| nettime_announcer on Sun, 14 Nov 1999 13:35:26 +0100 (CET) |
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Tilman Baumgaertel <[email protected]> : net arts first | 0 1 |
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Dejan Krsic <[email protected]> : new bastard books | 0 2 |
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SCP <[email protected]> : Surveillance Camera Players | 0 3 |
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Marion v. Osten <[email protected]> : New MN | 0 4 |
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Tapio Makela <[email protected]> : /~CONNECTED | 0 5 |
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Amit Srivastava <[email protected]> : WORLD TRADE WATCH RADIO | 0 6 |
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Reception <[email protected]> : BREATHLESS | 0 7 |
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Swiss Institute <[email protected]> : SI/NY panels 1999 | 0 8 |
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delivered each weekend into your inbox |
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mailto:[email protected] |
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Hi!
I was asked to write something on the history of net art for a book, and it
occured to me that I don't really know so much about this subject myself -
at least not as far as historic details are concerned, like: which project,
which server, which action went online when. I am particularily interested
in the years 93, 94, 95, 96, in greyish backgrounds, no gifs etc.
But this question is not limited to web projects. If there was use of
protocols such as CU See Me, MUDS, MOOS, Email, net-related performances,
even FTP or gopher, I would be very curious. The question is, in fact, not
even limited to art projects in the strict sense, since some of the first
art-related activities on the net were collections of texts, images etc.
If there are URL's of these projects, please send them to me personally. If
you think that these projects are of general interest and there is
something more to say about them that is of public interest, you might want
to put your replies on the list. Please let me know your name, where you
are from, what your idea was, and an as precise-as-possible date, when it
went online.
The idea is not to create a hierarchy of who was "there" first. It is more
about creating a sense of time, especially since this whole medium is so
ephemeral and relies so much on certain technical developments.
Please feel free to forward this question to any appropriate context,
mailing list, news group, forum, whatever. Thanks.
Yours,
Tilman
..................
I think,
and then I sink
into the paper
like I was ink.
Eric B. & Raakim: Paid in full
Dr. Tilman Baumgaertel, Hornstr. 3, 10963 Berlin, Germany
Tel./Fax. +49(0)30-2170962, email: [email protected]
MY HOMEPAGE HAS MOVED!!! http://www.thing.de/tilman
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New editions in BASTARD bibliotheque of Arkzin d.o.o, Zagreb, Croatia
http://www.arkzin.com
GUY DEBORD: SOCETY OF SPECTACLE
SLAVOJ ZIZEK: NATO KAO LIJEVA RUKA BOGA? / NATO AS THE LEFT HAND OF GOD?
integral and bilingual - english/s.h - edition of essaydealing with
questions opened by NATO intervention on Kosov@, illustrated with 16
colour pages & second, revised and extended edition of DUBRAVKA UGRESICs
book CULTURE OF LIES
All books ca ne obtained at publisher
ARKZIN d.o.o.
ILICA 176/I
tel: 3777 866
fax: 3777 867
e-mail://[email protected]
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Surveillance Camera Players
manifest opposition to surveillance cameras by performing specially adpated
plays directly in front of them.
situationists and Antonin Artaud
website
http://www.panix..com/~notbored/the-scp.html
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Dear MN's friends and all others,
This text is a summary about MN1/Zurich 98.
A new concept for the continuation in 2000 will follow in December 1999.
