andreas hagenbach on Sat, 23 Jan 1999 00:59:54 +0100 (CET)

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<nettime> The Weekender 070c

   . The Weekender...................................................
   . a weekly digest of calls . actions . websites . campaigns . etc .
   . send your announcements and notes to .
   . please don't be late ! delivered every friday . into your inbox .
   . for subscription info & help .

01 . ANAT  .   invitation to:  anamorphosis
02 . Tomek   .   av-ar festival
03 . Hybrid Media Lounge   .   Media Lounge Deadline Extended
04 . Bureau of Public Secrets   .   The Most Brilliant Subversive Coup of
Modern Times
05 . quirk  .   Experimental Test Broadcast
06 . Guy Van Belle    .   Columbia University Interactve Arts Festival
07 . unit   .   Windows prebuy refund
08 . b_books   .   montagsPRAXIS
09 . fujino   .   Nobuo Kubota Evening - Feb.27/99 - Toronto
10 . Nina Czegledy   .   *** Touch:Touché ***
11 . Ingrid Hoofd   .   Cyberfeminist International conference call

   ................................................................... 01

Date: Tue, 19 Jan 1999 15:53:46 +1100
From: Australian Network for Art and Technology <>

Subject: invitation to:  anamorphosis - the 1999 ANAT National Summer
School forum

                        The Australian Network for Art & Technology
                                            and  Metro Screen Inc.

		             Invite you to attend:
		             *  anamorphosis   *

the Reception and Forum for the 1999 ANAT National Summer School in Science
and Art

                                  5 - 8pm Wednesday 27 January, 1998
                                  Chauvel Cinemas, Sydney Film Centre
                                             Paddinton Town Hall
                                  cnr of Oatley Road and Oxford Street
                                             Paddington, Sydney

                                               and online at

You are invited to join the 14 artists from across Australia who have been
selected to participate in the 1999 National Summer School in Science and
Art, coordinated by the Australian Network for Art and Technology (ANAT) at
Metro Screen in Paddington, Sydney, NSW from 11-29 January, for an evening
of discussion and dialogue.

The artists' presentations and ANAT's 1999 program of activities will be
offically launched by STELARC, one of Australia's most internationally well
recognised performance artist whose work explores and extends the concept
of the body and its relationship with technology.  Stelarc was also a
participant of the second ANAT National Summer School in 1990.

anamorphosis, a satellite event of the National Summer School, will provide
artists with a forum to exchange ideas and experiences with their
colleagues from around Australia.  The evening will combine a series of
artists' presentations, with an opportunity to meet the summer school

PAULA DAWSON, internationally renowned Holographic artist, will give the
keynote artist's presentation.  Dawson is best know for her large scale
installations which incorporate laser transmission images of architectural
interiors and was also a previous participant of the National Summer School.

Sydney based artist RODNEY BERRY will discuss his recent project, "Feeping
Creatures", an artificial ecology that generates music and graphics through
the evolution and behaviours of synthetic organisms. A project Berry
describes as being "in search of the elusive perpetual variety engine".

YONAT ZURR and ORON CATTS, artists from Perth, will discuss "Tissue Culture
and Art" a research project into the use and representation of tissue
culture and tissue engineering as a medium for artistic expression.

anamorphosis will also give the public and media an opportunity to view
work-in-progress being produced by participants at the school as well as
works demonstrating the work of previous summer school participants.

In a vivid example of the cultural significance of the Summer School, the
1997 participants in the school have continued to work together under the
collective name, nervous_objects <>,
receiving critical acclaim for their totally networked synaesthetic
environments.  The nervous_ objects are currently developing a new work,
which will be broadcast live on the internet from Pekina, South Australia.

In 1998 ANAT commissioned Sydney artist, Lloyd Sharp, to develop a CD Rom
documenting the diverse history of the ANAT National Summer Schools.  This
CD will also be available for viewing.

