| Announcer on 21 Mar 2001 13:37:07 -0000 |
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Table of Contents:
4 announcer
"Phonet][r][ix" <[email protected]>
TRANSDANCE research lab on DANCE & TECHNOLOGY
"ALAS" <[email protected]>
BeeHive Volume 4 : Issue 1 is now ONLINE!
"Talan Memmott" <[email protected]>
Opacity and transparency-call for entries
[email protected]
[[email protected]: =?iso-8859-1?B?bUB6ZbA=?= =?iso-8859-1?Q?2?= - released on www.t
Florian Cramer <[email protected]>
Re: <nettime> FW: Anna Kournikova Deleted by Memeright Trusted System
Steev Hise <[email protected]>
New mailing list for press release information
Free Software Foundation <[email protected]>
Privacy Lecture Series - Privacy, Autonomy, and the Limits of Technology - Monda
Ana Viseu <[email protected]>
WOHLFUEHLWELT
turk <[email protected]>
PLANETWORK EVENT IN NEW YORK!!
"PLANETWORK" <[email protected]>
New issue of Immediacy is now on-line
Immediacy Editorial Board <[email protected]>
For the Natural Death of the Work of Art [www.kunsttot.de]
Frieder Rusmann <[email protected]>
/// 0100101110101101.ORG /// life_sharing
[email protected]
The Daniel Langlois Foundation
Angela Plohman <[email protected]>
------------------------------
Date: Mon, 19 Mar 2001 10:45:26 +1100
From: "Phonet][r][ix" <[email protected]>
Subject: 4 announcer
------------- ] New at The Iowa Review Web, March 15 2001
mez : data][h!][bleeding texts
------------- ] Recently
mez : -][selec][text: co][deP][l][oetry] _
------------- ] http://www.uiowa.edu/~iareview/
. . .... .....
net.wurk][.Phonet][r][ix][
n.sert no here xXXx
+
www.hotkey.net.au/~netwurker
.... . .??? .......
------------------------------
Date: Sun, 18 Mar 2001 18:01:17 +0200
From: "ALAS" <[email protected]>
Subject: TRANSDANCE research lab on DANCE & TECHNOLOGY
This is a multi-part message in MIME format.
- ------=_NextPart_000_004A_01C0AFD5.6DBEF5A0
Content-Type: text/plain;
charset="iso-8859-7"
Content-Transfer-Encoding: quoted-printable
''e-phos 2001''
3rd International Festival of Film and New Media on Art
23 May -2 June/ Athens, Greece
=20
organizes=20
r e s e a r c h l a b=20
<TRANSDANCE>
body, movement, technology
May 23-31, 2001
=20
IME, Athens, 254 Pireos str.
Greece=20
e-mail:[email protected]
tel:00301-7520064-5
fax:00301-7520064
e x p l o r a t i o n a r e a s=20
=20
a) neologisms of corporeality in digital perfoming arts
b) interactivity in tele perfomance as choreography phenomenon
=20
=20
p a r t i c i p a n t s=20
Matt Adams, artistic director "Blast Theory"=20
Maria Anthimidou, artistic director/choreographer "Dancers Group"=20
Sophia Licouris, choreographer=20
John McCormick, choreographer "Company In Space"=20
Dimitris Papaioannou, artistic director/choreographer "Ground Group"=20
Alexandros Psichoulis, video artist
Konstantinos Rigos, choreographer "Oktana Group"=20
Yacov Sharir, choreographer
Konstantinos Vita, music designer
Christian Ziegler, architect, multimedia designer
p r o c e s s a d v i s o r=20
Scott De Lahunta
=20
in collaboration with=20
British Council, IME, Dance Festival of Kalamata,
Ministry of Culture, Ministry of Development,
Tanz Perfomance Kologne
www.filmart.gr=20
- ------=_NextPart_000_004A_01C0AFD5.6DBEF5A0
------------------------------
Date: Mon, 19 Mar 2001 12:04:57 -0800
From: "Talan Memmott" <[email protected]>
Subject: BeeHive Volume 4 : Issue 1 is now ONLINE!
________________________________________________
BeeHive Hypertext/Hypermedia Literary Journal
Volume 4 : Issue 1 |...| March 2001
________________________________________________
ISSN: 1528-8102
http://beehive.temporalimage.com
________________________________________________
IN THIS ISSUE...
