporary
academic and artistic gathering of individuals. In Electronic Disturbance
Theater's <A HREF="http://switch.sjsu.edu/web/v6n2/ztps/">Zapatista
Tribal Port Scan</A>, the participation of activist intermingles in a social
network of the radical and complex political issues facing contemporary
society. Tommy Alvaran's and Darren Wong's undergraduate senior project:<A
HREF="http://cadre.sjsu.edu/%7Edwong/art180/">Internetica</A> cleanses
websites from unnecessary code leaving them with a new Internetic Code
consisting of X, Y, and Z values.</P>
<P>
<A HREF="http://switch.sjsu.edu/web/v6n2/mainnetwork.html">Social &
Networks</A> is perhaps a confusing spider web of dynamic and critical ideas
about art, science, and our need to make sense of it all.</P>
<P>
<A HREF="http://switch.sjsu.edu">Switch</A>
</P>
<P>
Sincerely,
Sheila A. Malone
Managing Editor
Switch: http://switch.sjsu.edu
e-mail:Pythonldy@aol.com
</P>
<P>
Text Version:<P/>
<P>
If any social system functions and exists within a describable, measurable
network structure, then the question at hand is: can any network structure
be described as a social system? In this issue Social & Networks we explore,
describe, define, represent and even test social network theories on
individuals, organizations, art and technology. Like most social theory we
are looking at how individuals, organizations, and software exist and behave
within a network. With the bombardment of interactive capability in the past
few years our social networks are quite extensive and complex. They have
become increasingly more difficult to describe and visually represent.
Switch aims to look beyond the expected and into areas relevant to artists
today.</P>
<P>
In Racism and Technology, Michelle Wright looks at the concepts associated
with "the digital divide" in which different sections of the community
living side by side, exist within different social systems and therefore
have access to different powers. Beryl Graham's Live from Bangladesh reveals
other aspects of globalization and theories of postindustrial society
influencing/creating new media. Graham touches on many of the similarities
and differences between India, the U.S. and Great Britain. Marc Bhlen's
Time Types and Table Manners describes experiments with artificial
intelligence. Bhlen explores ideas of time, machine interaction, and
authorship. In Situated and Distributed Knowledge Production in Network
Space, Geri Wittig examines issues of identity and self-organizing social
networks amidst the mutable boundaries of network space. Joel Slayton's
Social Software develops arguments on "how membranes enable autopoiesis in
software." Slayton infers that software is social and behaves socially.
Wendy Angel's IdeaConsciousness NetWorks is an obscure look at abstraction
and consciousness in relationship to network theory and painting. Matt Mays
looks at the role of the artist as lawyer and the lawyer as artist in
Defining the Lawyer/Artist. Mays touches on some of the biggest cases to
influence Information Technology. In Exclusive interviews Matt Mays, Nora
Raggio, and Sheila Malone look at the role and function of individuals in
progressive and ground-breaking arts organizations; Creative Disturbance,
GroundZero, Bill Viola, The Kitchen. Cindy Ahuna reviews Ken Goldberg's
newest book, The Robot in the Garden. Jody Berland and Rob Riddle may have
opposing ideas about social interaction and the sound art scene today. In
Musicking Machines, Berland looks at how machines have changed the nature of
collaboration and musicianship. Riddle's Audiononlocation, argues that the
internet has empowered a new kind of collaboration and exploration of sound
art form. Susan Otto's Manifesto for a Virtual Favela is a haunting but
sober look at art practice in the complicated mediated world we live in
today. Steve Cisler, assists local community networking advocates and has
lectured worldwide on the promise and the cultural challenges of the
Internet and in his latest Letter from Aspen: Cultural policyfurthers his
dialogue about private vs. public, culture vs nature.</P>
<P>
Examples of social network complexities can be found in our Projects
section. Code Zebra is a highly interactive interdisciplinary, performance
and software system where art meets science. Sara Diamond creator and
developer of Code Zebra is a television and new media producer/director,
artist, curator, critic, teacher and artistic director who has represented
Canada and the USA at home and internationally for many years. Conference
Mapping Project by graduate students Ben Eakins, Darby Smith, Minqing Zhou
is an intricate web of visual representation of the contemporary academic
and artistic gathering of individuals. In Electronic Disturbance Theater's
Zapatista Tribal Port Scan, the participation of activist intermingles in a
social network of the radical and complex political issues facing
contemporary society. Tommy Alvaran's and Darren Wong's undergraduate senior
project:Internetica cleanses websites from unnecessary code leaving them
with a new Internetic Code consisting of X, Y, and Z values.</P>
<P>
Social & Networks is perhaps a confusing spider web of dynamic and critical
ideas about art, science, and our need to make sense of it all.</P>
</BODY>
</HTML>
------------------------------
Date: Thu, 8 Feb 2001 01:10:11 -0800
From: Stephen Marshall <stephen@guerrillanews.com>
Subject: Guerrilla News Network
Fellow Guerrillas Mediasts,
Guerrilla News Network is an alternative information provider which features
hi-impact, controversial videos cut to the music of the Beastie Boys, Peter
Gabriel and others.