Artists attending the 1999 National Summer School are:

Rodney Berry, Sydney, NSW
Liz Hughes, Sydney, NSW
Geni Weight, Adelaide, SA
Melinda Burgess, Werri Beach, NSW
Solange Kershaw, Sydney, NSW
Jordan Wynnychuk, Melbourne, VIC
Lea Collins, Canberra, ACT
Gordon Monroe, Sydney, NSW
Yonat Zurr, Perth WA
Adam Donovan, Brisbane, QLD
Stephen Poljansek, Hobart, TAS
Jeremy Yuille, Brisbane, QLD
Chris Fortescue, Sydney, NSW
Rea, Sydney, NSW

The National Summer School is supported by: the Federal Government through
the Australia Council, its arts funding and advisory body; the Queensland
Government's Office of Arts and Cultural Development through Queensland
Artworker's Alliance; the New South Wales Film and Television Office; and
the Minister for Education and the Arts through Arts Tasmania. This year's
School also receives support from Metro Screen, the University of Sydney's
Vislab and the University of New South Wales' College of Fine Arts.
Stelarc's attendance has also been assisted by dLux media arts and Casula

RSVP:   or   02 9361 5318

and for regular updates check out

postal address: PO Box 8029 Hindley Street, Adelaide, SA 5000, Australia
web address:
telephone:  +61 (0)8-8231-9037
fax:   +61 (0)8-8211-7323
Director:  Amanda McDonald Crowley (tel: 0419 829 313)
Administration and Information Officer:  Honor Harger
Web and Technical Officer:  Martin Thompson
Memberships: $A12 (unwaged), $A25 (waged), $A50 (institutions)

ANAT receives support from The Australia Council,
the Federal Government's arts funding and advisory body

   ................................................................... 02

Date:  Wed, 20 Jan 1999 23:14:18 +0100
From: "Tomek" <>

Communicate number one.

We are group of people from Szczecin, Poland interested with so called
"avant-garde" art: music, theatre, film etc. There is an idea of
consolidation of people connected with modern art in Poland, Middle-East
Europe and the rest of Continent. First step will be an organisation of
festival on the Insko-lake, Poland. We hope you would like to participate
in this idea and join us in any which way : with your advises, contacts,
personal participation or other kind of activity.

Details :

There is many people who thinks they make avant-garde. In our minds most of
them are wrong. First: avant-garde became a subject of musical
establishment (we mean all that business-shit); second: an artists mean
every kind of "strange", non-commercial activity is avant-garde (is it
true?); third: there are many people, who make their art in their own
homes; often it may be a big thing, maybe it is right way; forth: the
general situation of "real" art is not so good, an artists make their work
but the people, especially ordinary people often have not any chance to
know it. So, there is an idea... to join a people, who thinks the same way,
but they don't know about it. To give'em the chance to confront their ideas
with others, to find common way, to joy.

Why "avantgarde-ariergarde"?
The musical establishment goes into a new century with an ideas stolen from
avant-garde movement. This way a true avant-garde artists become real
ariergarders, from other hand there are people who try to do something, but
didn't want to participate in commercial music establishment (or they want
but their art is to high for it). This ariergarde-art may be a new blood
injected into true-art circulation. There is a main cause of our idea to
creation of an independent scene of AVANTGARDE-ARIERGARDE SOCIETY and

We allow to appear any kind of avant-garde creativity but it must be real
creativity, clearly non-commercial.

About festival:

	There is an silent small-town near Szczecin (capital of
Pomerania-region in Poland)and not so far from Berlin, situated on
beautiful and clear lake with the woods and hills around it. Every year a
town wake up for a while in the middle of summer because of a
film-festival. We want to awake it totally and add to this festival another
kinds of art: music, performance, theatre, visual arts and change it into a
real avant-garde festival.
	Please, rewrite if you want to join or make anything you like about
it. Contacts with young, independent artists are especially desired.

Communicate number two will be issued in short time. It will be consisted
more texts on "avantgarde-ariergarde" idea and information about festival
(with your advises included).

 adresses :

Tomasz H. Rzonca
70 - 853 Szczecin
ul.Warminska 21/1
fax: (48)(091) 433 55 69

   ................................................................... 03

Date: Wed, 20 Jan 1999 16:03:10 +0100
From: Hybrid Media Lounge <>

Media Lounge Deadline Extended


We hope you'll come join the Hybrid Media Lounge on behalf of your
organization soon, if you haven't already. The response site
<> will now remain open for another week and a
half. It will close permanently on Monday, Feb. 1.