Yours Marion
----------------------------------------
MoneyNations
www.moneynations.ch
Exhibition, Webzine, Video and Magazine Project, Workshop and Congress
with:
A-Clip (Berlin), Absolutno (Novi Sad), Mehmet Akiol (Zurich), Edit Andras
(Budapest), Joerg Arendt (Bonn), Marion Baruch/Name Diffusion
(Paris/Milan), Paula di Bello/ Marco Biraghi (Milan), Jochen Becker
(Berlin), Marica Bender /RadioZid (Sarajevo), Luchezar Boyadjiev (Sofia),
Iara Boubnova (Sofia), Fritz Burschel / 'No one is illegal', Iana Cvikova
/ASPEKT (Bratislava), Eva Danzl Suarez / FIZ (Zurich), Dogfilm (Berlin),
Melita Gabric / Blaz Habjan / Martine Anderfuhren (Ljubljana/Geneva), Hex
TV (Cologne), Berta Jottar (New York), K3000 (Zurich), G�ls�n Karamustafa
(Istanbul), Beat Leuthard (Basel), Level ltd. (Zurich), Geert Lovink
(Amsterdam), Medienhilfe Ex-Jugoslavien (Zurich), Marton Oblath (Budapest),
Ayse �nc� (Istanbul), Marion von Osten (Berlin/Zurich), Drazen Pantic / B92
(Belgrade), Marco Peljhan / Ljudmilla (Ljubljana), Lia & Dan Perjovschi
(Bucharest), Pascal Petignat / Peter Riedlinger (Zurich/Vienna), Sascha
Roesler (Zurich), Polnischer Sozialrat (Berlin), Kalin Serapionov (Sofia),
Oliver Sertic / Attak (Zagreb), Natalie Seitz / Markus Jans (Lucerne),
Nedko Solakov (Sofia), Peter Spillmann (Zurich), Deep Europe /
V2_East-Syndicate, Mina Vuletic / B92 (Belgrade), Dr. Anna Wessely
(Budapest), Jeta Xharra /Mediaproject (Pristina), Zelimir Zilnik / Terra
Film (Novi Sad).
The MoneyNations project took place for the first time in the Shedhalle in
Zurich from 23 October - 13 December 1998. The starting-point of
MoneyNations was to address the complex and contradictory process of
forming collective and individual identities in (radically) changing
political conditions. Central to this analysis was the fact that Western
Europe's border policies in relation to Central and South-Eastern Europe is
tightening culturally and economically, and the racial discrimination
against non-Europeans associated with this.
The project concentrated on kindling an active debate between, and bringing
together, creative artists and media activists from Eastern and Western
Europe and looked at the way in which they are represented in the context
of art, as a social and symbolic location. We worked for over a year on
setting up a network of correspondents - the "KorrespondentInnennetz - in
which theorists, media activists and artists from Central and South-Eastern
Europe worked from different points of view against the production of
borders by a Europe that is centred above all on the West. The work that
emerged from this process of exchange includes video productions,
photographic works, installations, theoretical texts and narratives. The
artists' and video producers' pieces were introduced in the Shedhalle
exhibition and are being shown in various places in Eastern and Western
Europe and further exploited as a basis for work and discussion. The
Shedhalle project was launched with a three-day congress on the "Economy of
the Border" and a workshop with media producers from the former Jugoslavia.
The project will continue next year probably in Bratislava and in Vienna.
All the contributions are published in English on the www.moneynations.ch
web site or in the publication "The Correspondent".
Money / Nation
Immanuel Wallerstein and Etienne Balibar introduced the concept of
'ambivalent identities' into discussion about racism in the early 90s. They
tried to identify elements driven by the global economy in their analysis
of discrimination and inequality, and the role these played in maintaining
class- and race-specific differences. According to Balibar/Wallenstein,
every modern "nation" is a product of colonization/capitalization: it was
always a colonizing or colonized power to a certain extent, and to an
extent even both at the same time. But the nation-form, and thus the
quality that we call national identity, cannot simply be derived from
capitalist production methods, as it was for a long time customary to think
in classical left-wing analysis, but we can see today that the space that
is needed for the circulation of money in particular has a tendency to go
beyond national borders. But capital and its protagonists are not
independent of spatial requirements; each needs very specific local
conditions in order to cream off profit and to be productive. It seems that
for the circulation of money today the nationally regulated economies, in
the form in which we became familiar with them in Western Europe and the
USA after 1945, are no longer appropriate for expansive movements in
advanced capitalism in the late twentieth century. Free trade areas, the
dismantling of customs agreements (WTO) and the associated
hyper-exploitation above all in the south and east, and then the "Global
Cities" and their information technologies, together with more flexible
working practices, define the spatial conditions of a new, neo-liberal
world order.
Balibar/Wallerstein say that the world-wide social and economic processes
that are now defined as "globalization" correspond with the historical form
of a world economy that was always organized and divided into hierarchies
in such a way that there is a "center" and a "periphery", where one then
finds different forms of accumulation and exploitation.
The new approaches of post-colonialism went a stage further as they no
longer saw the relationship between the First and Third Worlds as a binary
opposition structure. They resisted attempts at holistic social
explanations, recognizing that the borderlines between opposing political
spheres are much more complex and contradictory than we had assumed. Thus
post-colonial criticism takes up the fight with the totalizing concepts of
Modernism, here fitting with Gender and Cultural studies in general.
