an email by midday on wednesday,
> and let me know the address you subscribed to the spectre list with. i'll
> remove your address from the list of addresses that i'll send to everyone
> else.
>
> bestest
>
> honor
>
> ______________________________________________
> SPECTRE list for media culture in Deep Europe
> Info, archive and help:
> http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
>
> ______________________________________________
> SPECTRE list for media culture in Deep Europe
> Info, archive and help:
> http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
From kireev2000@cityline.ru Mon Nov 19 21:59:12 2001
From: kireev2000@cityline.ru (Oleg Kireev)
Date: Tue, 20 Nov 2001 00:59:12 +0300
Subject: [spectre] smth on what Inke and Andreas told about
Message-ID: <017501c17145$d46a4160$65ac2ec3@kireev>
This is a multi-part message in MIME format.
------=_NextPart_000_0155_01C1715E.9160F6C0
Content-Type: text/plain;
charset="koi8-r"
Content-Transfer-Encoding: quoted-printable
Dear friends,
it's really a pleasure to join a new list instead of the old one which =
really seemed to be stagnating. I think there were some peculiar moments =
in the very beginning of the Syndicate existence which made it so =
innovative. first, people were from different countries, many from the =
Eastern ones, and the list could briefly be informed on the events going =
on across Europe. people used to comment in the net what we saw on TV =
and we had the immediate analytical reports from the people we knew. =
that was especially so in the case of Balcanian war. I remember a buhcn =
of Serbian guys telling what's on with the bombings, and for sure always =
brave Melentie with his newsservice, etc. i ever thought, why people =
don't simply ask and tell what's going on in their countries on the =
fields of policy, arts, new media, theorism or whatever. Net =
communication let us do and know so much. i myself tried to tell the =
Russian realities, especially the underreported ones, in my mailgetto =
project: political marginals, zines, activists groups etc.=20
Let me try to proceed with some kind of report on today's Moscow in =
general. maybe such genre is more informative than the announcements.
First, nobody really expected any antiglobalists to be here when =
promised - at the small pre-WTO meeting early November. some TV man even =
woke me up early at morning calling and saying: you're known to be an =
anarchist, so where're your friends, what're they doing today? i said, =
no friends, let me dream about anarchy. the police nevertheless waited =
for the crowds of protestants in the center of the city, in order to =
protect boutiques and so on. nooone appeared. at the same time a crowd =
of 2 thousand skinheads were killing southern traders in the suburban =
area and no cop was there. This was the the first rise of such a massive =
fascist grouping, gathered of the football fans mostly. a really high =
percent of Moscovites expressed their solidarity. the skins say, they =
were going to beat antiglobalists as well if they come.
in general, Moscow's growing and changing rapidly. the streets and =
especially the subway seem OVERfillled by the people, as if it weren't =
able anymore to contain all of them. the city now is full of luxury =
buildings, stores, hotels, and sometimes you can hardly recognize a =
street if you weren't for a few months there. Putin and Bush now party =
in Texas, and Moscow seems to become a real globalization capital.
after a year-long television obscenity (after Putin's elections there =
were only extra-low-budget propagandist movies about militia and =
Chechnya war, mexican serials, talk-shows and so on) it became more or =
less interesting again. for ex., TV-6 is a channel where the former NTV =
team was thrown to. NTV belonged to Gusinsky, a central tycoon of 90s, =
and was the most critical and intellectual channel until 2000, i'd say. =
Noone cares about the newspapers, but TV and internet are really on the =
top. and it's funny, how sometimes brave and sharply critical many =
journalists and programs have become. The matter is, Putin never made =
any political repressions, as many of us expected him to do before he =
came. a few people, probably the innocent ones, were put into jail and =
stay there, but there were no prosecutions at all. As a leading Moscow =
art-critic Katya Dyogot said, the people in the press weren't anyhow =
forced to serve the power, they did their best themselves to do what the =
power, they supposed, would like them to do. it lead to a real =
degradation of media. but now we see some new sort of the brave media. i =
wouldn't praise them so much as well, but they're interesting as a =
phenomenon anyway.
everyone now is "leftist" and all criticize capitalism - from the =
coloured magazins for teenagers till the established TV talking heads.
some draw a sharp satire on Putin but never say anything about what's =
really going on in Chechnya. People keep telling Putin's only diplomatic =
victory since Sept. 11 was to make America forget about the human rights =
violation in Chechnya - cause now they're getting violated worldwide. =
People get really depoliticized and care about cultural things only. =
that's where the media industry was really successfull and did some big =
stuff last time.
a real trend during last weeks is a newest TV-show "Behind the Glass" at =
TV-6 which all the russian internet is filled with. 3 boys and 3 girls =
were left in an IKEA-styled flat with cameras in every corner, and =
millions of people can see them eating, sleeping etc. I mean, they're =
good guys - very young, progressive and so on, the girls are cute, and =
the main hero, Max, has yellow-black coloured hair. They listen to =
Rammstein (by the way, they gave a concert here just yesterday), =
Metallica and Massive Attack, the latter, they say, saves a lot. the =
guys have to kick one every week away by their own decision , though =
they can sell their voices on some TV-auction by some tricky system, =
etc. now there're just four staying.=20
finally they started to have sex last week. Max, this hair-coloured guy, =
and Margo, a dancer. intellectuals count the show for dirty and stupid. =
Why such purism? Guys give an extreme image of what the society is. they =
talk as we talk, they show what we ever knew but were afraid to confess. =
they could maybe pose for a couple of days but after a week they already =
gave up playing, they simply live and do their best for not to die of =
boredom. some may be shocked by their extremities, but that's the play =
the audience and actors are playing together. the image of a =
contemporary young person is finally shown and will from now be =
manifested, not latent, in that society. an everyday-life is not =
anymore a secret. everything's open.=20
the last thing, Vladimir Sorokin, a very famous Russian (and German) =
writer came to the "Behind-the-Glass" flat yesterday and a had a talk =
with the heroes. (they can have one guest every weekend, and it was =
Zhirinovsky the previous time) Sorokin warned them from becoming a =
Soviet-sort communal community which he hates a lot. Sure, his friend =
Kabakov made a whole mythology of such communal living. anyhow, Sorokin =
and IKEA, Rammstein, Putin and Taliban look all very hip for the stylish =
Behind-the-Glass heroes, but all and all is whirling around sex for =
them. the girls talked for long whom of them Sorokin liked better.
paradoxically, such sex propaganda is extremely popular since the very =
beginning of perestroika, but i haven't seen any really sex-centered =
people of my age in my own surrounding. i suspect, a true underground of =
our time must keep some incredible chastity...
------=_NextPart_000_0155_01C1715E.9160F6C0
Content-Type: text/html;
charset="koi8-r"
Content-Transfer-Encoding: quoted-printable
Dear friends,
it's really a pleasure to join a =
new list=20
instead of the old one which really seemed to be stagnating. I think =
there were=20
some peculiar moments in the very beginning of the Syndicate existence which made it so =
innovative. first,=20
people were from different countries, many from the Eastern ones, and =
the list=20
could briefly be informed on the events going on across Europe. people =
used to=20
comment in the net what we saw on TV and we had the =
immediate analytical=20
reports from the people we knew. that was especially so in the case of =
Balcanian=20
war. I remember a buhcn of Serbian guys telling what's on with the=20
bombings, and for sure always brave Melentie with his newsservice, =
etc. i=20
ever thought, why people don't simply ask and tell what's going on in =
their=20
countries on the fields of policy, arts, new media, theorism or =
whatever.=20
Net communication let us do and =
know so=20
much. i myself tried to tell the Russian realities, especially the=20
underreported ones, in my mailgetto project: political marginals, =
zines,=20
activists groups etc.
Let me try to proceed with some =
kind of=20
report on today's Moscow in general. maybe such genre is more =
informative than=20
the announcements.
First, nobody really expected=20
any antiglobalists to be here when promised - at the small pre-WTO =
meeting=20
early November. some TV man even woke me up early at morning calling and =
saying:=20
you're known to be an anarchist, so where're your friends, what're they =
doing=20
today? i said, no friends, let me dream about anarchy. the police =
nevertheless=20
waited for the crowds of protestants in the center of the city, in order =
to=20
protect boutiques and so on. nooone appeared. at the same time a crowd =
of 2=20
thousand skinheads were killing southern traders in the suburban area =
and no cop=20
was there. This was the the first rise of such a massive =
fascist=20
grouping, gathered of the football fans mostly. a really high =
percent of=20
Moscovites expressed their solidarity. the=20
skins say, they were going to beat antiglobalists as well if they=20
come.
in general, Moscow's growing and =
changing=20
rapidly. the streets and especially the subway seem OVERfillled by the =
people,=20
as if it weren't able anymore to contain all of them. the city =
now is full of luxury buildings, stores, =
hotels,=20
and sometimes you can hardly recognize a street if you weren't =
for a=20
few months there. Putin and Bush now party in Texas, and Moscow =
seems to=20
become a real globalization capital.
after a year-long television =
obscenity=20
(after Putin's elections there were only extra-low-budget propagandist =
movies=20
about militia and Chechnya war, mexican serials, talk-shows and so=20
on) it became more or=20
less interesting again. for ex., TV-6 is a channel where the former =
NTV=20
team was thrown to. NTV belonged to Gusinsky, a central tycoon of 90s, =
and was=20
the most critical and intellectual channel until 2000, i'd say. Noone =
cares=20
about the newspapers, but TV and internet are really on the =
top. and=20
it's funny, how sometimes brave and sharply critical many journalists =
and=20
programs have become. The matter is, Putin never made any political =
repressions, as many of us expected him to do before he came. a few =
people,=20
probably the innocent ones, were put into jail and stay there, but there =
were=20
no prosecutions at all. As a leading Moscow art-critic Katya Dyogot =
said,=20
the people in the press weren't anyhow forced to serve the power, they =
did their=20
best themselves to do what the power, they supposed, would like them to =
do. it=20
lead to a real degradation of media. but now we see some new sort of the =
brave=20
media. i wouldn't praise them so much as well, but they're interesting =
as a=20
phenomenon anyway.
everyone now is "leftist" and all =
criticize=20
capitalism - from the coloured magazins for teenagers till the =
established TV=20
talking heads.
some draw a sharp satire on Putin =
but never=20
say anything about what's really going on in Chechnya. People keep =
telling=20
Putin's only diplomatic victory since Sept. 11 was to make America =
forget about=20
the human rights violation in Chechnya - cause now they're getting =
violated=20
worldwide. People get really depoliticized and care about cultural =
things only.=20
that's where the media industry was really successfull and did some big =
stuff=20
last time.
a real trend during last weeks is =
a newest=20
TV-show "Behind the Glass" at TV-6 which all the russian internet =
is filled=20
with. 3 boys and 3 girls were left in an IKEA-styled flat with cameras =
in every=20
corner, and millions of people can see them eating, sleeping etc. I =
mean,=20
they're good guys - very young, progressive and so on, the girls are =
cute, and=20
the main hero, Max, has yellow-black coloured hair. They listen to =
Rammstein (by=20
the way, they gave a concert here just yesterday), Metallica and Massive =
Attack,=20
the latter, they say, saves a lot. the guys have to kick one every week =
away by=20
their own decision , though they can sell their voices on some =
TV-auction by=20
some tricky system, etc. now there're just four staying.