The Lounge is getting more populous and well-appointed as the number of
organizations and amount of material there continue to grow. To see who's
in the Lounge so far, visit <>.

We hope to see your organization among them soon! (If you are having
technical trouble with joining the Lounge, please let us know at

Best regards,

Laura, Geert and Marleen
Hybrid Media Lounge
Society for Old and New Media, Amsterdam


Hybrid Media Lounge

Editors: Laura Martz, Geert Lovink
Supervisor: Marleen Stikker
Design coordinator for website and CD-Rom: Mieke Gerritsen
Database coordinators: Bente van Bourgondien, Michael van Eeden
Producer: Philippe Taminiau
Designer: Janine Huizenga
Advisor: Thorsten Schilling

x                   Laura Martz                  x
x   Hybrid Media Lounge --   x
x  Society for Old and New media -- x

   ................................................................... 04

Date: Wed, 20 Jan 1999 16:33:38 -0800
From: Bureau of Public Secrets <>

The Most Brilliant Subversive Coup of Modern Times

"The accused have never denied the charge of misappropriating the funds of
the Strasbourg Student Union. Indeed, they openly admit to having made the
union pay nearly 5000 francs for the printing of 10,000 pamphlets, not to
mention the cost of other literature inspired by the 'Situationist
International.' These publications express aims and ideas which, to put it
mildly, have nothing to do with the purpose of a student union. . . .
Rejecting all morality and legal restraint, making sweeping denunciations
of their fellow students, their professors, God, religion, the clergy, and
the governments and political and social systems of the entire world,
these cynics do not hesitate to advocate theft, the destruction of
scholarship, the abolition of work, total subversion, and a permanent
worldwide proletarian revolution with 'unrestrained pleasure' as its only
     --Judge Llabador, Strasbourg District Court (1966)

The situationists' notorious Strasbourg pamphlet "ON THE POVERTY OF
STUDENT LIFE" -- the prelude to the May 1968 revolt in France -- has been
translated into more than a dozen languages and reprinted in over half a
million copies. A new English translation, more accurate than any of the
previous versions, is now online at

Chapter 1 of the pamphlet is a scathing denunciation of every aspect of
student life, "economic, political, psychological, sexual, and especially
intellectual." Chapter 2 examines the positive features and limits of
rebellious youth currents of the sixties (delinquents, Dutch Provos,
American New Left, East European dissidents, British antibomb movement,
Japanese Zengakuren). Chapter 3 is the best summary ever written of the
lessons to be drawn from the failure of the old revolutionary movement and
of what needs to be done to develop a new one.

The site also includes new translations of the situationist articles "Our
Goals and Methods in the Strasbourg Scandal" and "Beginning of an Era" (on
the May '68 revolt). There is also a brief discussion of the scandal in
chapter 2 of "The Joy of Revolution."

* * *

The Bureau of Public Secrets website, which has received over 30,000 page
hits from some 6000 visitors during its first five months, features Ken
Knabb's translations of French situationist texts as well as many of
Knabb's own writings, including "The Joy of Revolution," "Confessions of a
Mild-Mannered Enemy of the State," and an assortment of comics, leaflets
and articles on Wilhelm Reich, Kenneth Rexroth, Gary Snyder, the sixties
counterculture, radical women, Chinese anarchists, socially engaged
Buddhists, urban "psychogeography," the Watts riot, the Iranian uprising,
the Gulf war, and the recent jobless revolt in France. New texts are being
added every few days.


   ................................................................... 05

Date: Thu, 21 Jan 1999 16:16:01 GMT

[For good luck, forward this magic eFlyer to other interested parties]

JAN 22.

THIS FRIDAY: Experimental Test Broadcast #7

	New this week: Broadcasting live from THE FEAST OF FOOLS!!!!!
                       See bottom for more details.

	+++ Plus the usual interactive mayhem!