Despite its essentially culturalist approach, the post-colonial view does
not deny the difference that lies behind the symbolic, political and
economic domination of psychological and social identification. In brief,
post-colonialism means using different ways of understanding the concepts
we use to help us to formulate community, nationality or ethics. On this
head as well the post-colonial view chimes with feminist theory and
practice. Theorists like Gayatri Chakravorty Spivak work from this point of
view and have brought new and fundamental insights into Western feminism.
Central to the debate are the different realities of women in the diaspora.
The concept of cultural and ethnic units that are prescribed almost
naturally (culture clash) was abandoned in favour of a concept of hybridity
that places the different social, political and cultural conditions for
developing an identity centre-stage.
Culture is a starting-point for considering current global changes from a
post-colonial point of view, because it clearly shows up the
contradictions, conflicts, but also new terrains for action that have
already emerged.
EUroland
Criticism of a eurocentrically organized apparatus for power and knowledge
has been increasingly heard since the early 90s, on the German-language art
and culture scene as well. But for MoneyNations the central question was
whether we can assume a common basis for interpreting the concept of
hegemony among the producers of culture in the post-Communist states and
those from the "West". Can the countries of Eastern Europe already, still
or again be counted as part of the Western centre, or does the Shengen
Agreement illustrate precisely the boundaries that have manifested
themselves culturally, socially and economically since 1989? Power
relationships cannot be explained conclusively in terms of the binary
structure of the West as a center and the East as a periphery. It seems
that in fact new centers have formed in Central and Eastern Europe and also
that racism and sexism are not 'Western' phenomena, but occur all over the
world.
But in contrast with the North-South argument, the East-West relationship
is much more contradictory because of historical and political differences,
and also attracts much less attention. The political systems that used to
confront each other, whose Cold War propaganda machines quite uninhibitedly
permitted representing "the others" as huge and horrific enemies, are now
again described as national units, and defined via their particular status
in terms of Westernization and advancing capitalism. Media reports still
choose the "wild East" as their favourite topic, along with Mafia-type
structures, empty state coffers and other states of emergency. United
Europe's legislation governing borders and foreigners excludes the "East"
as a matter of policy, and multinational concerns and investors discovered
Central and South-Eastern Europe as the countries with the cheapest
possible labour well before 1990. This is why an attempt is being made on
the cultural plane to hark back to the historical continuity of an Eastern
and a Western European identity. But typological stereotypes, exoticism and
assertions of cultural difference do not occur only in the media, but also
in exhibitions of Eastern European art, which face out border production by
"Fortress Europe" and Eastern Europe's roll as a global lowest-wage
location by constructing authenticity (Sammlung Ludwig) or by asserting a
new internationalism (Manifesta). MoneyNations attempted to address these
contradictions.
Traditionally, European identity was always formed by drawing a line of
demarcation with the "major others", Africa, the USA, Japan, Asia and the
Orient. This identity relied above all on the special qualities of a
cultural tradition, so that the "others' " traditions could be devalued at
the same time. Thus extending the eastern boundaries of the EU or joining
NATO, which are both being dangled before the countries of Eastern Europe,
once more builds on the exclusive quality of "old" Europe and the western
center, while the reality of the former socialist alliance and also the
countries in the south of the globe are left out of account. Thus culture
acquires central significance in the exclusion processes.
And yet we should not lose sight of the fact that current European
grouping, and European monetary union, are directly linked with global
economic competition. But the attempt to fuse the European nation-states
into "one Europe" creates new models (for a new pan-European identity) and
thus correspondingly excludes anyone who does not fit in with this model of
an economically efficient Europe. But this construction involving the
"others" is not stable, but constantly subject to different social
negotiations. Thus in the case of Eastern Europe the categories have
changed constantly since 1989, and differently from country to country.
Access
The MoneyNations project started with the question of how we can develop
cultural practices that intervene actively in these current processes. For
this reason the project did not take the angle that harsher immigration
policies (in Switzerland as well) derive only from capitalist production
methods, but inquired about the significance of racist and sexist
categorization and practice for productive forces under late capitalism and
what contradictions, instabilities and resistances can already be derived
from this.