________________
ON STELARC
by ALAN SONDHEIM
insights on and interview of Australian Performance Artist, Stelarc...
http://beehive.temporalimage.com/content_apps41/app_a.html
>>--------<<
THE GIRL AND THE WOLF
by NICK MONTFORT
a variable tale...
http://beehive.temporalimage.com/content_apps41/app_b.html
>>--------<<
ANIPOEMA / ANIPOEM
by ANA MARIA URIBE
visual poetry...
http://beehive.temporalimage.com/content_apps41/app_c.html
>>--------<<
DREAMER OF DREAMS / MY HEAD'S ALL MESSED UP
by MORRIGAN
short fiction...
http://beehive.temporalimage.com/content_apps41/app_d.html
>>--------<<
HELL'S FATHER
by ROWAN WOLF
short fiction...
http://beehive.temporalimage.com/content_apps41/app_e.html
>>--------<<
FACADES: PORTRAITS OF NEW ORLEANS
by DIRK HINE
photo's and verse...
http://beehive.temporalimage.com/content_apps41/app_f.html
>>--------<<
CIRCLE POEMS
by PC MUNOZ
(design and coding by paul ruxton)
minimalist postry in DHTML...
http://beehive.temporalimage.com/content_apps41/app_g.html
________________________________________________
BeeHive ArcHive:
http://beehive.temporalimage.com/archive/index.html
ALL THE CONTENT FROM PAST ISSUES OF BEEHIVE
Highlights include:
TOWARD ELECTRACY : A CONVERSATION WITH GREGORY ULMER
http://beehive.temporalimage.com/archive/34arc.html
NY/SF POETRY COLLECTION : 30 Poets from San Francisco and New York
http://beehive.temporalimage.com/archive/23arc.html
DROP-KICKING THE TEXT : JULIE CHASE
http://beehive.temporalimage.com/archive/31arc.html
MIST RIDGE : BARRY SMYLIE, ROBIN BAKER, GEORGE STEPANENKO
http://beehive.temporalimage.com/archive/32arc.html
________________________________________________
BeeHive Creative Director: Talan Memmott / [email protected]
BeeHive Associate Editor: Alan Sondheim / [email protected]
BeeHive Poetry Editor: Ted Warnell / [email protected]
________________________________________________
BeeHive Hypertext/Hypermedia Literary Journal is
produced and published by
PERCEPTICON CORPORATION
SAN FRANCISCO CA USA
http://www.percepticon.com
copyright 1998-2001
________________________________________________
Techinical Note:
Due to Netscape's total departure from their own previous propritery DHTML
protocols
some work within BeeHive is not compatible with NETSCAPE 6.0.
Over the next few months BeeHive will be working hard to make as many
archived works as possible
compliant with the W3C Document Object Model and NETSCAPE 6.0.
________________________________________________
------------------------------
Date: Mon, 19 Mar 2001 23:11:25 -0800
From: [email protected]
Subject: Opacity and transparency-call for entries
Opacity and transparency
Protocols; dynamic IP generating; on the fly data gathering: the search
for a language that delineates the current from the past. The Medium is
the message.
Clouds of sky, flush of toilet, a burst of laughter. What has a
data-packets-infested household actually done to us? The Medium is not
the message.
What constitutes the kernel of netart: network as art, art rides on the
network?
A survey of the polemic approach to what concerns us in a wired world.
submissions will be considered for an upcoming net-show featuring
artists working online with those respective interests.
please send url and brief statement to [email protected]
------------------------------
Date: Tue, 20 Mar 2001 14:49:16 +0100
From: Florian Cramer <[email protected]>
Subject: [[email protected]: =?iso-8859-1?B?bUB6ZbA=?= =?iso-8859-1?Q?2?= - released on www.tape.at]
- ----- Forwarded message from "Dr. Karlheinz Essl" <[email protected]> -----
From: "Dr. Karlheinz Essl" <[email protected]>
Subject: m@ze�2 - released on www.tape.at
PRESS RELEASE
Karlheinz Essl's solo album m@ze�2 (� 1999) which was originally
released as a limited CD edition with artwork by Werner Korn is now
available on the Net. Thanks to www.tape.at you can listen to it
online and download all tracks as MP3 files.
More information at:
http://www.essl.at
Please spread the news.
- --
Dr. Karlheinz Essl
composition - performance - improvisation
Studio for Advanced Music and Media Technology (Austria)
http://www.essl.at
- ----- End forwarded message -----
- --
http://userpage.fu-berlin.de/~cantsin/
http://www.complit.fu-berlin.de/institut/lehrpersonal/cramer.html
GnuPG/PGP public key ID 3D0DACA2
------------------------------
Date: Tue, 20 Mar 2001 11:03:27 -0800 (PST)
From: Steev Hise <[email protected]>
Subject: Re: <nettime> FW: Anna Kournikova Deleted by Memeright Trusted System
the nearer (and more possible) future may be even more
scary:
http://www.radioluchalibre.com/mp3/radioluchalibre_digitalCPC.mp3
(courtesy Radio Luchalibre- http://www.radioluchalibre.com )
Steev Hise, Automagickal Adept
[email protected] http://detritus.net/steev
- -----------------------------------------------------------------
"...dissatisfaction itself became a commodity as soon as economic
abundance could extend production to the processing of such raw
materials."