		IDIO-AUDIO Radio declared "Most fucked up show on the
		'net" by the Toronto Cacophony Society, "Far beyond
		the pale of the mainstream"


   >>>> <<<<

  		     ///  IDIO-AUDIO
... a weekly online  ///     {{ Radio }}      \ /
 conspiratorial salon <----------------------- * -
                                              / \
                        11 PM - 3 AM
  !! Every Friday !!
                            +++ RealAudio
  < PsuedoNeoDadaSitu       +++ MBone
    Interactive             +++ Microradio
    Electrobohemia    >     +++ IRC
                            +++ SpeakFreely
			    +++ HTTP

    ... and new interfaces will be added as the
     IDIO-AUDIO Radio Broadcast Network expands
     like a fungus across all known media.

 psychogeographical unitary urbanism detournement wrapped
 in an enigma of automatic everything.

				Tune in live every friday!!!

                >>>> <<<<

An Idiosyntactix Incident....

			    *   O
			     I I
			* r a d i o *
			     U I
			    A   O
			   *     *

			    r   *
			     a I
			* A U d I O *
			     I i
			    O   o
			   *     *

			   *     *
			    A   r
			     U a
			  * I d I O *
			     i I
			    o   O
			   *     *

        Proletarian revolutions will be festivals or nothing,
        for festivity is the very keynote of the life they announce.
        Play is the utlimate principle of this festival, and the
        only rules it can recognize are to live without dead time
        and to enjoy without restraints.
                                               - Mustapha Khayati

On the Friday January 22nd, the anniversary of the birth in 1800 of
Nat Turner, leader of the slave revolt, and the evening preceding the
MNSJ's anti-corporate bus-tour arriving at Mike Harris' house on the
occasion of his 54th birthday, you are invited to our Feast of Fools

The Feast of Fools was first celebrated in the 12th century and was
derived from much earlier customs of societal inversion like the Roman

Our modern Mardi Gras, Halloween and New Year's Eve parties are faint
and complete secularized survivals.  The festival provided an occasion
in which the work ethic and severity of social norms were temporarily

The masses assumed the contrary behaviour of the fool or clown.  No
establishment figure or convention, however lofty or sacred, was
immune to criticism and ridicule.  Even monks and nuns participated in
the frolicking.

The celebrants practised unbridled sensuality and mayhem; riotous
dancing, nudity and sexual orgies were common, and banners embroidered
with images of genitalia were paraded through streets.

The festival flourished during a period when people had a well
developed capacity for festivity and fantasy, so the church failed to
suppress the festival for many centuries.  It was not until the
puritanical mood of the Age of Reformation that The Feast of Fools
fell into disuse, until now...

             J a n u a r y  2 2   1 block east of Bathurst
               66 Portland #202   just south of King Street
                  9:30 pm sharp   performances begin

Featuring: a hurdy-gurdy player and medieval musicians, jugglers,
clowns, puppeteers, stilt-performers, firebreathers, spoken word,
dance, film screenings, DJ Tony, and food provided by Munch.  This is
a free event.

Come in medieval dress, cross-dressed, or dressed up as someone else.
All usurers and capitalists will be publically guiloteened.  For
further details call 504-2445.

                                   We shall be hedonistic and quick,
                                   He shall have his head on a stick.

                                               Marie-Claire Desrochers

   ................................................................... 06

Date:  Thu, 21 Jan 1999 23:24:37 +0100 (MET)
From: Guy Van Belle <>

Columbia University Interactve Arts Festival
April 6 to April 9, 1999

Welcome to the site for the Columbia University Interactve Arts Festival
1999. From April 6th
through April 9th, 1999, this festival will present ground-breaking
interactive works and
technologies from all over the world, in several events, which are ALL
THE PUBLIC. The major events of the festival are:

Tuesday-Wednesday April 6-7, 9pm, Cunningham Dance Studio
Concert I: An evening focusing on movement-sound interaction

Wednesday April 7th 10am-5pm, Prentis Hall, Columbia University
Interactive Technologies Day: Talks/Demos/Workshops

Thursday April 8 1999, 8pm, Miller Theater
Concert II: A concert of multimedia interactive works

Friday April 9th, 10pm at the Kitchen
Concert III: A late evening focusing on interactive technologies in
jazz-rock and improvisatory

This site provides background information on many of the artists and their
work, in addition to directions to the venues.
Please contact the Computer Music Center
through the following email address to receive more information and updates:

We look forward to hearing from you, and we hope to see you in April.