For a year, working from the Shedhalle and supported in part by existing
networks (like for example V2/East_Syndicate) and friends who were also
producers, we built up a network of correspondents - the
"KorrespondentInnennetz". At first, theorists, media activists and artist
from Central and Southern Europe started to exchange e-mails, speaking
against borders produced by a Europe that was above all centred on the
West. The analyses and concepts of the various people involved in the
project also made it clear that it was possible to establish forms of
communication and resistance, and also new production connections, that
rose above individual states, beyond the usual stigmatization as
"Bulgarian", "German", "Romanian", "Turkish" etc.
Thus the line taken by the project fits in with the general tendency that
deregulation of nation-state units, as an effect of liberalized world
trade, is also shifting and destabilizing the boundaries of national
allegiance and also those of the traditional gender regime. For example, we
observed that South-Eastern Europe is leading the world for the European
textile industry as a low-wage location because of its geographical
proximity: a branch of commerce in which young women in particular work,
without security and partly in their own homes; but these women have also
become breadwinners for their families, thus making the old privileges of a
largely male workforce questionable. Thus theorist Saskia repeatedly points
out in her critical analyses that new developments certain to undermine the
old notions of statehood and their sexist and racist policies can and will
occur in the process of globalization.
But a discussion of this kind about civil society or "globalization from
below" also involves, for the specifically Eastern European situation,
coming to terms with the function that is attached to Western investors and
financial capital (Georg Soros) as far as culture promotion and social
movements are concerned. And going beyond this, the real practice of
harsher immigration requirements and non-recognition of a legal status for
migrants within EUrope has to be set against the positive assumptions of
global democratization processes. The so-called three-circle-model
discriminates against Eastern Europeans in particular, who are forced into
informal sectors, as commuting workers or into other conditions of
inequality that are usually segregated gender-specifically (as sex workers,
cleaners or service personnel).
Another important research topic for MoneyNations was the field of
consumption: as cultural symbols, ideas and objects are acquired and
"domesticized", new local communities also form, and these lead to a new
range of available roles, but also to role constraint. For this reason it
became a central field of the project to reassess economies that are
described as "informal" as opposed to the formal economics of the Western
commercial systems. In this context, as part of the �Border Economy"
congress, the specific social and economic situation of the post-communist
states was made the central consideration. Since 1989, markets have emerged
in all the countries of Southern, Central and Central-Eastern Europe in
which a new form of retail trade takes place, which are inestimably
important for the economies of Eastern Europe and marginalize the West as a
center. For example, artist G�ls�n Karamustafa of Istanbul reported that
since 1989 her city had become the central market-place for the countries
of South-Eastern Europe. On the other hand, in Sofia (BUL) a market for
bootleg CDs has built up that - although forbidden - still makes up a large
part of the functioning economy. These forms of trade subvert Western
notions of value in many respects: they question both the protection of
trade marks and (border) agreements between nation states. At the same time
they represent a real basis for life within the transformation processes in
the post-communist countries. These contradictory developments were
discussed by the participants, and so was the question of how we can talk
about borders and drawing borders without delegating the problems of
Germany or Switzerland to Eastern Europeans, or without defining the
Western borders as essential. We therefore agreed to follow the "border"
from the point of view of subversion, of resistance. The "Suitcase Economy"
also became synonymous with our own exchange situations within the project.
Marion von Osten
Marion von Osten
Eisenacherstr.64
D-10823 Berlin
fon 0049 30 788 4661
[email protected]
o.
c/o k3000
Sch�neggstr. 5
8004 Z�rich
fon 0041 1 291 3040
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Lasipalatsi Media Centre, Helsinki, November 19th-21st, 1999
Friday, Nov 19th
European Media Culture
MORNING SESSION
Location: Book at the Cable Library, Lasipalatsi, 2nd floor
10.30 Welcome & introduction to practice day
11.00 Coffee
11.30 Working Sessions
Media Labs
- moderated by: David Sinden [ARTEC, London]
13.00 Lunch
AFTERNOON SESSION
Location: Book at the Cable Library, Lasipalatsi, 2nd floor
15.00 European Media - Are We Content?
- Introduction by Tapio Makela
15.15 Welcoming address
- Suvi Lind�n, Minister of Culture, Ministry of Education, Finland
15.30 European media culture
- Marie Ringler [netbase, Vienna] and
- Marko Pehljan [Ljudmila, Ljubljana]