-Guy Debord
- -----------------------------------------------------------------
------------------------------
Date: Tue, 20 Mar 2001 16:19:34 -0500
From: Free Software Foundation <[email protected]>
Subject: New mailing list for press release information
You are receiving this message because we (the Free Software Foundation
and/or the GNU project) have corresponded with you in the past on a matter
related to the press. Perhaps you interviewed someone from the FSF or
contacted us for research on an article. Or, perhaps we simply had you
recorded as a contact concerning media related issues in your organization.
Because of this, we wanted to let you know about the existence of a
low-traffic, moderated mailing list we have just created, called
<[email protected]>. On this mailing list, we will post press releases and
other information about the GNU project and the FSF that would be of
interest to the media.
We would like to invite you to join this list. You can join it by visiting
http://mail.gnu.org/mailman/listinfo/info-press, or by emailing
<[email protected]> with a message whose contents is "subscribe".
Alternatively, you can reply to this message and ask us to add you to the
list.
Thank you for your time. We want you to know that this unsolicited email is
a one-time occurrence---simply to announce the existence of this mailing
list to our existing media contacts. You won't receive press announcements
unless you actually join the new mailing list.
Sincerely,
Public Relations Department <[email protected]>
Free Software Foundation
------------------------------
Date: Tue, 20 Mar 2001 16:35:42 -0500
From: Ana Viseu <[email protected]>
Subject: Privacy Lecture Series - Privacy, Autonomy, and the Limits of Technology - Monday, March 26 (6 to 7,30pm)
PRIVACY LECTURE SERIES
<http://privacy.openflows.org>
"PRIVACY, AUTONOMY AND THE LIMITS OF TECHNOLOGY"
MONDAY, March 26, 2001
TIME CHANGE: 6:00 to 7:30 p.m.
George Radwanski
Privacy Commissioner of Canada
140 St. George, Room 728
Faculty of Information Studies (building adjacent to Robarts Library)
University of Toronto
This lecture explores the relationship between technology and privacy and
the impact of the new Personal Information Protection and Electronic
Documents Act. Commissioner Radwanski argues that the issue is more than
simply a technological one requiring a technological solution, and that
responsiblity for the protection of privacy cannot simply rest with
individuals, no matter how technologically sophisticated they may be.
The lectures are free of charge, and there is NO need for registration.
If you would like to receive the announcements from the Privacy Lecture
Series please register at <http://privacy.openflows.org>
For more info contact:
Ana Viseu <[email protected]>
Robert Guerra <[email protected]>
- ----++++----++++----
Tudo vale a pena se a alma n�o � pequena.
http://fcis.oise.utoronto.ca/~aviseu
------------------------------
Date: Wed, 21 Mar 2001 12:57:59 -0500
From: turk <[email protected]>
Subject: WOHLFUEHLWELT
WOHLF�HLWELT
- - von den Regisseuren des Gl�cks
im fundernovum in St. Veit/Glan - Glandorf, Klagenfurter Str. 87-89.
Samstag, 31. M�rz 2001, ab 20 Uhr
mit drehli robnik, maschek, monochrom, Dj Super Tronic und magnetpnp
www.monochrom.at/wfw
"Die Welt ist alles, wo man sich wohlf�hlt," hat der beliebte
�sterreichische Sprachphilosoph Ludwig Wittgenstein geschrieben.
Zumindest hat er es so gemeint - bzw. h�tte er es so geschrieben, wenn
er inniger mit K�rnten vertraut gewesen w�re.
Die auf bedingungslosen Kult hin designte Veranstaltung WOHLF�HLWELT (am
31. M�rz ab 20 Uhr im fundernovum in St. Veit/Glan - Glandorf) setzt
alles daran, uns die Poesie des Fremdenverkehrs hautnah erleben zu
lassen.