       - The Columbia University Computer Music Center
phone: 212.854.9266
fax: 212.854.9267

   ................................................................... 07

Date: Thu, 21 Jan 1999 13:38:46

this was pulled from the news at maclinux HL server

>If you want to join the growing numbers of people that were forced to prebuy
>a bundled copy of windows with a computer (i.e. Linux, OS/2, netware users),
>go to:


>They are setting it up for a spcial refund day...feb 15th, when all the
>people that signed up will all call their respective manufacturers and
>ask for a refund, giving the terms in the microsoft/manufacturer end
>user license agreement.

   ................................................................... 08

Date: Fri, 22 Jan 1999 01:27:42 +0100
From: geene <>

montag 25.1.
Gillo Pontecorvo: Die Schlacht um Algier (F/I 1965), 115''

Harun Farocki: Der Wahlhelfer (D 1967), 14''

aus dem gespraech vom letzten mal ueber frantz fanon + den algerienkrieg,
ergab sich der film (mit jean gabin -- wahrscheinlich) die schlacht um
algier, der zu seiner zeit nicht gezeigt werden durfte.

mo 8.2. gespraech mit alice creischer + andreas siekmann
ueber politikoptionen + "substantielle laeden" (wie b_books?)

eine textmontage der beiden ist dazu auf den b_books-seiten vorab zu

b_books neue adresse ab 1.2.
10997 berlin
kreuzberg 36 (3 strassen weiter als bisher)
tel + fax bleibt
6117844   6185810

   ................................................................... 09

Date:  Fri, 22 Jan 1999 11:19:19 -0500
From: (DF)

Nobuo Kubota @ The Toronto NAJC's Friendship House
Saturday, February 27, 1999, 7 pm

We are pleased to announce that artist extraordinaire, Nobuo Kubota, will
show slides (early '70's to the present), and speak about his process ...
He'll discuss how the Japanese aspect is integrated into his work - and at
other times, is not part of his work ... He might show some videos, and
he'll definitely entertain questions from the audience ....

Please come out for an exciting and creative evening ... with a living
treasure of both the Japanese Canadian community and the greater art

When  --- Saturday, February 27, 1999
Where  --- Toronto NAJC's Friendship House, 382 Harbord St.,
1-1/2 blocks east of Ossington Ave.
Time  --- 7 pm

SSAN (Second Saturday Artists Nites), Phone: 416-960-1317

   ................................................................... 10

Date: Fri, 22 Jan 1999 09:43:08
From: Nina Czegledy <>

*** Touch:Touché ***

Interactive installation works by Thecla Schiphorst and Daniel Jolliffe.
@ INTERACCESS, 401 Richmond St. West, Suite 444
Toronto, Ontario (Queen & Spadina)

OPENING: Friday, January 22 @ 6-10pm
ARTISTS TALK: Saturday, January 23 @ 2pm
exhibition continues until Friday, February 26th
GALLERY HOURS: 12-5 Tues-Sat

Touch:Touché is curated by independent media artist, curator and writer,
Nina Czegledy.

Touch:Touché the touring exhibition of interactive works is presented in

January 22 to February 26, 1999
InterAccess:Electronic Media Arts Center
401 Richmond St. West, Suite 444
Toronto, Ontario, M5V 3A8
Telephone (416) 599 7206

March 6 to April, 1999
4001, rue Berri, Local 301
Montreal, Quebec, H2L 3El
Telephone (514) 844 3250

November 19, 1999 to January 19, 2000
MacKenzie Art Gallery
3475 Albert Street
Regina, Saskatchewan S4S 6X6
Telephone (306) 522 4242

The central works of the show are Thecla Schiphorst's "Body Maps:
Artifacts of Touch"  and Daniel Jollife's "Room for Walking".
Due to technological reasons Daniel Jollife"s "Shift"is shown in the
Toronto exhibit. The works explore the exchanges between the corporeal body
and the sensitive work of art.
"Bodymaps: artifacts of touch", employs electric field sensor
technology, in which the viewers proximity, touch and gesture evoke
moving sound and image responses from the body contained and represented
within the installation space.  Images of the body are stored on
videodisk.  The body of the artist (and a digitally represented body)
are projected onto a horizontal  planar surface.   The surface is
covered in white velvet creating a sensual and unexpected texture which
leaves 'traces' of the hand prints that are left behind, creating a
relationship to memory, an inability to escape the effects of one's