16.00 Commentaries & discussion
16.20 Key note: How to Network a Continent?
- Sara Diamond [Banff Media Centre, Canada] with
- Amanda McDonald Crowley [Australian Network of Art and Technology]
17.45 Coffee & chat @Meteori
EVENING SESSIONS
18.15 Evening sessions
Networks, moderated by Andreas Broeckmann [V2, Rotterdam]
and Rasa Smite [e-lab, Riga]
Centres, moderated by: Marie Ringler
and Minna Tarkka [Medialab, Uiah, Helsinki]
20.00 Break
21.00 Dinner
Saturday, Nov 20th
Modelling Best Practices
MORNING SESSIONS
10.00 Coffee / Welcome & intro to practice & policy day
Networks, Centres, Labs
- 15 minute intros by moderators from Friday
Responses by:
- Jarmo Malkavaara [Arts Council of Finland]
- Marianna Kajantie [Lasipalatsi media centre, City of Helsinki Cultural
Office]
- Will Bell [Arts Council of Enlgand]
11.30 Discussion
- Prepared question by each moderator
12.30 Coffee
13.00 New Media Culture and Internet Content in the UK
-Will Bell [Arts Council of England]
13.45 Discussion: How to transform cultural policies and audiovisual
policies in the context of new media cultures?
14.00 Lunch
AFTERNOON SESSIONS
15.15 Local European Media Cultures
Forum to discuss how media cultures are produced, distributed and supported
nationally and EU-wide
- group 1: Modelling best practices for local-national media cultures
Simultaneous workshop with EU-representatives, if present
- group 2: Modelling best practices for European media cultures
(this session will change its shape according to who will be present)
17.00 Coctails
(followed by: Open Ended City and/or Media Browsing)
20.00 Sauna - lounge
- for those who desire to have a relaxing bath & snacks
Sunday, Nov 21st
MORNING SESSIONS (preparations for the afternoon)
10.30 Coffee
11.00 Policy Statement drafting
- a best practice model: UK /Will Bell [Arts Council of England]
and Maria Brewster [FACT, Liverpool]
- a best practice model: Netherlands /Cathy Brickwood [Virtual Platform]
11.40 Chairs and moderators of each group reflect on policy-practice
development
12.30 Break
AFTERNOON SESSIONS
Networked Media Cultures in a Changing Europe
Open to the public @BIO REX, Lasipalatsi
13.00 Film screening & Comment
- Cyber Rex, Belgrade
13.15 Opening words
- Marianna Kajantie, Lasipalatsi Media Centre
13.20 Introduction
- Tapio M�kel� and Marleen Stikker
13.40 Three Steps Towards Flourishing European Media Cultures
- Panel of policymakers and practitioners, chaired by Andreas Broeckmann
14.40 Virtual Platform: networked Dutch Media Culture
- Cathy Brickwood [Virtual Platform co-ordinator]
- Medialounge, European Mediaculture CD-ROM
15.00 Policy statements
- national
- EU
- ECB, European Cultural Backbone
16.00 Coffee@ Meteori and departures
17.00 Documentation & postproduction team meet and work in the evening,
press releases for local and translocal use
-------
Cultural industries and independent media cultural production are of
primary importance for Finnish policy development, as a new program,
"Content Finland" is being drafted during next year. In each European
country, goals of both national and transnational media culture have been
met with different strategies. Through Connected knowledge and shared
experience, it is possible to form models of best practice - and
principles for both national and European policy.
The driving force behind this event and series of other meetings prior to
it is the ECB, European Cultural Backbone. It is a network of media
cultural organisations, centres and active individuals throughout Europe,
not only European Union member countries. To quote Dr. Peter Wittmann,
Austrian State Secretary for the Arts, "The European Cultural Backbone is
the logical extension of this ongoing dialog between cultural
practitioners and policy makers regarding strategies of "practice to
policy" on both national and European levels."
The Main organiser of /Connected, the Lasipalatsi Media Centre, also seeks
to discuss how European media centres could increasingly collaborate. How
to best connect venues of presenting media culture and sites that produce
it? Support of networks, bandwidth, mobility, distribution and production
are key factors for policy discussion.
Traditionally, in a European democracy, public space has been defined
through access to public institutions, freedom to move in city spaces and
through the existence of certain democratic instruments such as public
libraries and publicly supported broadcast media. New media, Internet in
particular, has made it possible to more actively shift content production
to smaller units or groups. Creation of public space can mean support for
content production and communication that does not focus on a single mass
audience, but particular communities (or consumers) and layers within the
larger society and the networked world. Major issue for debate is thus to
consider, how to best connect various models of best practice and policy
that enable cultural production in a networked, changing Europe.