Es geht um die �berschw�ngliche Rhetorik, mit der �sterreichische
Tourismuswerbung (nicht nur, aber vor allem in K�rnten) soziale und
geografische R�ume bewirbt und sie dabei zugleich im Wege einer
Verwandlung hervorbringt: Einschl�gige Begriffe wie "M�rchenalm",
"Aromagrotte", "Landidyll", "Sehnsuchtswelt", "Kraftpl�tze", aber auch
"Wohlf�hlpauschale" oder "Spielkameradengarantie" - das sind nicht nur
bizarre Wortneusch�pfungen, die an Stilbl�ten, Drogenlyrik und
romantischen Seelentaumel erinnern. Diese (auch im folgenden w�rtlich
zitierten) Formulierungen schaffen auch vollendete Tatsachen: das Faktum
einer ebenso symbolischen wie sinnlich erlebbaren Welt in vollendeter
Harmonie mit der Befindlichkeit und Kaufkraft ihrer Zielgruppen.
Ist ein Hotel noch ein Geb�ude bzw. ein Beherbungsunternehmen, wenn es
als "Wellness Hotel", "Harmony Hotel", "Romantik-Hotel",
"Landidyll-Hotel" oder "Hotel des Gl�cks" beschworen wird? Geht es noch
um etwas so Banales wie Freizeitgestaltung, wenn "Ferien mit allen
Sinnen" gemacht werden?
Ist das blo�e Kartenspielen gemeint, wenn von der "Kunst des Schnapsens"
die Rede ist? Oder grenzt es an einen Akt der Welterschaffung, wenn ein
Fremdenverkehrs(bundes)land zur "Oase des Wohlbefindens" wird und "das
heimliche �sterreich" uns "wie eine andere Welt" erscheint, die zugleich
"deine eigene Welt" ist? Die zwischen New-Age-Euphorie und
antimodernistischer Regression lavierende Fremdenverkehrspoesie, die
Heimat und Fremde ineinander verkehrt, verkn�pft spirituelle
Offenbarungsmystik mit dem Urvertrauen in die konsumierenden Sinne. Es
scheint um elementare Dinge zu gehen - um ein "Eintauchen", eine
"Entdeckungsreise", "unterwegs zu sich selbst", durch "eine Landschaft,
die die Seele mit den Archetypen des Menschseins verbindet und uns auf
unbekannte Weise ankommen l�sst."
Jedenfalls ist die WOHLF�HLWELT nicht einfach ein Ort, wo man unt�tig
herumh�ngt, bis man sich erholt hat; vielmehr sind wir dort existenziell
gefordert, aufgerufen zum ekstatischen Mensch- und In-der-Welt-Sein.
Verordnungen wie "Sp�ren Sie die Magie der Landschaft!", "Genie�en Sie
mit allen Sinnen!" oder "Tun Sie es einfach!" lassen daran keinen
Zweifel.
In diesem Sinn geht es bei WOHLF�HLWELT darum, es einfach zu tun.
Im dem�tigen Bewusstsein, dass sich das Projekt der touristischen
Neusch�pfung von Welt, Sinn und Menschlichkeit kaum �bertreffen oder
satirisch �berh�hen l�sst, macht sich WOHLF�HLWELT einen Spa� daraus,
die Fremdenverkehrspoesie einem Realit�tstauglichkeitstest zu
unterziehen, sie auseinanderzunehmen und falsch wieder zusammenzubauen.
WOHLF�HLWELT macht gastfreundliche Demagogie zum Kunsterlebnis, das sich
anf�hlt wie Verarschung und Entertainment - mit den Mitteln von
Architektur und Installation, Comedy und Performance, Variet� und
Dancefloor, im Geist des produktiven Missverst�ndnisses, des
Understatement, der gebrochenen Immersion und der handgreiflichen
Parodie.
In die WOHLF�HLWELT (und damit ganz zu uns selbst) gelangen wir durch
das "Panorama des Staunens", das dem Jahrhunderte alten carinthischen
Brauch des GTI-Fahrens gewidmet ist; dort k�nnen wir auf 72 Autoreifen
sitzen, den Gummigeruch mit allen Sinnen in uns aufnehmen, den Sound und
Speed von GTI auf Video genie�en - oder weitergehen auf unserer
Entdeckungsreise, ins "Gl�ckszimmer": Sandstrand und Landschaftspanorama
machen Verweilen zum Ereignis, Guckl�cher gew�hren Einblicke in unser
pers�nliches Ich. Manche von uns wird es weiter ziehen, in die "Herberge
der Tr�ume", wo uns ein majest�tischer (150cm hoher) PingPong-Tisch
erwartet, mit Anleitungen zum Tischtennisspielen aus beliebten
Spielfilmen, eingeh�llt in eine urige Speckwolke und ausgestattet mit 50
PingPong-Schl�gern, auf denen der traditionelle K�rntner Wahlspruch
"Speck und Sport" ans gemeinsame Kulturerbe erinnert.