Thecla Schiphorst is currently based in Vancouver where she holds the
post of Assistant Professor in Interactive Arts at the Technical
University of British Columbia.  She received her formal training in
computer science and contemporary dance. A recent recipient of the
PetroCanada Award in New Media (1998), Ms. Schiphorst has worked in
electronic arts for the last fifteen years. Her work has been focused on
notions of the body and questions of how technology mediates the
representation and experience of the body.

"Room for Walking" is a mobile sculpture consisting of a wheeled cart and
video  projection screen. By physically moving the wagon the viewer becomes
involved in  the control of the flow of images Room for Walking is the
third in a series of  works by Vancouver based sculptor Daniel Jolliffe
which are based on the premise  that interactivity should require stronger
action than a just a simple point and  click.

"Shift" utilizes a small platform and a large bowl situated several feet
apart. Standing on the platform, the visitor is able to transmit his/her
movement across the room to the bowl, which responds via a radio system
within the sculpture. The viewer's action is at once involved in the
control of the sculpture, and displaced across the room by this same
control. Not merely a slave to the viewer's desire, "Shift" demands that
the viewer consider their own movement as well as their illusory,
electronically created sense of control.

Daniel Jolliffe is a Vancouver based artist whose sculptures using
electronics have been seen across Canada and in The United States.  His
works examine the way in which electronic technologies have changed our
bodily perception and human communication by employing the viewer's body
in  overtly physical acts mediated by this same technology.

"Most of our experiences with computers involve our bodies only as handy
sense receptors (for image and sound) and as a device for communicating
decisions. The apparent intent is to get the computer and the brain
communicating with as little interference from physical reality as
possible. The mouse is an instrument designed to reduce the complexity
of body gestures into a form that is suitably unambiguous... it reduces
a gesture to the point where its intent is clear — You can't "sort of"
click on something."
David Rokeby
Where The Virtual Meets The Real
from the Touch:Touché catalogue
InterAccess Electronic Media Arts Centre, Toronto (416) 599-7206

   ................................................................... 11

Date: Fri, 22 Jan 1999 19:03:37 +0100
From: Ingrid Hoofd <>
Subject: next Cyberfeminist International conference call

Conference Call and Call for Proposals and Abstracts:

* Discourses *
* of *
* the *
New Cyberfeminism

In recent years international telecommunications technologies have been
causing profound changes (globally) in social and political cultures.
* And elsewhere:
* in the Human -  immense growing prosthetic body, intellectual
restructuring to fluid patterns, emotions as reflex tracts of the
Data-Superhighways *
* In Art -   transgressive matter, conceptual pilings, haunting specters of
intelligent technologies *
* In Science - simulations, remote control systems, personal scientific
agents *

Increasinly,globalized society is being territorialized by western
and market strategies and cultural formations.
* as society is territorializing market strategies as cultural formative. *
 Many "alternative" subversive strategies
* competing for the rare nishes in the system *
 have been harnessed
* quoted *
 by pancapitalism to capture
* invent *
 new markets and
consumers everywhere.
* to teach about resistance. *
This situation acts as a rallying cry
* as the state-of-the-art *
 for a
* of the *
 _New_ cyberfeminism for the 21st century.
* embracing every brilliant, sad, effective, lusty, intellectual,
desperate, wild, cool, sentimental, illogical, free, crisped and ugly
premature feminsm ever existing under new technological conditions. *

 A diversity of feminist critical,
* deconstructive *
* misfitting *
aesthetic, and cultural practices
* ways of thinking *
have become more and more relevant as
they decode, critique, and subvert
* imitate and falsificate *
the languages and practices of global
capitalist culture.