The seminar takes place in the very center of Helsinki, in Lasipalatsi
Media Centre (www.lasipalatsi.fi). Meals during the conference program are
provided for by the organisers and there is no attendance fee. We are
providing air fare and accomodation for a group of participants that comes
from smaller media centres and organisations. We are happy to assist your
travel arrangements by providing information on accomodation and flights.
/~CONNECTED brings together practitioners, producers and policy makers
within contemporary media culture in Europe. Its attempts to create
exchanges of experience and information between organisations and
individuals from different fields: media cultural organisations, media
centres, policy makers on a local, national and European level, media art
organisations, corporate research labs and university researchers.
Following events such as P2P conference in Netherlands
(http://www.dds.nl/~p2p/) and Networking Centres of Innovation in Austria,
it explores the ways in which local experiences can be compared, exchanged
and rewritten to form models of best practice.
The event will officially launch the ECB, European Cultural Backbone, a
network based on trust and a shared interest to promote a rich media
cultural practice, which already flourishes in Europe. The network proposes
that an Internet Backbone or a set wide bandwidth would be subsidised by
the EU in order to enable transnational media production, broadcast
transmission of events and inexpensive communications. The ECB acts as an
advisory body for the policy makers nationally and within the EU.
/~CONNECTED is very much about the goals of the ECB:
1) Bandwidth for media culture
2) Support for models of best practice
3) Active investigation of what European media culture consists of
4) Enhanced networking between media cultural organisations,
individual hubs" and policy makers.
/~CONNECTED refers to the ways in which media cultural local practices and
organisations create collaboration, projects, discourse and policy across
and partly independent of national borders. Emerging networks, projects
and content are no longer international, but translocal by nature, already
connected.
HTTP://www.e-c-b.net/ www.lasipalatsi.fi
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LIVE FROM SEATTLE: WORLD TRADE WATCH RADIO
Get Corporate Watch WTO Coverage Aired on Your Local Radio Station!
http://www.corpwatch.org/corner/alert/wtw.html
Corporate Watch Editor Julie Light and syndicated columnist Norman Solomon
will co-host WORLD TRADE WATCH, a series of five daily radio programs from
the historic WTO Summit in Seattle November 29-Dec. 3, 1999
Co-Produced by CORPORATE WATCH: www.corpwatch.org, the NATIONAL RADIO
PROJECT: www.radioproject.org, and the INSTITUTE FOR PUBLIC ACCURACY:
www.accuracy.org
The air you breathe, the food you eat, even the size of your bank account
are all affected by the World Trade Organization. Yet transnational
corporations increasingly call the shots and benefit from international
trade policy. Companies like Microsoft and Boeing plan to roll out the red
carpet for top officials from 135 countries at the upcoming summit.
Environmentalists, labor and community activists from around the globe will
also converge on Seattle to hold forums and protests, demanding that their
voices be heard.
WORLD TRADE WATCH will talk to farmers from India, trade activists from
Ghana, peasants from Chiapas, and grassroots activists from the US and
around the world. We'll track behind the scenes corporate lobbyists and
buttonhole official trade representatives. We'll have reports from the
field and lively in-studio discussion.
Find out how you can get your local station to carry WORLD TRADE WATCH!
Programs are FREE to non-commercial stations.
CONTACT US TODAY:
Telephone: (510) 251-1077
Email: [email protected]
WORLD TRADE WATCH can be aired live from the NPR satellite or via tape
delay. One-hour programs can also be aired in 29-minute modules.
INTERNET FOR PERSONAL LISTENING:
WTO series in RealAudio format on Corporate Watch website:
www.corpwatch.org, or the National Radio Project web site,
www.radioproject.org
SATELLITE:
Live uplink from KUOW Seattle
A67.7 on the public radio satellite
13:00-13:59 EST
INTERNET BROADCAST QUALITY:
www.radioproject.org Downloadable version of the programs in MPEG format.
See the site for software and instructions. Winamp is necessary for
playback. In order to take full advantage of MPEG quality a professional
sound card is required.