Was in unserer Hektomatik-Welt oft gedankenlos "B�hne" genannt wird, ist
in der WOHLF�HLWELT die "Erlebnisoase": ein Podest, in den
(wahrnehmungspsychologisch ganzheitlich temperierten) K�rntner
Landesfarben, auf dem anerkannte Animatoren und Unterhaltungsk�nstler
uns mit ihren Possen entspannen: Satirische Darbietungen der
Kulturvereine "monochrom" und "maschek" (etwa das lichtbildunterst�tzte
Heimatgedicht "Unser sch�nes K�rnten") lassen uns endlich wieder Mensch
sein. Dar�ber hinaus werden die weit �ber die Bundeshauptstadt hinaus
beliebten Disk-Jockeys Drehli Robnik und Super Tronic uns mit deftigen
Moderationen seelisch ankommen lassen und einen musikalischen
Schmankerlmarkt auftischen, der den Dancefloor in einen Kraftplatz
verwandelt.
Abgerundet wird die Synfonie des Wohlbefindens in der "Sehnsuchtswelt",
wo wir uns an der Bar einem reichen Sortiment von "Mir tut es
wohl"-Getr�nken mit Vollrauschgarantie hingeben oder an f�nf
Diaprojektoren Old-School-Memory spielen k�nnen. Um uns schlie�lich in
jeder Facette den "Alltag als Event" empfinden zu lassen, werden die
Kosettanlagen mit einer Sound-Installation bespielt, die zum
"Eintauchen" einladet.
Die Regisseure des Gl�cks
maschek
Was maschek tun, ist nur insofern Videokunst, Kabarett oder
Politsatire, als man das zum Gl�ck nicht merkt. Sie tun es live oder
auf Video, in Diskussionsrunden oder durch Nachvertonung von
Bildmaterial aus dem staatlichen Privatfernsehen und aus dem
Foto-Archiv der Flohm�rkte und Altwarentandler. Drei Tugenden halten
die maschek-Welt zusammen: Bildungsanspruch, Hang zur F�lschung ohne
Trennsch�rfe zum Ernstgemeinten, Hassliebe zum �sterreichischen.
Besuchen Sie doch einfach die Spassfraktion der
Found-Footage-Avantgarde bzw. den Bildungsfl�gel der Retro-Kultur
unter www.maschek.org.
monochrom
der verein (seit kurzem religion) zur foerderung der selektiven
rezeptionsforschung im sinne futurologischer belange im kern aus
johannes grenzfurthner, evelyn fuerlinger, harald homolka list, franz
ablinger, frank apunkt schneider. als hansdampf in allen codes, wo
rein gar nichts einer anderen programmatik folgt als der anh�ufung
von interessanz, stimuliert monochrom die organe breitfl�chig und
nahezu aggressiv - schei�t einen foermlich zu mit selektion. jeder
person ist es �berlassen was sie in ihrer freizeit tut.
we are m�tley diskurs and you are not. auch kulturschaffende sind
menschen mit gef�hlen.
und obwohl wir wissen, dass wir nur staub sind, stehen wir total auf
amusement.
erscheinen sie zahlreich, wenn m�glich manisch (und schon vorher
unter www.monochrom.at)
Drehli Robnik
geboren 1967 in Wien-Erdberg. Unsympathischer Wiener, sprechender
Disk-Jockey, Musikveranstalter (Soft Egg Caf� Vienna/Flex; 1997-2000,
Hot Lotion/B72, zusammen mit Peter H�rmanseder, seit 2000);
Entertainer mit selbstauferlegtem Bildungsauftrag, zeitweiliger
Fernsehmoderator (Wiener Privatsender TiV 1998/99), ehemaliger Rock-
und Pops�nger (Die Guten 1995-2000, RevoxRevue 1998-2000);
Filmkritiker bei der Wiener Stadtzeitung Falter; Film- und
Kulturwissenschaftler; diverse Publikationen zur Theorie und
Geschichte des Genrekinos. Lehrbeauftragter am Institut f�r Theater-,
Film- und Medienwissenschaft und am Institut f�r Geschichte der Uni
Wien. Lebt seit jeher in Wien-Erdberg.
DJ Super Tronic
Das hochenergetische Ein-Mann-Dienstleistungsunternehmen Super Tronic
agiert als Schallplattenunterhalter im genuinen Sinne. Dem
kollektiven, gerne auch bis zur ekstatischen Ausgelassenheit
reichenden Wohlbefinden verpflichtet, kennt er weder Hemmunungen noch
falsche Scheu. Der gute Vibe ist sein Auftrag, die daf�r verwendeten
musikalischen Mittel sind
manigfaltig. Denn Groove ist ja bekanntlich eine Angelegenheit des
Herzens, und H�user sind da, um gerockt zu werden.