finally they started to have sex =
last week.=20
Max, this hair-coloured guy, and Margo, a dancer. intellectuals count the show =
for dirty and=20
stupid. Why such purism? Guys give an extreme image of what the society =
is. they=20
talk as we talk, they show what we ever knew but were afraid to confess. =
they=20
could maybe pose for a couple of days but after a week they already gave =
up=20
playing, they simply live and do their best for not to die of boredom. =
some may=20
be shocked by their extremities, but that's the play the audience and =
actors are=20
playing together. the image of a contemporary young person is finally =
shown and=20
will from now be manifested, not latent, in that society. an =
everyday-life=20
is not anymore a secret. everything's open.
the last thing, Vladimir Sorokin, =
a very=20
famous Russian (and German) writer came to the "Behind-the-Glass" =
flat=20
yesterday and a had a talk with the heroes. (they can have one guest =
every=20
weekend, and it was Zhirinovsky the previous time) Sorokin warned them =
from=20
becoming a Soviet-sort communal community which he hates a lot. Sure, =
his friend=20
Kabakov made a whole mythology of such communal living. anyhow, Sorokin =
and=20
IKEA, Rammstein, Putin and Taliban look all =
very hip for the=20
stylish Behind-the-Glass heroes, but all and all is whirling around sex =
for=20
them. the girls talked for long whom of them Sorokin liked =
better.
paradoxically, such sex =
propaganda is=20
extremely popular since the very beginning of perestroika, but i haven't =
seen=20
any really sex-centered people of my age in my own surrounding. i =
suspect,=20
a true underground of our time must keep some incredible=20
chastity...
------=_NextPart_000_0155_01C1715E.9160F6C0--
From a.ludovico@neural.it Tue Nov 20 07:41:03 2001
From: a.ludovico@neural.it (Alessandro Ludovico)
Date: Tue, 20 Nov 2001 08:41:03 +0100
Subject: [spectre] Tecnologie di liberazione [Liberation Technologies]
Message-ID:
Tecnologie di liberazione [Liberation Technologies]
net.art + hacker.activism
curated by: Scum collective + Neural.it
[http://www.neural.it/tdl/]
friday 23 november 2001
.
Ass.Cult. Anarres
via De Nittis 42, Bari [Italy]
.
Tecnologie di liberazione [Liberation Technologies] is a conference
and a performance/concert to find new aesthetics and practices in a
non-conventional use of the new media. We want to stimule thoughts
deviated from the oppressive market paths in a conference with Franco
'Bifo' Berardi, philosopher and author of seminal analysis on the
digital work in the last ten years, Jaromil, artist and programmer
that daily experiments his open and collaborative artworks,
Alessandro Ludovico, editor in chief of Neural, the Italian new media
culture magazine, and Antonella Marino, contemporary art critic and
curator of electronic art exhibitions.
Later, for the very first time, 'KILL A T.V. TODAY, a
performance/concert with use of multiple media (electronic and
acustic music, video, software, microphones, tv-set and a specific
choreography) to reflect on the invasive broacasting practices.
- 16:30 hr, conference:
Franco .Bifo. Berardi, rekombinant.org
Jaromil, dyne.org
Alessandro Ludovico, neural.it
Antonella Marino, repubblica.ba
- 21:30 hr, performance/concert
KILL A T.V. TODAY
Digital Artifacts
+ Videosoftware
+ live e-music
st'arring:
jaromil
pinna
shezzan
din don
info+map:
http://www.neural.it/tdl/
http://tubocatodico.dyne.org
--
Alessandro Ludovico
Neural Online - http://www.neural.it/ daily updated news + reviews
Suoni Futuri Digitali - http://www.apogeonline.com/catalogo/614.html
ISBN 88-7303-614-7
From abroeck@transmediale.de Tue Nov 20 07:52:11 2001
From: abroeck@transmediale.de (Andreas Broeckmann)
Date: Tue, 20 Nov 2001 09:52:11 +0200
Subject: [spectre] spectres partially uncovered?
In-Reply-To: <000701c17136$511221c0$1c40f9c1@PORTABLEGIP>
References: <5.0.2.1.0.20011119105949.02229ec0@va.com.au>
Message-ID:
dear sally,
>I'm perplexed that we have to go to such measures to preserve anonymity,
>when what we're trying to uphold/ relaunch (or at least as I see it) is a
>quality of dialogue. What reasons do people have for not wishing to publish
>their identities?
honor's question came on my suggestion - i thought it would be more polite
to ask before we post that list (from which honor kindly edited the domain
names).
maybe more importantly, the postings to the list get archived in a public
archive, which would mean that - if we don't obscure the addresses - the
list would be an invitation for spammers to use it.
greetings from sunny, cold berlin,
-a
From s.norman@eesati.fr Tue Nov 20 10:56:54 2001
From: s.norman@eesati.fr (Sally Jane Norman)
Date: Tue, 20 Nov 2001 11:56:54 +0100
Subject: [spectre] spectres partially uncovered?
In-Reply-To:
Message-ID: <000001c171b2$120bdfd0$1e1410ac@PORTABLEGIP>
Dear Andreas, Honor, Spectres
Not wishing to put down current attempts and initiatives and offers of
precious time to build up a sorely needed minimum of recognition and
confidence on the list - I realise that "purging" mail as Honor is proposing
to do is a time-consuming process and am very grateful that there are moves
underway to make things more transparent. Also realise that spamming is an
inevitable danger in our electronic communities. Misgivings there
nevertheless about where to stop - isn't any public action prone to
"spamming" in some form or another? Something old fashioned called give and
take that goes with communication.
Not wanting either to trigger the pundits into philosophising vapidly about
public and private space.
On the other hand, perhaps wanting this (at least) threefold question - the
issue of anonymity, of identity, of communication - to be tackled front on
by a bunch of people who should theoretically be capable of original
reflection on the implications and behaviours and quirks of online
communities. We all (at least, those of us who were around at the time) know
why numerous syndicate subscribers had to adopt electronic camouflage in
spring 99. How have things evolved since to make camouflage demands a mere
social convenience, as opposed to a poignantly expressed and respected
wartime survival strategy? Can a list like this one accommodate a multiple
persona correspondent? Does it want to? Are we a diehard community attached
to the myth of the integral, singular, unviolable individual (Feyerabend
showed Greek mosaic "individuals" of antiquity, patchworks of beliefs and
toythings of the gods, to be close in many ways to composite modern humans -
though hemlock's a good test for anybody's physical integrity any time). Hey
Melentie, maybe we have a good subject for next weekend? Balkanising
identities? Though I guess this is a permanent subject you're extremely well
versed in - just looks a bit novel from a cartesian viewpoint, even if we've
since embraced all kinds of bergsonian and post-modern and rhizomatic
phlogisten in my current part of the world.
HO hum. Better shut my door, school's brimming with problems and humans are
spamming my office.
cheers (and warmest greetings to you friends who are battling to resolve
these social and epistemological problems in their everyday manifestations -
i.e. by keeping this communication vehicle running)
sjn
-----Message d'origine-----
De : Andreas Broeckmann [mailto:abroeck@transmediale.de]
Envoye : mardi 20 novembre 2001 08:52
A : spectre@mikrolisten.de; Sally Jane NORMAN
Objet : RE: [spectre] spectres partially uncovered?
dear sally,
>I'm perplexed that we have to go to such measures to preserve anonymity,
>when what we're trying to uphold/ relaunch (or at least as I see it) is a
>quality of dialogue. What reasons do people have for not wishing to publish
>their identities?
honor's question came on my suggestion - i thought it would be more polite
to ask before we post that list (from which honor kindly edited the domain
names).
maybe more importantly, the postings to the list get archived in a public
archive, which would mean that - if we don't obscure the addresses - the
list would be an invitation for spammers to use it.
greetings from sunny, cold berlin,
-a
From mpandil@soros.org.mk Tue Nov 20 12:39:07 2001
From: mpandil@soros.org.mk (Misko)
Date: Tue, 20 Nov 2001 13:39:07 +0100
Subject: [spectre] - Weather report -
Message-ID: <20011120133826.3F1F.MPANDIL@soros.org.mk>
The Contemporary Arts Center - Skopje
cordially invites you to the opening of the exhibition
- Weather report -
Tanja Lazetic (Slovenia)
Dejan Habicht (Slovenia)
Wednesday, 21. November 2001. at 20.00 Hrs.
CIX Gallery,
Orce Nikolov 109, Skopje
--------------------------------------------------------------
Weather report
In the cynism of contemporary news making, politics turmoil's bears the same importance
as changing of weather. Its easy to get an impression that individual is
equal powerless in the relation to her/his government as to sun wind,
rain, snow or turning of seasons.
In the project Weather report we decided, "to write" an on going diary.
We download the satellite image of Europe and add the first headline of
the day on Macedonian topics from the CNN. We are going to stop the
diary when Macedonia will loose the attention of international media.
-------------------------------------------------------
Melentie Pandilovski
Director
Contemporary Arts Center - Skopje
Orce Nikolov 109, 1000 Skopje
Republic of Macedonia
Tel/Fax: +389.2.133.541
Tel/Fax: +389.2.214.495
Mobile: +389.70.217.075
http://www.scca.org.mk
-------------------------------------------------------
From mpandil@soros.org.mk Tue Nov 20 14:05:37 2001
From: mpandil@soros.org.mk (Misko)
Date: Tue, 20 Nov 2001 15:05:37 +0100
Subject: [spectre] spectres partially uncovered?
In-Reply-To: <000001c171b2$120bdfd0$1e1410ac@PORTABLEGIP>
References: <000001c171b2$120bdfd0$1e1410ac@PORTABLEGIP>
Message-ID: <20011120150401.3F4D.MPANDIL@soros.org.mk>
Can a list like this one accommodate a multiple persona correspondent?
Does it want to? Are we a diehard community attached
to the myth of the integral, singular, unviolable individual (Feyerabend
showed Greek mosaic "individuals" of antiquity, patchworks of beliefs and
toythings of the gods, to be close in many ways to composite modern humans -
though hemlock's a good test for anybody's physical integrity any time). Hey
Melentie, maybe we have a good subject for next weekend? Balkanising
identities? Though I guess this is a permanent subject you're extremely well
versed in - just looks a bit novel from a cartesian viewpoint, even if we've
since embraced all kinds of bergsonian and post-modern and rhizomatic
phlogisten in my current part of the world.
Dear SJN,
Would you catre to speak about it during the conference?