What are the specific possibilities offered by the new technologies for
a networked feminism? What are the specific possibilities and conditions
for agency and female subjectivity in a wired and globalised world?
Some energetic new cyberfeminists are already busy creating a liberatory
empowering use of communications technologies and attempting incursions
into the masculinist
* beloved *
* mind-boggling *
* shit *
 of the Internet. It is not to the  utopian
magic of a liberating technology
* another technological restructuring of ourselves *
 we can look for the hard cultural work
which needs to be done.
* which is the only real thrill left to do.*
Rather, women's
* the new cyberfeminists *
 tactical and imaginative uses of
the Internet are already bringing about new social
* neuronal *
formations and
associations among very different constituencies.
* The new Meta-Medium, the networked Computer, is being tested in different
ways (THE NEW CYBERFEMINISN IS A TEST) as it is testing our abilities to
change our pattern-recognition, to keep up with a lingering subversion of

To some extent the "alternative" feminist
institutions and services which sprang up everywhere in the 70s have
been reproduced on the Internet: Feminist data banks and electronic news
services provide information on war crimes against women, collective
economic actions,  international solidarity actions, and critical health
news. There are on-line feminist directories for job news, self-help
group organizing, starting your own business, managing your money,
socializing, technological education, and the like.
* Do "alternative"-cyberfeminists analyze the imitations of the feminist
institutions of the 70s on the Internet?
Do "baby"-cyberfeminists hack the tamagotchis homepage as smoothly as the
Pentagon's archives? Do "european intellectual" Cyberfeminists get their
kicks on clicking their mouses quickly (and writing a Phd about it)?
Click here. Click now. Enter your creditcardnumber. Identify yourself.

As Avital Ronell, Donna Haraway, and others have pointed out, it behooves
feminists to become technologically skilled and knowledgeable lest the new
technologies of global communication and domination once again
perpetuate and strengthen the same old male culture and power
structures. In this regard, feminists who have access to technological
privileges need to be particularly alert to cultural, racial, and
economic differences in the way women work, live, and use technology
globally-differences which are rapidly shifting and increasing with the
onrush of technological "advancement." Some female hackers
and computer engineers, as well as artists and tinkerers, are acquiring
technological knowledge which if used strategically could seriously disrupt

and disturb the still overwhelmingly male culture of the Internet.

* It behooves THE NEW CYBERFEMINISTS to ask new questions on the 19th
century western gender dichotomy.
How do they call themselves feminists? Even women? Is this still a
Fin-de-Millenium decadence? What could this mean while constantly
undergoing sexual and gender orders in theoretical and practical ways, as
is the daily cyberfeminist's virtual bread? Bits of XX..., byte, the X! You
should find out about that ( if you call yourself a CyberXX too!) *

Such disruptions presuppose a close entwinement of political and tactical
and technological know how-something which is quite possible given current
international feminist resources. One can imagine other interventions:
Feminist leaders
* 'And when my brain talks to me, he says:
Take me out to the Ballgame
Take me out to the Park
Take me to the Movies
Cause I love to sit in the dark
Take me to your leader
And I say: Do you mean George?
And he says: I just want to meet him
And I say: Come on I Mean I Don't even Know George!
And he says:
Babydoll! Ooo oo oo Babydoll, Ooo He Says:
Babydoll! I Love It When You come when I Call'
Laurie Anderson: Baby doll *

 and policy makers could communicate with activists working in
diverse locations with working-class and poor women (who are often not
connected to on-line resources)

* Note for the next meeting: Question: Isn't it a effective 'male'
capitalist's work to connect even more third-world-women to the more or
less qualified and jobs (from Data- Aquisition to Software-Engineering) at
the computer-terminals in the globally wired systems? And shouldn't
western capitalist feminists - promoting the liberating and educational use
of Online-Computers - make their living, being paid by the computer
industry? *

 on labor, employment, and displacement issues.
Feminist health, environmental, and medical workers could directly monitor
effects on  different groups of women of the new biomedical and genetic
technologies, etc. etc.