Architektur:
magnetpnp
Organisation:
Herwig Turk
mitverantwortlich f�r Transformator-Computer und Videokunstfestival
St.Veit/Glan 1991; diverse Projekte von HILUS zwischen 1992 und 1996
unter anderem: Unitn -Mediaspace, Projektraum WUK/Wien 1993; vergessen�
Projekt
in Wien, NewYork, Brno, Basel, Berlin, St.Veit/Glan 1996-99;
Patrik Papesch, Albert Kraschl
Wir wollen die Reizschwelle nicht noch h�her setzen, sondern Sie mit
"kleinen", ganz individuellen und pers�nlichen Gl�cksmomenten
�berraschen.
Wir bieten dieses All-Inclusive-Angebot inklusive Spielkameradengarantie
nur am 31.M�rz 2001 ab 20.00 Uhr zum "Ich will"-Preis.
Wir sind gl�cklich, wenn Sie zufrieden sind.
Wir sind aber erst zufrieden, wenn Sie begeistert sind.
------------------------------
Date: Sun, 18 Mar 2001 08:07:45 -0800
From: "PLANETWORK" <[email protected]>
Subject: PLANETWORK EVENT IN NEW YORK!!
PLEASE JOIN US AND SPREAD THE WORD!!!
PLANETWORK: Global Ecology and Information Technology
NEW YORK OPEN CENTER
SATURDAY MARCH 24, 2001 7:30 PM
83 Spring Street, New York $12*
Registration: 212 219 2527
SPACE IS LIMITED!!
(*First 20 tickets are FREE!! To qualify send us an email with your name in the
subject line: [email protected]. You will receive a confirmation by return
email)
Join ENVIRONMENTAL DEFENSE, INDYMEDIA, GEEKCORPS and many other 'Cyber Greens'
for a lively evening of discussion, networking and strategy for harnassing new
digital media tools and the Internet to build a sustainable future.
Focussed on activism and independent media, topics will range from new
networking and web-based campaign strategies to click-actions;
hacktivism to funding issues, as well as a discussion about the
possibilities and challenges ahead in the 'post-dot.com' world.
PLANETWORK is a California-based, international, interdisciplinary "link-tank"
for Cyber Greens, dedicated to providing forums for innovators from a wide range
of backgrounds to share their visions of how the Internet and global information
technology might help adaptively transform human culture and activate awareness
of both environmental problems and their solutions.
In May 2000, PLANETWORK convened a large-scale conference in San Francisco that
gathered over 700 people from a wide spectrum of fields, from information
technology and green e-commerce, to ecology and biology, the arts, new media and
education and environmental activism.
For more information: www.planetworkers.org
JOIN US!!!!
------------------------------
Date: 18 Mar 2001 19:30:07 MST
From: Immediacy Editorial Board <[email protected]>
Subject: New issue of Immediacy is now on-line
The new issue of Immediacy
(http://www.newschool.edu/mediastudies/immediacy/), the web
publication of Media Studies Department of The Newschool University, is
now on-line. The new issue, (Volume 2 Number 2, 2000) titled "In The
Mix 2000", features the following selected student works of the past
year:
- - "To Dream, To Die: Stanley Kubrick's Eyes Wide Shut" by Roy Brand
(article)
This paper examines issues concerning social criticism, the industry
of fantasy, and the psychology of the view through a detailed
interpretation of Stanley Kubrick's film Eyes Wide Shut.
- - "Nausea: Nauseating Mortality or American Media" by Leili Gueranfar
(streaming audio)
A peek into what could have been the awakening, alienation, and death
of American artist David Wojnarowicz.
- - "125th Street Drama" by Manuel Lopez (streaming audio)
Narrated in a documentary style, this "audio-fiction" portrays the
collective agitation in a Harlem condominium after one of the
residents has mysteriously disappeared.
- - "Wildman on the ChessBoard" by Maria Lovett (streaming video)
Wildman on the Chessboard is a short documentary film about a homeless
chess player in Washington Square Park and the significant
relationship between people and experiences in everyday life.
- - "Rhythm A La Turka" by Omer Ali Kazma (streaming video)
Two men seemingly obsessed with language use repetition, rhythm, and
rhyme to conceal and sometimes reveal meaning in a peculiar
competition.