Melentie
-------------------------------------------------------
Melentie Pandilovski
Director
Contemporary Arts Center - Skopje
Orce Nikolov 109, 1000 Skopje
Republic of Macedonia
Tel/Fax: +389.2.133.541
Tel/Fax: +389.2.214.495
Mobile: +389.70.217.075
http://www.scca.org.mk
-------------------------------------------------------
From tmr_s@netvision.net.il Tue Nov 20 14:30:57 2001
From: tmr_s@netvision.net.il (tamar s)
Date: Tue, 20 Nov 2001 16:30:57 +0200
Subject: [spectre] DEEP EUROPE AND DISPLACED IDENTITIES
References: <200111191102.GAA29705@bbs.thing.net>
Message-ID: <001201c171cf$f96e02f0$0200a8c0@t>
DEEP EUROPE AND DISPLACED IDENTITIES
A silent voice comes to life triggered by the deep Europe concepts t=
o
comment about its identity. I speak from an immigrant country, my an=
cestors
came from Poland, I have friends whose origins are from all over the =
globe.
I leave in a mixed village by the sea where Moslems, Christians and J=
ews
leave together. 15 minutes from Tel-Aviv, Israel. The Muasine =96 Mus=
lim
narrator, prays 5 times a day, this sound is overwhelming and punctua=
tes the
days.
I cook Arab food with recipes I get from a woman I know at the local =
market,
mixed with Eastern European recipes I have from home. The language of=
my
trade is English, my syntax is weird, but my sense of poetry comes fr=
om the
bible, which is written in my mother tongue.
Life hazards, due to local terrorism attacks, is being reported dail=
y on
tv, Our sense of a safe geographic map had shrunken during the last y=
ear,
but my real window is window's nt. The internet had always served as =
a
strong displacement tool, through which my displaced identity found f=
ellow
voices that shared and enhanced my new media enthusiasm.
Internet communities like real life communities are always trying to=
define
an `other`, a bad guy, in order to map their boundaries. I find the l=
ost of
boundaries thrilling. My web sites design, net.art projects and inter=
active
installations I dream up, trying hard to realize in a place where the
infrastructure for such a venture is scarce, are all strengthened by =
info
bubbles the travel through my mailbox, for I'm an artist who found th=
e
virtual reflections a hell of a place to be.
Tamar Schori
From honor@va.com.au Tue Nov 20 12:36:04 2001
From: honor@va.com.au (honor)
Date: Tue, 20 Nov 2001 12:36:04 +0000
Subject: [spectre] spectres partially uncovered?
In-Reply-To: <000001c171b2$120bdfd0$1e1410ac@PORTABLEGIP>
References:
Message-ID: <5.0.2.1.0.20011120122855.02173de0@va.com.au>
hi all,
given the amount of unwanted spam mail i get per day (between 2 and 10
marketing spam messages, and countless other slightly more 'friendly' spam
messages), i think it unwise to publish the full list of subscribers' email
addresses on a public list which is archived on the web.
it would be utterly straight forward for a web spider to locate the list of
eddresses from the web archive, copy them all and immediately place
everyone on spectre on a spam list if we did this.
by obscuring part of the addresses we at least protect the subscribers of
the list from automated spam bots.
sure, if somebody really wanted to, its reasonably easy to manually copy
the email addresses of the people who *post* to the list from the web
archive. but it's be much more difficult to obtain a full list of the
subscribers' email addresses (including the large number of lurkers). if
we made this data publically available in an email, we will be doing the
spam bots' job for them.
i think you get a pretty good idea of who the subscribers' are, by listing
the addresses partially. you see the subscribers' domain (.de, .hr, .si
etc) and the first part of their email address.
best
honor
From domiziana@nexus.it Tue Nov 20 16:00:24 2001
From: domiziana@nexus.it (domiziana)
Date: Tue, 20 Nov 2001 17:00:24 +0100
Subject: [spectre] DigitalSistersIndeed.org
Message-ID:
--
Digital Sisters Indeed.org
http://www.digitalsistersindeed.org
"Waiting"
Considering language as revolution, DSI finds new resources for
dealing with a different kind of war hidden as a shade in the outer
side of the Self, that belongs to life as much as other and more
evident wars.
A new work by DSI is on line now.
+++++++++++++++++++++++++++++++++++++++
DSI dsi@DigitalSistersIndeed.org
It was pure bliss
when I finally achieved silence.
http://www.digitalsistersindeed.org
<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>
From kika@alcor.concordia.ca Tue Nov 20 17:23:17 2001
From: kika@alcor.concordia.ca (KINGA ARAYA)
Date: Tue, 20 Nov 2001 12:23:17 -0500 (EST)
Subject: [spectre] DEEP EUROPE AND DISPLACED IDENTITIES
In-Reply-To: <001201c171cf$f96e02f0$0200a8c0@t>
Message-ID:
Tamar,
Great inspiring message. I hope to see some of your artwroks somewhere (in
Canada?).
Take care,
Kinga (the 'other' displaced 0/1...)
On Tue, 20 Nov 2001, tamar s wrote:
> DEEP EUROPE AND DISPLACED IDENTITIES
> A silent voice comes to life triggered by the deep Europe concepts to
> comment about its identity. I speak from an immigrant country, my ancest=
ors
> came from Poland, I have friends whose origins are from all over the glob=
e.
> I leave in a mixed village by the sea where Moslems, Christians and Jews
> leave together. 15 minutes from Tel-Aviv, Israel. The Muasine =96 Muslim
> narrator, prays 5 times a day, this sound is overwhelming and punctuates =
the
> days.
>
> I cook Arab food with recipes I get from a woman I know at the local mark=
et,
> mixed with Eastern European recipes I have from home. The language of my
> trade is English, my syntax is weird, but my sense of poetry comes from t=
he
> bible, which is written in my mother tongue.
>
> Life hazards, due to local terrorism attacks, is being reported daily on
> tv, Our sense of a safe geographic map had shrunken during the last year,
> but my real window is window's nt. The internet had always served as a
> strong displacement tool, through which my displaced identity found fello=
w
> voices that shared and enhanced my new media enthusiasm.
>
> Internet communities like real life communities are always trying to def=
ine
> an `other`, a bad guy, in order to map their boundaries. I find the lost =
of
> boundaries thrilling. My web sites design, net.art projects and interacti=
ve
> installations I dream up, trying hard to realize in a place where the
> infrastructure for such a venture is scarce, are all strengthened by info
> bubbles the travel through my mailbox, for I'm an artist who found the
> virtual reflections a hell of a place to be.
>
> Tamar Schori
>
>
>
>
>
> ______________________________________________
> SPECTRE list for media culture in Deep Europe
> Info, archive and help:
> http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
>
From fritz.d@chello.nl Tue Nov 20 17:58:22 2001
From: fritz.d@chello.nl (darko fritz)
Date: Tue, 20 Nov 2001 18:58:22 +0100
Subject: [spectre] spectres partially uncovered?
Message-ID: <20011120175613.NKVJ1203.amsfep14-int.chello.nl@[24.132.97.83]>
dear all
i don't urge to know *all* list members names particularly, but i don't mind
about listing the names as well...
> i think you get a pretty good idea of who the subscribers' are, by listing
> the addresses partially. you see the subscribers' domain (.de, .hr, .si
> etc) and the first part of their e-mail address.
if the subscriber list will be published, here is a suggestion: to publish
only names [real / artistic / institutional / corporate / split / multiple
personalities ...] with no e-mail addresses ... [no spam guaranteed!]
... and no domains -> if we add domains than we deal with wide questions of
data-body self[?]representation. we can read certain context of domains as
well as each element of web or e-mail address and its position.
is this self[?]presentation de/territorial [.net / .nl .de .hr] or
social-controlled labeled [.com .org .edu ...] or arty [.whatever .art etc]
or fake one opens too deep techno-identity complexity for a simple list of
mailing list subscriber list.
domains can disinformed us as well [i know many people have different
domains vs. where they actually live] as well as someone can find it
repressive because [mostly] repressive powers invited it and made it
obligatory.
talking personal: i live in 2 countrys + traveling a lot [aprox. 10 countrys
in last six month] + having net identity. mostly i am from .project
are all these @hotmail people really hot about their mail?
someone can find politically non-correct @chello. in my address -- and i
agree -- and i admit my sins! -- i sell my soul to terrible multinational
corporation because of more brandwith. [and i am paying my sins with
terrible service :)]. are my guilt feelings readable from my web and e-mail
address? i have a feeling that data-body [and domains name as part of it]
tells less about real privacy and real people, but tells a lot to
[sucsessfull or not] repression and [sucsessfull or not] selfpresentation.
best
d
____ >>>>>>>>>>____
darko fritz propaganda . http://members.ams.chello.nl/fritzd
___________________________..........
Darko Fritz___________________________________..........
Jacob van Lennepstraat 349 . 1053 JL Amsterdam . The Netherlands
tel + fax [++] 31 [0] 20 - 6831814
___________________________________________..........
Srpanjska 1 . 10000 Zagreb . Croatia
tel [rings in cro only] [++] 385 [0]91 5800193
___________________________________________..........
From honor@va.com.au Tue Nov 20 18:18:18 2001
From: honor@va.com.au (honor)
Date: Tue, 20 Nov 2001 18:18:18 +0000
Subject: [spectre] spectres partially uncovered?
In-Reply-To: <20011120175613.NKVJ1203.amsfep14-int.chello.nl@[24.132.97.
83]>
Message-ID: <5.0.2.1.0.20011120181323.00ac36b0@va.com.au>
hi darko, all
> >if the subscriber list will be published, here is a suggestion: to publish
> >only names [real / artistic / institutional / corporate / split / multiple
> >personalities ...] with no e-mail addresses ... [no spam guaranteed!]
i don't think spectre collects this information. if they did, this would
obviously be the most sensible thing to distribute.
as far as i know, no-one has this data centralised .
i understood that when you subscribe to spectre, you simply supply an email
address.
andreas? inke?
the list of subscribers' partial email addresses may have to do for
now. at least people can look at the list and have a small sense of who is
on the list.
i'll be sending it out tomorrow at about noon GMT. if anyone wants me to
omit their partial edress from the posting, let me know :)
.hh
From md3169@mclink.it Tue Nov 20 18:24:31 2001
From: md3169@mclink.it (Lorenzo Taiuti)
Date: Tue, 20 Nov 2001 19:24:31 +0100
Subject: [spectre] Deep Europe
Message-ID: <005001c171f0$b5aba7e0$a0856ec3@hamsil>
Messaggio in formato MIME composto da piy parti.
------=_NextPart_000_004D_01C171F8.FA7E64E0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Dear Tamar=20
your message seems to talk about Deep Europe as roots ( and =
impossibility to have only one country-culture?).
Is that what you mean?=20
Do your net-art works deal with this?
Ciao
Lorenzo Taiuti
Tamar said:=20
DEEP EUROPE AND DISPLACED IDENTITIES
A silent voice comes to life triggered by the deep Europe concepts to
comment about its identity. I speak from an immigrant country, my =
ancestors
came from Poland, I have friends whose origins are from all over the =
globe.
I leave in a mixed village by the sea where Moslems, Christians and Jews
leave together. 15 minutes from Tel-Aviv, Israel. The Muasine - Muslim
narrator, prays 5 times a day, this sound is overwhelming and punctuates =
the
days.