Instead of being subjected to the irrelevancies of Jennicam
* Jennicam: the realisation (and thus: suspension) of paranoia? Historical
reference to the case of Daniel Paul Schrebers: 'Denkwürdigkeiten eines
Nervenkranken'. Jennicam: The old subject's CYBERFEMINISM. *
, perhaps we could figure out ways to become more familiar with day to day
living conditions and
the new experiences of women and girls in the global integrated circuit.
the first Cyberfeminist International met at the Hybrid Workspace in
we daily recorded our discussions on video, and also emailed a daily report
the international women-only Faces list. Perhaps this was the beginning of
modeling a new feminist consciousness raising for the 21st century-a
networked, multi located, polyvocal
* voice 1 *
* voice 2 *
* Vocoder 2 *
* Letters 1b *
* Signifiers 0 and 1 *
* Information: as tunnel *
* Information: as skin *
* Information: as gender *

 conversation, embodied and gathered
locally and distributed globally by electronic means.

"Strategies of the New Cyberfeminism" hopes to address many of the issues
introduced above. We invite intense conversations, controversies,
speculations, papers,
projects, presentations in many forms. We invite paradoxical approaches
and diverse interpretations of cyberfeminist theory and practice. Our
hope is to expand our connections to a wider circle of women, and to
include an even greater mixture of cyberfeminists than participated in
the First Cyberfeminist International. Following is a preliminary plan
and structure for the Conference.

1. [What?] Second Cyberfeminist International. Title: Strategies of A New

2. [Who?] Cyberfeminist International. Hosted by TechWomen of Rotterdam,
obn (Hamburg), and attended by an interdisciplinary,international group
women artists, writers, scholars, media critics, scientists and

3. [When?]Dates: March 8-11 in Rotterdam
    Related presentation:
        March 12-14 Next Five Minutes, Amsterdam/Rotterdam
        March 12: Cyberfeminist Presentation at Next Five Minutes in

Participation at the conference will be free, but most participants will
need to raise their own travel funds as there will be very little
funding to assist in accomodations and travel

4. [Where?] Place: Rotterdam. (Culture cafe and possibly V2.)

5.[How?] Organizing group: Corrine Petrus (TechWomen, Rotterdam), Ingrid
Hoofd (Utrecht, liaison with n5m and V2 in Rotterdam) Cornelia Sollfrank
Hamburg), Helene Oldenburg (obn,Rastede/Hamburg) Claudia Reiche (obn,
Hamburg), Faith Wilding (obn,Pittsburgh)  Yvonne Volkart (obn,Zurich/Wien),

Julianne Pierce (obn, Sydney).

6.[How?] Format: There will be a mixture of public presentations and
        Initially, we are planning to have public presentations (in the
afternoons and possibly one evening) at which up to 4 different
presentations consisting of lectures, panels, short papers,
performances,etc. will take place. Altogether we estimate that there
will be approximately 16 different presentations in the public program.

7.[What?] Content: Presentations will be planned around the following main
points of emphasis. More specific concepts of each topic will be posted

         Introduction: Myths, utopias, histories of CyberfeminismS. An
introduction to the topologies and territories. What happened at Kassel?
What are the New CyberfeminismS? The embedding of feminist technical
criticism, with women and gender studies (All).
        A. Women/Media/Politics/Technology (Claudia, Yvonne, Helene)
        B. Women Hackers; hacking strategies; Hacking as method and
(Connie, Corrine)
        C. Feminist Activism/Resistance/Intervention/Globalism

        Closing Summation and discussion.

        Private discussions among participants will also center on these
topics. And the discussions will also provide content for the planned
presentation at the Next Five Minutes Festival in Amsterdam.

8. Documentation: We expect to have well-organized video and radio

documentation of the entire conference. We also plan to issue a
publication on the model of the Cyberfeminist Reader.

9. Funding: A budget has been developed and funds are being solicited by
Corrine Petrus (TechWomen) from several local Rotterdam foundations, and
from other Dutch organizations. Additionally, Cornelia Sollfrank is
looking into funding for a publication of the proceedings from Germany.
It is expected that participants will try to raise travel and
accomodation funds for themselves from their local arts and culture

Call for Proposals/Abstracts: By February 1, 1999

The CI2 planning group is now calling for proposals for presentations of
many different kinds at the Conference. We are interested in the widest
possible interpretations of cyberfeminismS theories, strategies,
art-works, papers, performances, and actions.. Please prepare a brief
proposal describing your presentations content and form, and a
one-paragraph abstract or statement; include a two-line biography.
Please designate which main topic your presentation will fit best.

 Email to: <>.


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