SUPPORT Corporate Watch:
We depend on donations from people like you. Make a donation through the
web at https://swww.igc.apc.org/trac/donation.html
Or send us a tax deductible US bank check or international money order in
US dollars make out to TRAC/Tides to PO Box 29344, San Francisco, CA 94129.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Amit Srivastava
International Programs
TRAC- Transnational Resource & Action Center
PO Box 29344, San Francisco, CA 94129, USA
Tel: 1 415-561-6472 Fax: 1 415-561-6493
Email: [email protected]
Web: http://www.corpwatch.org
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BREATHLESS
by Szabolcs KissPal
an interactive audio and | ARTEC
candlelight installation | 243 Junction Road . London N19
& | tube: Tufnell Park (northern line)
end of residency | Tuesday 16 November 6:30-8:30pm
show and tell |
<http://www.artec.org.uk/szabolcs/>
Artec will host a special presentation of the installation BREATHLESS and
an end-of-residency chance to meet artist Szabolcs KissPal and see
documentation of his previous interactive and video works. BREATHLESS
focuses on the interaction between sounds and images as entities; air,
light and computing as media. The fragility of candlelight generates an
audio and video feedback loop which symbolises the impossibility of
artistic observation and the imperfection of technical reproduction. His
previous works similarly investigate the synchretic relationships between
older and new technologies in the creation of the artistic act.
KissPal is a media artist and video maker based in Budapest and has been
working at the new Artec centre in London since late September. His
residency was created through the EMARE 99 (European Media Artist in
Residence Echange) programme - an initiative that links media centres
across Europe to provide opportunities for new work.
BREATHLESS was comissioned by Artec, as part of the EMARE 99 programme.
The work was presented at TOOT, the 7th annual ROOT festival, in
association with Hull Time Based Arts in October 1999
<http://www.timebase.org>
For more info contact Artec on +44 (0)20 7687 6060 or email [email protected]
<http://www.artec.org.uk/szabolcs/>
artec . commissions . residencies . network projects . debate . webcasts .
channel
<http://www.artec.org.uk> . <http://www.channel.org.uk>
For more info about Artec & Channel projects contact:
David Sinden . t: +44 (0)20 7687 6060 . e: [email protected]
artec . commissions . residencies . network projects . debate . webcasts .
channel
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November 11, 1999 to January 8, 2000
Empires without States:
On notions of success and failure in contemporary art
Christoph B�chel, SUBWAY OUTSIDE, Komar and Melamid, Aleksandra Mir, relax,
Xposition
Curated by Annette Schindler
Opening Thursday, November 11, 6-8 p.m.
Artists/curator's tour, Saturday November 13, 3 p.m.
FAILING SUCCESS PANEL Friday, November 12th, 1999 6-8 p.m. Swiss Institute,
495 Broadway, (212) 925-2035
Subway Outside artists Jeanne van Heeswijk, Martin Lucas, and Herv�
Paraponaris will discuss definitions of success when artists seek to broaden
the cultural field, questioning their own role and that of the art
institutions they work with.
What is an 'art work'? How is it perceived? And where is it to be found?
Panelists: Barbara Abrash Director of The Center for Media, Culture and
History at New York University
Barbara Clausen Curator
Moderator: Annette Schindler Director, Swiss Institute
VIRTUALLY YOURS? Tuesday, December 7th, 1999 6-8 p.m. Swiss Institute, 495
Broadway, telephone: (212) 925-2035
A discussion concerning the changing boundaries of culture in the face of
new media.
Co-sponsored by the Swiss Institute and The Center for Media, Culture and
History at New York University
As new communication technologies come to the fore they offer new forms of
connection between artist, institution and audience - overturning and or
simply avoiding old hierarchies. At the same time, the communications
industry commodifies every aspect of life -- using these same new
technologies. How can we use the new tools of contemporary artistic
production to create an activist urban culture?
New Media Where are the Boundaries?
Panelists: Paul Chan Internet artist, Professor of Art Cooper Union
Drazen Pantic formerly of Radio B-92 Belgrade
CONSPIRACY NIGHT Tuesday, December 14th, 8 p.m. Swiss Institute, 495
Broadway, telephone: (212) 925-2035
Aleksandra Mir will also host an evening program titled Conspiracy Night,
when her project will be approached and discussed from two different
aspects: by critics familiar with the history of performance art as well as
conspiracy theorists who claim that the moon landing 30 years ago was as
much a staged event as the one that occurred this past summer.
__________________________
Swiss Institute is located at 495 Broadway, third floor, telephone: (212)
925-2035. Subway-N, R to Prince Street, 6 to Spring Street. Wheelchair
accessible.
For further press information, please contact Jackie McAllister, Exhibitions
Coordinator, Swiss Institute, at (212) 925-2035.
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