I cook Arab food with recipes I get from a woman I know at the local =
market,
mixed with Eastern European recipes I have from home. The language of my
trade is English, my syntax is weird, but my sense of poetry comes from =
the
bible, which is written in my mother tongue.
Life hazards, due to local terrorism attacks, is being reported daily =
on
tv, Our sense of a safe geographic map had shrunken during the last =
year,
but my real window is window's nt. The internet had always served as a
strong displacement tool, through which my displaced identity found =
fellow
voices that shared and enhanced my new media enthusiasm.
Internet communities like real life communities are always trying to =
define
an `other`, a bad guy, in order to map their boundaries. I find the lost =
of
boundaries thrilling. My web sites design, net.art projects and =
interactive
installations I dream up, trying hard to realize in a place where the
infrastructure for such a venture is scarce, are all strengthened by =
info
bubbles the travel through my mailbox, for I'm an artist who found the
virtual reflections a hell of a place to be.
Tamar Schori
______________________________________________
------=_NextPart_000_004D_01C171F8.FA7E64E0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Dear Tamar
your message seems to talk about Deep Europe as roots ( and =
impossibility to have only one country-culture?).
Is that what you mean?
Do your net-art works deal with this?
Ciao
Lorenzo Taiuti
Tamar said:
DEEP EUROPE AND DISPLACED IDENTITIES
A silent voice comes =
to life=20
triggered by the deep Europe concepts to
comment about its =
identity. I=20
speak from an immigrant country, my ancestors
came from Poland, I =
have=20
friends whose origins are from all over the globe.
I leave in a mixed =
village=20
by the sea where Moslems, Christians and Jews
leave together. 15 =
minutes from=20
Tel-Aviv, Israel. The Muasine – Muslim
narrator, prays 5 times =
a day, this=20
sound is overwhelming and punctuates the
days.
I cook Arab =
food with=20
recipes I get from a woman I know at the local market,
mixed with =
Eastern=20
European recipes I have from home. The language of my
trade is =
English, my=20
syntax is weird, but my sense of poetry comes from the
bible, which =
is=20
written in my mother tongue.
Life hazards, due to local =
terrorism=20
attacks, is being reported daily on
tv, Our sense of a safe =
geographic map=20
had shrunken during the last year,
but my real window is window's nt. =
The=20
internet had always served as a
strong displacement tool, through =
which my=20
displaced identity found fellow
voices that shared and enhanced my =
new media=20
enthusiasm.
Internet communities like real life communities =
are=20
always trying to define
an `other`, a bad guy, in order to map their=20
boundaries. I find the lost of
boundaries thrilling. My web sites =
design,=20
net.art projects and interactive
installations I dream up, trying =
hard to=20
realize in a place where the
infrastructure for such a venture is =
scarce, are=20
all strengthened by info
bubbles the travel through my mailbox, for =
I'm an=20
artist who found the
virtual reflections a hell of a place to=20
be.
Tamar=20
Schori
___________________________________________=
___
------=_NextPart_000_004D_01C171F8.FA7E64E0--
From inke@snafu.de Tue Nov 20 19:08:41 2001
From: inke@snafu.de (Inke Arns)
Date: Tue, 20 Nov 2001 20:08:41 +0100
Subject: [spectre] [Workshop] Adajania: Art for the Future
Message-ID: <3.0.3.32.20011120200841.00967dd0@pop.snafu.de>
[I met Nancy Adajania, editor of ArtIndia, during my trip to India in
September 2001; Monica Narula, who sent this to the Sarai workshop list is
right: Nancy is great talking to! Greetings, Inke]
---------------------------------------
From: Monica Narula
Subject: [Workshop] Art for the Future
Date: Tue, 20 Nov 2001 13:05:12 +0530
Taking the conversation "of a south Asian perspective' yet further: (Nancy
is the editor of ArtIndia Magazine, and good fun to talk to!)
When the website anthology-of-art.net began to ask the following question,
Nancy Adjania replied with the essay below.
"What is, in the context of contemporary art, your vision of a future Art?"
Take the Fast with the Slow
Nancy Adajania
(www.anthology-of-art.net)
In an age of fatal de-sensitisation, when the horrific and the terrible are
routine, it is almost inevitable that I should choose to start with an
apocalyptic vision of the future: this vision will be less of a celebration
and more of a cautionary tale. In the future, I suspect, art will undergo a
comprehensive process of 'de-matting'. I am employing this financial
metaphor, drawing it from the realm of stocks and shares, to push to the
extreme the idea of a de-materialised and de-localised art of the future.
In the scenario that I will outline here, such conventional art
institutions as galleries and museums will perhaps become defunct (as the
cyber-artist Jeffrey Shaw notes playfully, discussing his installation,
'The Virtual Museum', the telematic living room of the future will be
occupied by "sedentary travellers in a simulated world" with world-ranging
access to art holdings at their cybernetic fingertips). Theoretically, at
least, technology will ensure that the process of production, access and
reception of art will be fully democratised. Art, therefore, will be
vehiculated through telematics: this will transform not only its form, but
also its content, in radical ways.
'De-mat art', as I will call this telematics-based art of the future, will
function in a constantly changing virtual landscape that is trans-time and
trans-space. Rapid advances in the field of telematics (especially the
increasing use of computer systems in the former Third World) will ensure
the sustenance of such a de-materialised art, and also facilitate the entry
into this new space of art of impulses that were not formerly regarded as
'art-worthy': we will have a further democratization here, an opening-up of
the terrain of art-making to constituencies that were not formerly regarded
as art-makers, or whose experiences have not been recognised by formal art
institutions as a valid basis for art. The monopoly of academy-trained
artists will be challenged by citizens at large, empowered by cybernetics.
Correspondingly, with the dismantling of the conventional art
infrastructure (or, at least, its marginalisation in favour of
telematics-based art venues), the users of de-mat art will no longer belong
to the traditional community of art-gallery viewers. New constituencies of
users -- let us call them cybernauts -- would emerge.
Here comes the caveat, however: even as the process of art-viewing becomes
de-hierarchised, art may run the risk of becoming indistinguishable from
entertainment, sharing a hyphenated relationship with fashion and commerce,
it will always be topical. We must reflect on whether it would not, in its
very novelty, cease to have a determinate bearing on the textures and
directions of our lives, if it is constantly ephemeral, spasmodic, if it
scintillates briefly before our eyes and is gone? This momentariness of the
new de-mat art experience will, perhaps, negate the values of more
conventional art-works: those of contemplative energy, poised presence,
critical subversion and robust affirmation. Will de-mat art sacrifice
substance to speed?
Discussing the harmful effects of speed and movement in a telematic
environment, in Popular Defense and Ecological Struggles, the cultural
theorist Paul Virilio asks, "And what if the primary goal of travel was not
to 'go' somewhere, but simply to no longer be where one is? What if the aim
of movement has become like that of military invasions or sports records:
to go faster while going nowhere, in other words to disappear?"
This phenomenon of "going fast, but going nowhere" can be described, in the
context of virtual art, as the art of the fast lane (as against the slow
lane of conventional art, based on the display of physical art-works). In a
speed-saturated virtual art scenario, artistic expressions would become
even more aleatory and fractal than today. At the culmination of de-mat art
there would be a total disintegration of the image.
Let us, polemically, accentuate this alarmist vision of the art of the fast
lane. Here, technology augments the role of human agency so that the
mind-body functions through prostheses. With so much free play on offer,
the possibility of aleation, coupled with the sheer availability of visual
and textual content, makes the viewers/users forget what they were looking
for in the first place. When the viewer/user is clicking/jumping from one
hypertext to another, s/he is always on the move, but motion is not
movement, just as speed is not a guarantee of arrival, or even of
discovery. Motion and speed become goals in themselves, and this is a
dangerous development.
Eventually, this situation would lead to an atrophy of the senses. The
producers and receivers of art will no longer function as autonomous beings
within their mind-bodies; they would be handicapped without their machines.
And now, with advances in biotechnology that may change our faculties
through implants rather than prostheses, the enslavement to technology, and
especially to telematics, would be complete, insidious, and binding. In
this, dromomanic environment (in Virilio's phrase; the word comes from the
Greek 'dromos', meaning a race, a pursuit of speed) we may become a
superhuman species, but we would lose the possibilities of wonderment that
go with being human.
Telematics, a product of globalisation, is no longer just an option: it is
a condition. Speaking for my own country, India, it has been estimated that
there will be 4 million Internet users by 2003, to be followed by an
exponential growth in their numbers. Already, after the opening-up of the
Indian economy through the 'liberalisation' policies determined by the
International Monetary Fund, we have witnessed the installation of several
thousand roadside cybercaf=E9s across the country. Dromology has changed the
pace, space and architecture of the Indian street, and the emergence of a
cyber-community cutting across traditional boundaries of class, caste,
gender, region.
Two Indian cities, Hyderabad and Bangalore, are considered the
dream-destinations of the software industry. Consider Hyderabad, for
instance: it was once the feudal capital of the Nizami kingdom and it
became the capital of the province of Andhra Pradesh after independence.
Today, it has been transformed by software dromomania into a postmodern
city of virtual finance, high technology, spectacular entertainment and
accelerated consumption.
Not surprisingly, the Chief Minister of Andhra Pradesh, Chandrababu Naidu,
is a dedicated Netizen. Recently, a popular magazine ran a story about his
administration willing to respond to citizens' grievances sent by email.
But what of the illiterate, the disempowered, those without access even to
the usual channels of justice, leave alone a PC terminal or a lease-line?
How do these people (who number in the millions) reach the Chief Minister
at his email address?
In rural Andhra Pradesh, outside the capital Hyderabad, poverty and
undernourishment are endemic conditions. Impoverished weavers, broken by
the failure of the cotton crop and the lack of insurance, continue to
commit suicide. Maoist guerrillas continue their armed struggle for the
rights of the impoverished peasantry, and are engaged in a brutal war with
the police, but Chief Minister Naidu would not embellish his website with
such details: the website, like the entire image of techno-savvy, is driven
by the redemptive vision of global capital; it is meant to attract foreign
investment to the province. One need not spell out, therefore, that
cyber-access has become a simulation of democracy in this case: an ersatz
advertisement selling technological progress as democratic progress!
Neither cyber-access nor a nascent cyber-community translates automatically
into emancipation. Commenting on the unequal geography of access in
electronic space, Saskia Sassen talks of a new "geography of centrality and
one of marginality." ("The Topoi of e space: Global Cities and Global Value
Chains", posted on Nettime, 28 October 1996, also available in the Sarai
Reader 01, and at www.sarai.net/journal.reader1.html) Can the dromological
architecture of cyberspace be made truly democratic? Can it become a
virtual venue for artistic and political activism? This is where artists
can, in the future, work as ethical and political agents of change by
setting up counter-republics in virtual space, dynamising the dispersed
cyber-community of the present into a coherent public force.