- - "Prime Time '99: The Absent Black Narrative" by Tabanitha McDaniel
(article)
This essay focuses on Fall 1999 when the dearth of Black
representation on television became a hot issue. McDaniel examines the
socio-political implications of an absent Black narrative and proposes
solutions for a truly multicultural viewing experience.
- - "TV Ratings: Of Myth and Reality" by Radhika Nanda (article)
Nanda demystifies the circulation of commodities in the cultural
universe of television in an essay that critically questions the basis
of sophisticated techniques used to harness the intangible and
unreprentative nature of television viewing behavior.
- - "Symphony East - West" by John Plenge (streaming audio)
An audio collage combining Asian and Middle Eastern music traditions
with Western classical and pop instruments.
- - "Media Elision" by Carol Wilder (article)
"Media Elision" asks the question: Have we witnessed a complete genre
meltdown in the past thirty years? Have we accomplished a complete
blurring between fact and fiction, politics and entertainment? And if
this is the case, what does it mean for mediated culture?
- - "And now happiness �" by Tung Wang Wu (streaming video)
Tung's second film, And now happiness explores the filmmaker's
complicated relationship with his mother as a way of understanding his
hatred from her point-of-view.
- - "Sign of Times: The Promise of Prosperity" by Eric Zechman (article)
Both the mainstream media and U.S. politicians continue to proclaim
that these are the best of times. Eric Zechman wonders how the
average American experiences this prosperity and what is the
significance of the overwhelming popularity of the television game
show "Who Wants to Be a Millionaire?"
Please visit Immediacy web site for more:
http://www.newschool.edu/mediastudies/immediacy/
or mail to: [email protected]
Immediacy Editorial Collective
- ----------------------------------------------------------
IMMEDIACY is an on-line discussion forum for Media, Arts and Culture sponsored
by The New School University Media Studies Department.
e-mail: [email protected]
phone: 1.212.229.8903
- ----------------------------------------------------------
____________________________________________________________________
Get free email and a permanent address at http://www.netaddress.com/?N=1
------------------------------
Date: Mon, 19 Mar 2001 13:48:06 +0100
From: Frieder Rusmann <[email protected]>
Subject: For the Natural Death of the Work of Art [www.kunsttot.de]
For the Natural Death of the Work of Art
http://www.kunsttot.de
Frieder Rusmann
------------------------------
Date: Mon, 19 Mar 2001 12:58:43 +0100
From: [email protected]
Subject: /// 0100101110101101.ORG /// life_sharing
/// PRPGND /// HTTP://WWW.0100101110101101.ORG ///
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/// from "Gallery 9 / Walker Art Centre", 01 jan 2001
/// http://www.walkerart.org/gallery9/lifesharing
0100101110101101.ORG / life_sharing
[�] life_sharing is an anagram of "file sharing". life_sharing is a
computer sharing its hard-disk with the whole world, making all its
contents accessible via Internet. "All" does�t mean a directory of the
hard-disk but the whole content of the computer: programs, system (all
the software used is open source), desktop, archives, tools, ongoing
projects, mailboxes and so on. From the moment life_sharing started,
every Internet user has free access twenty-four hours a day, 365 days a
year to 0100101110101101.ORG�s computer: they can rummage through
archives, search for texts or files they�re interested in, check the
software, watch the "live" evolution of projects and even read
0100101110101101.ORG�s private mail.
Users can access the contents through their browser, thus no particular
technical abilities is required, only the basic notions necessary to
surf the web. The computer contents are not periodically uploaded -
thing that is usually necessary to update a web site - because
0100101110101101.ORG is working directly on the shared computer - the
web server - so that users follow the development of the work in real
time, they are always present and up-todate.
The idea is both simple and full of implications that go beyond the
concept of a work of art being an object of contemplation, and raises
political, sociological, philosophical and informational issues.
life_sharing determines and underlines problems and contradictions that
are no loner aesthetic, they are ethical.
The first of these problems is evidently privacy. life_sharing
represents a radical subversion of the concept of privacy, a clear
inversion of the perspective from which it has always been considered
and discussed. life_sharing is the "empirical" demonstration that on the
Internet is possible to experiment new forms of interaction and
networking, on the condition that we are willing to leave evidently
obsolete practices behind us. It is not a utopia, it is a practice that,
once started, is going to become part of our everyday life.
Another issue raised by life_sharing is the intellectual property
question: the proposal is not a complete abolition of copyright, but its
substitution with the GPL (Gnu General Public License -
http://www.gnu.org ).