Our newest video: Countdown can be viewed at
http://www.GuerrillaNews.com/countdown
We welcome your comments and suggestions.
Love and (R)evolution,
Stephen Marshall
Strategic/Creative Director
GuerrillaNews.com
------------------------------
Date: 08 Feb 2001 01:40:46 -0800
From: "Mr. Bad" <mr.bad@pigdog.org>
Subject: -=-[Pl[ea]se]-=-R[ea]d-=-[[My]]-=-[][Re[tar]de][d]-=-[Asc[ii]]-=-[Po[em]]-=-
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
1.)...................I....................................C.a.n.T......
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
2.).T...................................................................
....h...................................................................
....i...................................................................
....n...................................................................
....k...................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
3.).....................................................................
........................................................................
+++++++++++++++++++++++............................+++++++++++++++++++++
+......................................................................+
+....................ofOFanyANYthingTHINGtoTOsaySAY....................+
+......................................................................+
+++++++++++++++++++++++............................+++++++++++++++++++++
........................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
4.).....................................................................
b..u..t....i..'..m....b..a..n..k..i..n..g....o..n....t..h..e............
........................................................................
............................................................h..o..p..e..
........................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
5.).....................................................................
THATIFI........................................................FILLUPTHE
........................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
6.).....................................................................
..........................screenwitha...................................
........................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
........................................................................
7.).J.I.L.L.I.O.N..F.U.C.K.I.N.G........................................
........................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
8.).....................................................................
..................+.....____...___._____.____.....+.....................
..................+....| _ \./ _ \_ _/ ___|....+.....................
..................+....| |.| | |.| || |.\___ \....+.....................
..................+....| |_| | |_| || |..___) |...+.....................
..................+....|____/.\___/.|_|.|____/....+.....................
........................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
9.).....................................................................
..............you.......................................................
...................................................won't.notice.........
........................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
........................................................................
10.)..t.h.a.t...........................................................
...............i........................................................
..................a.m...................................................
........................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
........................................................................
11.)..some.kind.of.cryptic.dutch.retard.................................
........................................................................
VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
~Mr. Bad
- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
/\____/\ Mr. Bad <mr.bad@pigdog.org>
\ / Pigdog Journal | http://pigdog.org/ | *Stay*Real*Bad*
| (X \x)
( ((**) "If it's not bad, don't do it.
\ <vvv> If it's not crazy, don't say it." - Ben Franklin
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
------------------------------
Date: Thu, 08 Feb 2001 15:07:40 +0100 (MET)
From: Thomas Munz <tm@transmediale.de>
+++Invitation to follow the livestreams of this year's transmediale.01 - DIY!+++
++++++++++++++++++++++++++++++++++++++++++
more information http://www.transmediale.de
livestream http://photron.de/real/transmediale-e.ram
livestream/german http://photron.de/real/transmediale-d.ram
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
overview_livestream:
*thursday, 8.2.,14:30-18:00
conference panel "Social Software"
with: Lutz Henckel | Christian Hbler | Heiko Idensen | Thomax Kaulmann | Prof.
Dieter Otten | Joel Slayton | Steven Clift | Michael van Eeden | GeorgGreve |
Jeanette Hofmann | Rena Tangens
*thursday, 8.2.,20:30-22.30
conference panel "Artistic Software"
with: Jean-Pierre Balpe | Florian Cramer | Ulrike Gabriel | Anne Nigten |
Gerfried Stocker | Chris Csikzentmihalyi | Golan Levin | Netochka Nezvanova |
Daniela Plewe | Antoine Schmitt | Adrian Ward
*friday, 9.2., 14:30-18:00
conference panel "New Forms of Distribution"
with: Mark Amerika | Monika Halkort | Hugh Hancock | Laurent Kaestli | Oleg
Nikuin and Victor Davydov | Enno E. Peter | Micz Flor
*friday, 9.2., 20:30-22:30
conference panel "Net-Based Participation"
with: Daniel G. Andjar | Christian Hbler | Rafael Lozano-Hemmer | Robert
Pfaller | Superflex
*saturday, 10.2., 14:30-18:00
Artist's Presentation (of the works shortlisted for the transmediale.01 award)
*saturday, 10.2.,20:30
Award ceremony
------------------------------
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