So that speed does not result in an implosion of space, these republics
should aspire to being truly res publica, "things of the people". Take the
fast with the slow, galvanise speed towards action and not passive
reception. We should not allow technology to shape us. We should shape its
contours and make it more humane. If we do not want technology to take over
public spaces of protest and resistance, we will have to alter the
dromological architecture of telematic space. Artists will have to explode
the one-way lanes of image-consumption and articulate broader political and
social needs through artistic strategies that enter public debates
laterally. Artists will, perhaps, have to form alliances with activists,
architects, scientists and cultural theorists.
They would have to set up multiple interfaces, getting out of even the
singular interface between the gallery and street which fascinates so many
artists today: already, it has become played out, become an aestheticised
act without political edge. In formal terms, artists can use the device of
interruption, which, as Virilio put it (in conversation with Sylvere
Lotringer, in 'Pure War'), acts as punctuation to the existent dromomania:
"Interruption is the change of speed".
When art becomes dromomanic, as we have seen, the image, which is an
irreducible unit of all art-works, becomes less dynamic, and gets dispersed
and fragmented. Fast-lane art has yet a few things to learn from the
old-fashioned slow-lane art: the image in the slow lane, by reason of its
slowness, can develop substance, assert ethical weight and determinacy.
Being a physical entity, to be approached in space and time, it provides
within itself a pause for reflection, revelation and contemplative
attention to the art-object. What it lacks in terms of reflecting the
accelerated momentum and dizzying transformations of the telematic age, it
makes up for in these ways.
The lesson that the slow lane offers the fast is this: the freedom promised
by telematics will be realised only if there is actual material
empowerment: telematic freedom must be positioned within a robust
understanding of the political economy, or else it is doomed to being mere
fantasy-play. Salvation lies neither in speed nor in inertia, then, but in
their creative re-working. The art of the future will be modulated between
the slow and the fast lanes, especially for former Third World countries;
for us, indeed, such a modulation will be far saner than a plunge into the
no-holds-barred, no-upper-limit traffic of the fast lane, enticing as it
is. After all, artistic freedom without responsibility is like driving=
blind.
And finally, so that art does not become a 'no-exit' situation, we should
embrace the Gandhian model of political resistance. Art, whether material
or de-mat, should be inspired by the strategy that Mahatma Gandhi described
as satyagraha, a truth-offering, resistance that gives the self autonomy,
not by isolating it within ideological judgements, but by inviting the
world to share in the experiment of dialogue.
--- --- --- ---
Nancy Adajania
Born Dec. 1971 in Bombay, India. Nancy Adajania is an art theorist and
film-maker based in Bombay. She has been editor of the art journal =91Art
India=92, since March 2000. In this capacity, she has accentuated the
importance of public art and new media for contemporary art, emphasising
the intimate connections between the aesthetic and the political, the
private artist-self and the public sphere.
She studied Politics at Elphinstone College, Bombay (1989-1992), and
Social Communications/Media at Sophia Polytechnic, Bombay (1993-1994). From
1995-1996 she worked as programme coordinator of the newly constituted
crafts research department of the National Centre for the Performing Arts,
Bombay, organising a number of seminars and workshops, including the
national-level symposium, =91Should the Crafts Survive?=92 (April 1995).
N. A. then trained in film at the Film & Television Institute of India,
Pune (1996-1998). She has made a video documentary critique of the failed
welfare state which turned into an instrument of oppression, =91Khichri Ek
Khoj=92 (=91In Search of Khichri=92), 2000, and is currently working on a cy=
cle
of video-poems.
She has written catalogue essays for selected artists and has regularly
contributed essays and articles to journals and newspapers as =91Art India=
=92,
=91Humanscape=92, =91The Times of India=92, =91The Hindu=92, =91The Indian=
Express=92 and
=91The Asian Age=92, writing on the visual arts, development issues, popular
culture, and the relationship between art practice, technology and
political engagement.
Her specific area of interest is the emergence of what she describes as
a =91new folkloric imagination=92, a variegated mode of resistance, aligned
across an array of cultural practices including installation, cinema,
photography and street theatre.
- http://www.v2.nl/~arns/
From diana@vifu.de Tue Nov 20 20:02:09 2001
From: diana@vifu.de (Diana McCarty)
Date: Tue, 20 Nov 2001 21:02:09 +0100
Subject: [spectre] spectres partially uncovered?
References: <5.0.2.1.0.20011120181323.00ac36b0@va.com.au>
Message-ID: <3BFAB6C1.68CA3698@vifu.de>
Hello all,
So the real spectre is privacy protection! Honor, if you are willing to
take the time, I'd suggest doing something along the lines of posting
the names of all the subscribers. If that is not included in the info
provided to subscribe, how about the people on the list send a mail,
off list to you for this purpose. Of course, this is a lot of work.
If people are willing to send their names, they might also want to
include urls to give some idea of what they do.
ciao,
diana
> > >if the subscriber list will be published, here is a suggestion: to publish
> > >only names [real / artistic / institutional / corporate / split / multiple
> > >personalities ...] with no e-mail addresses ... [no spam guaranteed!]
>
> i don't think spectre collects this information. if they did, this would
> obviously be the most sensible thing to distribute.
> as far as i know, no-one has this data centralised .
> i understood that when you subscribe to spectre, you simply supply an email
> address.
> andreas? inke?
>
> the list of subscribers' partial email addresses may have to do for
> now. at least people can look at the list and have a small sense of who is
> on the list.
> i'll be sending it out tomorrow at about noon GMT. if anyone wants me to
> omit their partial edress from the posting, let me know :)
>
> .hh
>
> ______________________________________________
> SPECTRE list for media culture in Deep Europe
> Info, archive and help:
> http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
From annickb@altern.org Tue Nov 20 11:29:54 2001
From: annickb@altern.org (Annick Bureaud)
Date: Tue, 20 Nov 2001 19:29:54 +0800
Subject: [spectre] spectres partially uncovered?
References: <20011120175613.NKVJ1203.amsfep14-int.chello.nl@[24.132.97.83]>
Message-ID: <3BFA3EB1.82AF74A9@altern.org>
Dear All
Trapped in urgent deadlines, I had no time to join the discussion but :
darko fritz wrote:
>=20
> if the subscriber list will be published, here is a suggestion: to publish
> only names [real / artistic / institutional / corporate / split / multiple
> personalities =2E=2E=2E] with no e-mail addresses =2E=2E=2E [no spam guara=
nteed!]
I agree with that=2E
>mostly i am from =2Eproject
If only this was existing, I would go by it !!! Or by =2Eplanet-Earth=20
Annick
--=20
-----------------------------------------------
Annick Bureaud (annickb@altern=2Eorg)
t=E9l/fax : 33/143 20 92 23=20
mobile : 33 (0)6 86 77 65 76
-----------------------------------------
IDEA online/International Directory of Electronic Arts : http://nunc=2Ecom
OLATS/Observatoire Leonardo des Arts et des Techno-Sciences : http://www=2Eo=
lats=2Eorg
From honor@va.com.au Wed Nov 21 15:02:36 2001
From: honor@va.com.au (honor)
Date: Wed, 21 Nov 2001 15:02:36 +0000
Subject: [spectre] anatomy of a list
Message-ID: <5.0.2.1.0.20011121145706.0257bbb0@va.com.au>
hola,
ok, here is the edited list of subscribers to spectre.
hope this satisfies some curiosity :)
best
honor
spectre subscribers
+@=85net
09039378595@=85.jp
a.ludovico@=85..it
abroeck@=85.de
addfield@=85.gr
adele@=85.hu
adepocas@=85..org
aic99@=85..edu
alaforet@=85..fr
alduque@=85..co
alessio@=85.net
alex@=85..nl
alexei@=85..org
alina@=85..com
amra@=85.ba
ana.peraica@=85.hr
andres@=85.com
anne@=85..nl
anneke@=85..uk
annet@=85.nl
annickb@=85.org
annika.blunck@=85.com
ap@=85.ro
aplohman@=85..org
are@=85.nl
aries@=85.org
asz@=85.hu
atle.barcley@=85..no
atobu@=85..jp
ave@=85.edu
barsantos@=85.com
barschberlin@=85.de
bbrace@=85.com
blair@=85.org
blinkface@=85.net
bljace@=85..mk
bljace@=85..mk
bluedahlias@=85.com
bo.pejic@=85.de
borre.nilsen@=85.no
bortizc@=85.co
brainstorm@=85.ch
brizzi@=85.it