Extract from the Gnu General Public License: "Licenses for most software
are designed to take away your freedom to share and change it. By
contrast, the GPL is intended to guarantee your freedom to share and
change free software - to make sure the software is free for all its
users. This General Public License applies to most of the Free Software
Foundation�s software and to any other program whose authors commit to
using it. You can apply to it to your programs too. When we speak of
free software, we are referring to freedom, not price. Our General
Public Licenses are designed to make sure that you have the freedom to
distribute copies of free software (and charge for this service if you
wish), that you receive source code or can get it if you want it, that
you can change the software or use pieces of it in new free programs;
and that you know you can do this things. To protect your rights, we
need to make restrictions that forbid anyone to deny you these rights or
to ask you to surrender the rights. These restrictions translate to
certain responsibilities for you if you distribute copies of the
software, or if you modify it."
Untill now, the GPL, has been applied only to programs, with great
succes both economical and "cultural". 0100101110101101.ORG wish to
apply the open source model (so a license directly inspired by the GPL)
also to works of art. This statement is a concrete proposal: to truly
share intellectual properties, beginning from our own, every day.
First published by Gallery 9 / Walker Art Centre for life_sharing by
0100101110101101.ORG http://www.walkerart.org/gallery9/lifesharing
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/// PRPGND /// HTTP://WWW.0100101110101101.ORG ///
------------------------------
Date: Tue, 20 Mar 2001 16:39:25 -0500
From: Angela Plohman <[email protected]>
Subject: The Daniel Langlois Foundation
Press Release
The Daniel Langlois Foundation & the Cin�math�que qu�b�coise present:
Red Dice by American artist Bill Seaman
Montr�al, March 22, 2001 - From March 22 to April 22, the Daniel Langlois
Foundation for Art, Science, and Technology is proud to present, in
collaboration with the Cin�math�que qu�b�coise, Red Dice (2000) by American
artist Bill Seaman.
Commissioned in 1996 by the National Gallery of Canada, the interactive
installation Red Dice is a homage to the poem Un coup de d�s jamais
n'abolira le hasard (Dice Thrown Never Will Annul Chance), written in 1897
by the celebrated 19th-century French poet St�phane Mallarm� (1842-1898).
Drawing on the still-fresh innovative force of this landmark in modern
poetry, Bill Seaman has produced an arrangement of elements that invites the
viewer to juggle words, images and music.
Approaching Red Dice, the viewer will find an electronic tablet and pen. On
the tablet, Mallarm�'s poem will appear, arranged to faithfully match the
original layout of his words. Mallarm� was ahead of his time when he wrote
Un coup de d�s jamais n'abolira le hasard, a revolutionary piece that
challenges the reader's sense of order. The poem is sometimes considered one
of the earliest examples of non-linear reading, similar to today's
experience of navigating the World Wide Web. Viewers of Red Dice can
digitally page through the entirety of the poem on the tablet, or they can
touch the poem with the pen and activate Bill Seaman's fragments of images,
words and music. Other viewers in the room can follow the actions of the
person navigating the work via two projections on the wall.
Seaman describes the experience of navigation in Red Dice as floating,
skating over or flying between images, words and sound, in a choice of two
languages, creating a "recombinant poetics."
In the video that forms the base of the work, Seaman also suggests a
connection between old and new technologies by showing the punched-paper
programs used for the mechanical loom, the mill and the player piano-devices
that are the ancestors of today's computers.
"An adaptation of Mallarm�'s poem in the form of an interactive
installation, Red Dice goes beyond mere illustration with its evocative
power, which is enhanced by the combinatory arrangement generated by the
computer program orchestrating the work's visual, acoustic, linguistic and
conceptual elements," says Jean Gagnon.
Born in 1956 in Kennet, Missouri, Bill Seaman began his career as a
performance artist and discovered video in the 1980s. He received a Master
of Science in Visual Studies in 1985 from the Massachusetts Institute of
Technology, Cambridge. His studies there allowed him to explore interactive
technology and computer-based art. In 1999, Seaman completed a PhD at the
Centre for Advanced Inquiry in the Interactive Arts at the University of
Wales, Newport. His work has been exhibited around the world and he has won
several international awards. He is currently a professor in the Department
of Design/Media Arts at the University of California, Los Angeles.
The exhibition Red Dice will be presented from March 22 to April 22, 2001 in
the Norman-McLaren room at the Cin�math�que qu�b�coise, 335 De Maisonneuve
Boulevard East, Montr�al. For information on opening hours and admission,
call (514) 842-9763 or visit http://www.fondation-langlois.org.
- - 30 -
SOURCE:
Jean Gagnon
Exhibition curator and
Director of Programs, Daniel Langlois Foundation
for Art, Science, and Technology
Audrey Navarre
Assistant to the Director of Programs
(514) 987-7177
------------------------------
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