bruces@=85.com
c@=85.at
canderss@=85.com
cathy@=85.nl
cb@=85.org
ch19697@=85.at
chaspurdy@=85.com
chris@=85.org
christa@=85.at
christa@=85.edu
csm@=85.yu
ctgr@=85.fr
cvrca@=85.yu
cwm@=85.at
czas@=85.pl
czegledy@=85.com
d.busch@=85.de
dalkjive@=85.com
daniel@=85.org
dejansr@=85.net
delire@=85.com
diana@=85.de
diegop@=85.com
domiziana@=85.it
drekde@=85.com
druckrey@=85.net
dwh@=85.de
ediqnk@=85.com
edupradi@=85.com
eikona@=85.gr
email@=85.org
epk@=85.nl
eric@=85.com
ericdeis@=85.cx
estella@=85.yu
eurindie@=85.com
eva.diegritz@=85.de
floor@=85.org
fls@=85.org
fritz.d@=85.nl
ft@=85.at
fuchs-eckermann@=85.at
g.dietrich@=85.de
garrett@=85.org
geert@=85.nl
ggibbs@=85.edu
gif@=85.org
giraffe@=85.uk
gordana.novakovic@=85.net
gtaylor@=85.net
helen@=85.uk
hine@=85.com
hkumao@=85.edu
hoffmann@=85.de
honor@=85.au
iaraica@=85.bg
ieva@=85.net
igor@=85.hr
iisg@=85.de
ilich_030@=85.mx
ilmungo@=85.it
ilya@=85..tw
info@=85.org
info@=85.org
info@=85.org
info@=85.nl
inge@=85.de
inke@=85.de
ipa@=85.tw
irina@=85.ro
iris@=85.at
jaipals@=85.com
jchaudhuri@=85.com
jdbeltrn@=85.net
jean-philippe.halgand@=85.com
jernej.kozar@=85.si
jf@=85.de
joasia@=85.net
joel@=85.com
jorgen@=85.no
jperron@=85.org
jsalloum@=85.com
jurij.krpan@=85.org
jutempus@=85.lt
jw@=85.no
jwadmin@=85.edu
kaiser@=85.de
kalins@=85.bg
karin@=85.se
kat@snafu.de
katarina@=85.org
katherine.kastner@=85.cz
katja@=85.de
keitwirik@=85.net
kenf@=85.com
kessi@=85.org
kika@=85.ca
kireev2000@=85.ru
kitblake@=85.nl
klif@=85.hr
kranz@=85.it
kristin@=85.no
lab@=85.yu
laporta.interport@=85.com
lenilaperi@=85.com
line@=85.edu
lskoog@=85.com
luchezb@=85.net
ludvik.hlavacek@=85.cz
m@=85.nl
mail@=85.com
mailman@=85.com
marjan@=85.si
marksearch@=85.net
marta@=85.nl
martket@=85.gr
math@=85.nl
matthawthorn@=85.com
mbiederman@=85.net
md3169@=85.it
melinda@=85.net
mia@=85.org
michael.benson@=85.si
miki@=85.com
milos@=85.cz
milovan@=85.org
minx@=85.net
mokus@=85.com
monikasz@=85.ca
mpandil@=85.mk
mucko@=85.yu
mv@=85.de
n_milikic@=85.com
nat@=85.nl
natmagnan@=85.org
nc-agricowi@=85.de
netlight@=85.net
netwurker@=85.au
ngingra@=85.net
nicole@=85.de
nietzche@=85.com
niklas@=85.com
nils@=85.net
nmelancon@=85.com
norman@=85.fr
nova@=85.org
office@=85.org
offline@=85.ee
og@=85.ru
oksana111@=85.ru
pascal.guernier@=85.fr
patrick@=85.com
perika@=85.hu
peter@=85.com
peternak@=85.hu
philip.pocock@=85.de
plagiari@=85.org
pniblock@=85.com
prog2@=85.org
programmation@=85.org
project.mimique@=85.com
rafael@=85.com
rasa@=85.lv
rebecca@=85.com
recycle@=85.uy
reiner.s@=85.de
reinhold.grether@=85.de
revoltaire@=85.ro
rhidian@=85.net
rlinz@=85.au
roddy@=85.org
ruine-kuenste.berlin@=85.de
s5.reijnders@=85.nl
saracat@=85.net
saul@=85.com
schilling@=85.de
schulze@=85.de
sciatto@=85.org
sdorval@=85.edu
sevo@=85.org
sher@=85.org
shtini@=85.com
shuddha@=85.net
sica@=85.com
sj@=85.hu
so5@=85.edu
sopan@=85.com
stud2081@=85.no
t_gorucheva@=85.com
theairport@=85.com
thescribblerin@=85.in
thirsch@=85.edu
tm@=85.de
tmr_s@=85.il
tobias@=85.nl
toktumi@=85.net
translocal@=85.uk
treborscholz@=85.net
ulfstyren@=85.com
vesnamil@=85.yu
vlasterx@=85.net
vondada8@=85.com
vv13@=85.it
vyb02547@=85.jp
werg@=85.de
wieland@=85.de
wvdc@=85.org
xtiiax@=85.ee
zankov@=85.org
zapp@=85.de
zarevac@=85.yu
zblace@=85.hr
zitaj@=85.com
zpet@=85.mk
From reiner.s@netartefact.de Wed Nov 21 15:25:44 2001
From: reiner.s@netartefact.de (Reiner Strasser)
Date: Wed, 21 Nov 2001 16:25:44 +0100
Subject: [spectre] anatomy of a list
In-Reply-To: <5.0.2.1.0.20011121145706.0257bbb0@va.com.au>
Message-ID:
thx honor
added my name ;)
+ one url
best
Reiner
[without fear to be known]
> spectre subscribers
>=20
> +@=85net
> 09039378595@=85.jp
> a.ludovico@=85..it
> abroeck@=85.de
> addfield@=85.gr
> adele@=85.hu
> adepocas@=85..org
> aic99@=85..edu
> alaforet@=85..fr
> alduque@=85..co
> alessio@=85.net
> alex@=85..nl
> alexei@=85..org
> alina@=85..com
> amra@=85.ba
> ana.peraica@=85.hr
> andres@=85.com
> anne@=85..nl
> anneke@=85..uk
> annet@=85.nl
> annickb@=85.org
> annika.blunck@=85.com
> ap@=85.ro
> aplohman@=85..org
> are@=85.nl
> aries@=85.org
> asz@=85.hu
> atle.barcley@=85..no
> atobu@=85..jp
> ave@=85.edu
> barsantos@=85.com
> barschberlin@=85.de
> bbrace@=85.com
> blair@=85.org
> blinkface@=85.net
> bljace@=85..mk
> bljace@=85..mk
> bluedahlias@=85.com
> bo.pejic@=85.de
> borre.nilsen@=85.no
> bortizc@=85.co
> brainstorm@=85.ch
> brizzi@=85.it
> bruces@=85.com
> c@=85.at
> canderss@=85.com
> cathy@=85.nl
> cb@=85.org
> ch19697@=85.at
> chaspurdy@=85.com
> chris@=85.org
> christa@=85.at
> christa@=85.edu
> csm@=85.yu
> ctgr@=85.fr
> cvrca@=85.yu
> cwm@=85.at
> czas@=85.pl
> czegledy@=85.com
> d.busch@=85.de
> dalkjive@=85.com
> daniel@=85.org
> dejansr@=85.net
> delire@=85.com
> diana@=85.de
> diegop@=85.com
> domiziana@=85.it
> drekde@=85.com
> druckrey@=85.net
> dwh@=85.de
> ediqnk@=85.com
> edupradi@=85.com
> eikona@=85.gr
> email@=85.org
> epk@=85.nl
> eric@=85.com
> ericdeis@=85.cx
> estella@=85.yu
> eurindie@=85.com
> eva.diegritz@=85.de
> floor@=85.org
> fls@=85.org
> fritz.d@=85.nl
> ft@=85.at
> fuchs-eckermann@=85.at
> g.dietrich@=85.de
> garrett@=85.org
> geert@=85.nl
> ggibbs@=85.edu
> gif@=85.org
> giraffe@=85.uk
> gordana.novakovic@=85.net
> gtaylor@=85.net
> helen@=85.uk
> hine@=85.com
> hkumao@=85.edu
> hoffmann@=85.de
> honor@=85.au
> iaraica@=85.bg
> ieva@=85.net
> igor@=85.hr
> iisg@=85.de
> ilich_030@=85.mx
> ilmungo@=85.it
> ilya@=85..tw
> info@=85.org
> info@=85.org
> info@=85.org
> info@=85.nl
> inge@=85.de
> inke@=85.de
> ipa@=85.tw
> irina@=85.ro
> iris@=85.at
> jaipals@=85.com
> jchaudhuri@=85.com
> jdbeltrn@=85.net
> jean-philippe.halgand@=85.com
> jernej.kozar@=85.si
> jf@=85.de
> joasia@=85.net
> joel@=85.com
> jorgen@=85.no
> jperron@=85.org
> jsalloum@=85.com
> jurij.krpan@=85.org
> jutempus@=85.lt
> jw@=85.no
> jwadmin@=85.edu
> kaiser@=85.de
> kalins@=85.bg
> karin@=85.se
> kat@snafu.de
> katarina@=85.org
> katherine.kastner@=85.cz
> katja@=85.de
> keitwirik@=85.net
> kenf@=85.com
> kessi@=85.org
> kika@=85.ca
> kireev2000@=85.ru
> kitblake@=85.nl
> klif@=85.hr
> kranz@=85.it
> kristin@=85.no
> lab@=85.yu
> laporta.interport@=85.com
> lenilaperi@=85.com
> line@=85.edu
> lskoog@=85.com
> luchezb@=85.net
> ludvik.hlavacek@=85.cz
> m@=85.nl
> mail@=85.com
> mailman@=85.com
> marjan@=85.si
> marksearch@=85.net
> marta@=85.nl
> martket@=85.gr
> math@=85.nl
> matthawthorn@=85.com
> mbiederman@=85.net
> md3169@=85.it
> melinda@=85.net
> mia@=85.org
> michael.benson@=85.si
> miki@=85.com
> milos@=85.cz
> milovan@=85.org
> minx@=85.net
> mokus@=85.com
> monikasz@=85.ca
> mpandil@=85.mk
> mucko@=85.yu
> mv@=85.de
> n_milikic@=85.com
> nat@=85.nl
> natmagnan@=85.org
> nc-agricowi@=85.de
> netlight@=85.net
> netwurker@=85.au
> ngingra@=85.net
> nicole@=85.de
> nietzche@=85.com
> niklas@=85.com
> nils@=85.net
> nmelancon@=85.com
> norman@=85.fr
> nova@=85.org
> office@=85.org
> offline@=85.ee
> og@=85.ru
> oksana111@=85.ru
> pascal.guernier@=85.fr
> patrick@=85.com
> perika@=85.hu
> peter@=85.com
> peternak@=85.hu
> philip.pocock@=85.de
> plagiari@=85.org
> pniblock@=85.com
> prog2@=85.org
> programmation@=85.org
> project.mimique@=85.com
> rafael@=85.com
> rasa@=85.lv
> rebecca@=85.com
> recycle@=85.uy
> reiner.s@=85.de
Reiner Strasser
Wiesbaden, Germany
http://netartefact.de/
> reinhold.grether@=85.de
> revoltaire@=85.ro
> rhidian@=85.net
> rlinz@=85.au
> roddy@=85.org
> ruine-kuenste.berlin@=85.de
> s5.reijnders@=85.nl
> saracat@=85.net
> saul@=85.com
> schilling@=85.de
> schulze@=85.de
> sciatto@=85.org
> sdorval@=85.edu
> sevo@=85.org
> sher@=85.org
> shtini@=85.com
> shuddha@=85.net
> sica@=85.com
> sj@=85.hu
> so5@=85.edu
> sopan@=85.com
> stud2081@=85.no
> t_gorucheva@=85.com
> theairport@=85.com
> thescribblerin@=85.in
> thirsch@=85.edu
> tm@=85.de
> tmr_s@=85.il
> tobias@=85.nl
> toktumi@=85.net
> translocal@=85.uk
> treborscholz@=85.net
> ulfstyren@=85.com
> vesnamil@=85.yu
> vlasterx@=85.net
> vondada8@=85.com
> vv13@=85.it
> vyb02547@=85.jp
> werg@=85.de
> wieland@=85.de
> wvdc@=85.org
> xtiiax@=85.ee
> zankov@=85.org
> zapp@=85.de
> zarevac@=85.yu
> zblace@=85.hr
> zitaj@=85.com
> zpet@=85.mk
>=20
> ______________________________________________
From abroeck@transmediale.de Wed Nov 21 15:54:39 2001
From: abroeck@transmediale.de (Andreas Broeckmann)
Date: Wed, 21 Nov 2001 17:54:39 +0200
Subject: [spectre] anatomy of a list
In-Reply-To:
References: <5.0.2.1.0.20011121145706.0257bbb0@va.com.au>
Message-ID:
r-
>added my name ;)
>+ one url
great, thanks; just, please, don't copy the entire 7K list when replying ...
greetings,
-a
From michael.benson@pristop.si Wed Nov 21 18:54:19 2001
From: michael.benson@pristop.si (Michael Benson)
Date: Wed, 21 Nov 2001 19:54:19 +0100
Subject: [spectre] anatomy of a list
Message-ID: <012401c172bd$f0249800$aa01f9c2@ibmnotebook>
This is a multi-part message in MIME format.
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It's great to get the list, and I wanna thank honor for plowing through =
the job. Seems to me, though, that what people may have been more or =
less asking for between the lines is that this disembodied list of =
subscribers give some kind of shout-in-the-dark account of themselves. =
Rather than just reposing in a list, with or without spam-ready e-mail =
particulars, useful though it is. What's important in forming some sort =
of weird atomized "community of sorts" is at least a nominally tangible =
sense of just who's out there, presumably based on the particulars of =
what people choose to say about themselves. "Who's out there" in the =
manner of Ripley in Alien: "Who the _fuck's_ out there?!" A question as =
expanded in a kind of pop-art cartoon bubble as a caption in a =
Lichtenstein painting, only in this case transmitted via Ridley Scott. =
Otherwise there's the risk of feeling like atomized radio stations =
sending signals out into infinity, as though all this were merely a =
spreading sphere of electromagnetic waves fired outwards from Earth at =
the speed of light, just another temporal info-sphere bubble evaporating =
into infinity. Though I suppose there's a lot of truth in that... (As =
for using analog icons in the brave new floating world, Lichtenstein's =
just another trope at the gates of all our suspended-animation =
information, all those atoms and circuits knitted together like a kind =
of cat's cradle-clockwork joining creeds and continents, if not =
socioeconomic categories. It's finally all extended out under the =
exploding stars comprising distant grid-works of information and =
activity, over and across the farthest horizon of our crystalline =
cyberspace structures, a place as far removed from contemporary =
knowledge as the phenomenon of the sun spot was before Galileo.)=20
In other words, being a "successor" to syndicate is hardly enough, it =
runs the risk of identification/sense-of-self based on an opposition to =
a defunct system finally retrospectively also formed in opposition to =
another ideology, and so on and so on ad infinitum. (Or even an =
identification/self-sense built on nostalgia for the past. In the =
Tarkovskian sense: the kind with a candle in a drained swimming pool). =
As Andreas and Inke pointed out recently, the whole dynamic of what it =
means to be part of an on-line community may have irrevocably changed. =
Utopias crash faster and faster these days, becoming just branching =
trees of fossilized associations in the process. After all, we can't =
deny, given the "dramaturgy" of the split from syndicate, and the roots =
of the name of spectre (and how it was chosen over "mir," i.e. "peace"), =
how very weirdly and of course unintentionally the whole seemingly =
removed story suddenly was subjected to a new series of associations in =
September, like a slam from cold, hard, real, real-world TV. Given that =
the Al Jazzera of the Western World, a.k.a. CNN, has been broadcasting =
24 hours a day of Wolf Blitzkrieg involving the real intentions behind =
organizations formed with the literal aims espoused in Cold War =
pseudo-sci-fi (for example, the James Bond series), it's hard not to =
remember the proto-spectre group considering the meanings behind =
S.P.E.C.T.R.E., one of a number of factional acronyms for the =
innumerable al Quieda networks of history. (Meanwhile Mir had come =
crashing down, of course, as literally and figuratively as you want to =
take it.)
Not that all _that_ really matters. In the end it all leads umbilically =
back, down the tunnel of history, to distant pre-digital data-banks =
labeled "Dante, Homer, etc." And ultimately to the wine dark sea, a =
place not particularly unlike 'wine dark cyberspace,' since after all =
the former was conveyed in an oral tradition not dissimilar to the =
immediacy of mailing lists (and definitely more so than dusty shelved =
books). Only in this case, our case, the wheeling "stars" form =
data-banks in that good old Gibsonian way, ziggurats and glowing =
pyramids of data, like Las Vegas at night, or Hong Kong harbor =
transmuted into 21st century LA by Ridley Scott. To jump momentarily =
from Alien to Blade Runner. In this case, our case, the sea below's =
awash with electronically transmitted words, a roiling sea of them =
filling the Mediterranean Basin, a.k.a. the cradle of civilization, =
"words, words, words/as though all worlds were there." (Robert Creeley) =
The true Deep Europe, at last in these terms, with its white pillars of =
knowledge blasted by the Aegean sun, extends outwards, backwards in =
time, forward to our contemporary future, and it serves as a linking =
device. (Among other things it's a bridge to the hallowed, hollow holy =
land, with its waves of anger and desperation, its wars, bombs, tanks, =
and machine guns, its injustices and sense of terminal days visible on =
terminals these interminable days.)=20
So I guess what I'm saying, a few spectral words to fill the seas. =
They're what we're using, in the end, to link worlds, addresses with or =
without suffixes, and the data-clusters of the contemporary Aegean, =
still struggling for democracy under white columns planted in wretched =
refuse beside teeming shores. Meanwhile civilizations that once looked =
like they were clashing still do, as the slander pounds down. And the =
world revolves, producing of course its harvest, time.=20
Cheers, MB=20
=20
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It's great to get the list, =
and I wanna=20
thank honor for plowing through the job. Seems to me, though, that what =
people=20
may have been more or less asking for between the lines is that this =
disembodied=20
list of subscribers give some kind of shout-in-the-dark account of =
themselves.=20
Rather than just reposing in a list, with or without spam-ready e-mail=20
particulars, useful though it is. What's important in forming some sort =
of weird=20
atomized "community of sorts" is at least a nominally tangible sense of =
just=20
who's out there, presumably based on the particulars of what people =
choose to=20
say about themselves. "Who's out there" in the manner of Ripley in =
Alien: "Who=20
the _fuck's_ out there?!" A question as expanded in a kind of pop-art =
cartoon=20
bubble as a caption in a Lichtenstein painting, only in this case =
transmitted=20
via Ridley Scott. Otherwise there's the risk of feeling like atomized =
radio=20
stations sending signals out into infinity, as though all this were =
merely a=20
spreading sphere of electromagnetic waves fired outwards from Earth at =
the speed=20
of light, just another temporal info-sphere bubble evaporating into =
infinity.=20
Though I suppose there's a lot of truth in that... (As for =
using analog=20
icons in the brave new floating world, Lichtenstein's just another trope =
at the=20
gates of all our suspended-animation information, all those atoms and =
circuits=20
knitted together like a kind of cat's cradle-clockwork joining =
creeds and=20
continents, if not socioeconomic categories. It's finally all extended =
out under=20
the exploding stars comprising distant grid-works of information and =
activity,=20
over and across the farthest horizon of our crystalline cyberspace =
structures, a=20
place as far removed from contemporary knowledge as the phenomenon of =
the sun=20
spot was before Galileo.)
In other words, being a =
"successor" to=20
syndicate is hardly enough, it runs the risk of =
identification/sense-of-self=20
based on an opposition to a defunct system finally retrospectively also =
formed=20
in opposition to another ideology, and so on and so on ad infinitum. (Or =
even an=20
identification/self-sense built on nostalgia for the past. In the=20
Tarkovskian sense: the kind with a candle in a drained swimming pool). =
As=20
Andreas and Inke pointed out recently, the whole dynamic of what it =
means to be=20
part of an on-line community may have irrevocably changed. Utopias crash =
faster=20
and faster these days, becoming just branching trees of fossilized =
associations=20
in the process. After all, we can't deny, given the "dramaturgy" of the =
split=20
from syndicate, and the roots of the name of spectre (and how it was =
chosen over=20
"mir," i.e. "peace"), how very weirdly and of course unintentionally the =
whole=20
seemingly removed story suddenly was subjected to a new series of =
associations=20
in September, like a slam from cold, hard, real, real-world TV. Given =
that the=20
Al Jazzera of the Western World, a.k.a. CNN, has been broadcasting 24 =
hours a=20
day of Wolf Blitzkrieg involving the real intentions behind =
organizations formed=20
with the literal aims espoused in Cold War pseudo-sci-fi (for example, =
the James=20
Bond series), it's hard not to remember the proto-spectre group =
considering=20
the meanings behind S.P.E.C.T.R.E., one of a number of factional =
acronyms for=20
the innumerable al Quieda networks of history. (Meanwhile Mir had come =
crashing=20
down, of course, as literally and figuratively as you want to take=20
it.)
Not that all _that_ really =
matters. In=20
the end it all leads umbilically back, down the tunnel of history, to =
distant=20
pre-digital data-banks labeled "Dante, Homer, etc." And ultimately to =
the wine=20
dark sea, a place not particularly unlike 'wine dark cyberspace,' since =
after=20
all the former was conveyed in an oral tradition not dissimilar to the =
immediacy=20
of mailing lists (and definitely more so than dusty shelved books). Only =
in this=20
case, our case, the wheeling "stars" form data-banks in that good old =
Gibsonian=20
way, ziggurats and glowing pyramids of data, like Las Vegas at =
night, or=20
Hong Kong harbor transmuted into 21st century LA by Ridley Scott. To =
jump=20
momentarily from Alien to Blade Runner. In this case, our case, the =
sea=20
below's awash with electronically transmitted words, a roiling sea of =
them=20
filling the Mediterranean Basin, a.k.a. the cradle of civilization, =
"words,=20
words, words/as though all worlds were there." (Robert Creeley) The true =
Deep=20
Europe, at last in these terms, with its white pillars of knowledge =
blasted by=20
the Aegean sun, extends outwards, backwards in time, forward to our =
contemporary=20
future, and it serves as a linking device. (Among other things it's a =
bridge to=20
the hallowed, hollow holy land, with its waves of anger and desperation, =
its=20
wars, bombs, tanks, and machine guns, its injustices and sense of =
terminal days=20
visible on terminals these interminable days.)
So I guess what I'm saying, =
a few=20
spectral words to fill the seas. They're what we're using, in the end, =
to link=20
worlds, addresses with or without suffixes, and the data-clusters =
of the=20
contemporary Aegean, still struggling for democracy under white columns =
planted=20
in wretched refuse beside teeming shores. Meanwhile civilizations that =
once=20
looked like they were clashing still do, as the slander pounds down. And =
the=20
world revolves, producing of course its harvest, time. =
Cheers, MB
=20
------=_NextPart_000_0121_01C172C6.4EDD46A0--
From annickb@altern.org Wed Nov 21 10:44:37 2001
From: annickb@altern.org (Annick Bureaud)
Date: Wed, 21 Nov 2001 18:44:37 +0800
Subject: [spectre] anatomy of a list
References: <5.0.2.1.0.20011121145706.0257bbb0@va.com.au>
Message-ID: <3BFB8596.BFB3D4C@altern.org>
The "raton laveur" is missing (I guess that only the French speaking
people on this list will understand what I mean.... Sally, help !). I
love it, looks like a poem of nn or mez :-)
Annick
honor wrote:
>
> hola,
>
> ok, here is the edited list of subscribers to spectre.
> hope this satisfies some curiosity :)
>
--
-----------------------------------------------
Annick Bureaud (annickb@altern.org)
tél/fax : 33/143 20 92 23
mobile : 33 (0)6 86 77 65 76
-----------------------------------------
IDEA online/International Directory of Electronic Arts : http://nunc.com
OLATS/Observatoire Leonardo des Arts et des Techno-Sciences : http://www.olats.org
From zone@Desk.nl Wed Nov 21 20:04:37 2001
From: zone@Desk.nl (Zvonimir Bakotin)
Date: Wed, 21 Nov 2001 21:04:37 +0100 (CET)
Subject: [spectre] anatomy of a list
In-Reply-To: <5.0.2.1.0.20011121145706.0257bbb0@va.com.au>
Message-ID:
Dear Spectators
Great work Honor, however it=B4s never late for latest patches,
so proposed *anatomy of a list* aka AOL v 1.01 should contain
string;
zone@^=C5.nl
greetings to all ex-syndicalists
best
z
who recently subscribed after period of examining
online archives, yes list seems spam free so far.
chmod a+x /bin/laden
From moca@sonet.com.mk Thu Nov 22 10:17:28 2001
From: moca@sonet.com.mk (Zoran Petrovski)
Date: Thu, 22 Nov 2001 11:17:28 +0100
Subject: [spectre] Cattelan
Message-ID: <001301c1733f$3fc69f80$0201a8c0@S32Q1F2>
Dear All
About a month ago on the Spectre list circulated a letter from Italian
artist Maurizio Cattelan (written I guess to Giancrlo Polliti), which was
concerning his participation at the Tirana Biennial.
Unfortunately, after a while I have deleted it from my Inbox, but as it
appears now I need it for a text that I'm currently writing.
Could you please help me to get it again (Edi Muka perhaps, or anybody
else)?
Please write to zpet@sonet.com.mk (the very last address on the Honor list)
Thank you
Wishing the best to SPECTRE
Zoran Petrovski
Museum of Contemporary Art-Skopje
From savitsky3000@yahoo.com Thu Nov 22 10:48:08 2001
From: savitsky3000@yahoo.com (Andrey Savitsky)
Date: Thu, 22 Nov 2001 12:48:08 +0200
Subject: [spectre] mix-performance "Dialogue"
Message-ID: <012601c17343$2f32dc70$d6bea8c0@savitsky>
This is a multi-part message in MIME format.
------=_NextPart_000_0123_01C17353.EFEEF7E0
Content-Type: text/plain;
charset="koi8-r"
Content-Transfer-Encoding: quoted-printable
Dialogue
28.11.2001-30.11.2001
Belarusian Organization of Friendship and Cultural relations with =
Foreign
Countries Belarus
Address: Zaharova str., 28, Minsk, Belarus
Artists:
Lisa Stauffer, is a single artist.
She lives and works in Kuttigen, Aargau, Switzerland.
An Angelico group:
Anton Snt, Minsk. In 2001 year founded the group of artists and
designers An Angelico Lives ant works in Minsk, Belarus.
Vitaly Degtyarev, Minsk. In 2001, he also created the group of artist
and designers An Angelico. In this project he will make the interior and
invitation cards design, video and light maintenance.
Andrey Savitsky [www.hhtp.org], Minsk. He works with digital video and
sound. For this project he will write the original soundtrack.
The main topic for entire performance is to represent the dialog between =
new
technology and traditional techniques in the Art. Twelve artworks made =
by
Lisa Sauffer and An Angelico will be presented at the exhibition. Works
will be placed on a two walls bended outwards each other, imitating the =
form
of a boat.=20
Exhibited works include the following:
- 6 weavings by Lisa Staufer (size 125x125 cm)
- six digital color video projections (6x12 images) by An Angelico =
(portraits, size 153x117
cm).
The whole performance lightened from within will be staying in the =
center of
a darkened pavilion. Video of moving sea weaves will be projected on =
the
outside surface of each wall.
Special soundtrack is planned to accompany the exhibition during the =
Opening
Ceremony that will 3 days.
Upon completion of the exhibition we plan to record the CD with virtual
catalog of the performance that will be later presented to the worldwide
public via the internet.
Sponsors:
Pro Helvetia, Arts Council of Switzerland, http://www.pro-helvetia.ch/;
Partnerschaft Aargau-Belarus Department Bildung, Kultur und Sport des
Kantons Aargau (Switzerland);
Belarusian Organization of Friendship and Cultural relations with =
Foreign
Countries Belarus;
T&C.
------=_NextPart_000_0123_01C17353.EFEEF7E0
Content-Type: text/html;
charset="koi8-r"
Content-Transfer-Encoding: quoted-printable
Dialogue
28.11.2001-30.11.2001
Belarusian =
Organization of=20
Friendship and Cultural relations with Foreign
Countries =
Belarus
Address:=20
Zaharova str., 28, Minsk, Belarus
Artists:
Lisa Stauffer, is a =
single=20
artist.
She lives and works in Kuttigen, Aargau, =
Switzerland.
An=20
Angelico group:
Anton Snt, Minsk. In 2001 year founded the group of =
artists=20
and
designers An Angelico Lives ant works in Minsk, =
Belarus.
Vitaly=20
Degtyarev, Minsk. In 2001, he also created the group of =
artist
and=20
designers An Angelico. In this project he will make the interior=20
and
invitation cards design, video and light maintenance.
Andrey =
Savitsky=20
[www.hhtp.org], Minsk. He=20
works with digital video and
sound. For this project he will write =
the=20
original soundtrack.
The main topic for entire performance is to=20
represent the dialog between new
technology and traditional =
techniques in the=20
Art. Twelve artworks made by
Lisa Sauffer and An Angelico will be =
presented=20
at the exhibition. Works
will be placed on a two walls bended =
outwards=20
each other, imitating the form
of a boat.
Exhibited works=20
include the following:
- 6 weavings by Lisa Staufer (size 125x125 =
cm)
-=20
six digital color video projections (6x12 images) by An Angelico=20
(portraits, size 153x117
cm).
The whole performance lightened =
from=20
within will be staying in the center of
a darkened pavilion. Video of =
moving=20
sea weaves will be projected on the
outside surface of each=20
wall.
Special soundtrack is planned to accompany the exhibition =
during=20
the Opening
Ceremony that will 3 days.
Upon completion of the=20
exhibition we plan to record the CD with virtual
catalog of the =
performance=20
that will be later presented to the worldwide
public via the=20
internet.
Sponsors:
Pro Helvetia, Arts Council of Switzerland, =
http://www.pro-helvetia.ch/;
=
Partnerschaft=20
Aargau-Belarus Department Bildung, Kultur und Sport des
Kantons =
Aargau=20
(Switzerland);
Belarusian Organization of Friendship and Cultural =
relations=20
with Foreign
Countries=20
Belarus;
T&C.
------=_NextPart_000_0123_01C17353.EFEEF7E0--
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com
From Garrett@asquare.org Thu Nov 22 11:12:36 2001
From: Garrett@asquare.org (Garrett Lynch)
Date: Thu, 22 Nov 2001 12:12:36 +0100
Subject: [spectre] my shout-in-the-dark account
Message-ID:
>Seems to me, though, that what people may have been more or =
>less asking for between the lines is that this disembodied list of =
>subscribers give some kind of shout-in-the-dark account of themselves. =
>Rather than just reposing in a list, with or without spam-ready e-mail =
>particulars, useful though it is. What's important in forming some sort =
>of weird atomized "community of sorts" is at least a nominally tangible =
>sense of just who's out there, presumably based on the particulars of =
>what people choose to say about themselves. "Who's out there" in the =
>manner of Ripley in Alien: "Who the _fuck's_ out there?!"
ok question heeded dont like speaking about me and i lurk here only
occasionally contributing, always listening. anything you want to know about
me you can find out by looking at the following
+-----------------------------------------------------------+
my sites:
http://www.asquare.org/
http://www.intimacyandloneliness.f2s.com/
http://www.playpause.f2s.com/
contributor at:
http://www.metapod.com/
+-----------------------------------------------------------+
hope that helps!
>The "raton laveur" is missing (I guess that only the French speaking
>people on this list will understand what I mean.... Sally, help !). I
>love it, looks like a poem of nn or mez :-)
moi je parle francais mais je comprend pas trop de quoi tu parle? explique!!
a+
Garrett
Garrett@asquare.org
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
From honor@va.com.au Thu Nov 22 13:02:51 2001
From: honor@va.com.au (honor)
Date: Thu, 22 Nov 2001 13:02:51 +0000
Subject: [spectre] anatomy of a list
In-Reply-To: <012401c172bd$f0249800$aa01f9c2@ibmnotebook>
Message-ID: <5.0.2.1.0.20011122125718.01afe8f0@va.com.au>
michael, et al,
>So I guess what I'm saying, a few spectral words to fill the seas.
They're what we're using, in
>the end, to link worlds, addresses with or without suffixes, and the
data-clusters of the >contemporary Aegean, still struggling for democracy
under white columns planted in wretched >refuse beside teeming shores.
greetings and sincere notes of gratitide to michael for one of the most
lyrical and evocative emails i've had all year. thanks for reminding me /
us that these occasional lingual gems, gleaming in the murky and swirling
textual dissolve, are one of the best things about being able to talk to
each other in this way ...
.hh
From michael.benson@pristop.si Fri Nov 23 13:36:25 2001
From: michael.benson@pristop.si (Michael Benson)
Date: Fri, 23 Nov 2001 14:36:25 +0100
Subject: [spectre] A drone of drones
Message-ID: <6369F08EBDDD524FBAFE288A6163E98FFD7B@mailroom.pristop.local>
> greetings and sincere notes of gratitide to michael
Thanks Honor... I got back late last night, through the dense fog of
Ljubljana in winter, which is laced with coal smoke, and was going to answer
immediately but then got all engrossed in the ominous futuristic weirdness
of reading the following in the New York Times. It's about remote controlled
US spy-planes called Predators, which are now armed with missiles:
Just last week, a Predator operated by the Central Intelligence
Agency was used to coordinate the surgical strike in which one of
Osama bin Laden's closest lieutenants was killed, administration
officials said.
The drone pinpointed the house where a group of senior Al Qaeda
officials, including Muhammad Atef, had gathered and relayed live
video pictures of the scene to C.I.A. and military officials (...)
As people fled the building, the Predator opened fire on them with
Hellfire missiles. Finally, it circled the area, assessing the damage.
* * *
...So increasingly we have this eerie science-fiction spectre (sorry) of
this godlike omnipotence -- not just American power projected from the
Olympian skies, which is an old story, but now even the pilots have been
removed from the scene, and we have circling robot drones armed to the teeth
and staring down from on high with high-res optical systems. It's a jump, in
the space of a few months, from one form of chilling apparent insanity
(loaded and fuelled passenger jets steered directly into skyscrapers) to
another (remote drones controlled from distant safe locations by anonymous
CIA operatives and fully capable of serving as assassination devices).
Apart from all the other questions this raises, does anyone seriously doubt
that this kind of technology won't find its way eventually into the hands of
urban police forces? The LAPD comes to mind. We're entering Robo-cop
territory here...
All the best, MB
From mail@bosanko-sheady.fsnet.co.uk Fri Nov 23 12:10:22 2001
From: mail@bosanko-sheady.fsnet.co.uk (Kay Bosanko-Sheady)
Date: Fri, 23 Nov 2001 14:10:22 +0200
Subject: [spectre] Creativity and Cognition 4 Call
Message-ID:
CREATIVITY & COGNITION 4, 14-16 Oct., 2002
Processes and Artefacts:
Art, Technology and Science
Loughborough University UK
*********************************************
CALL FOR PAPERS: Deadline: 10 Jan 2002
http://creative.lboro.ac.uk/eae/
CC02/CC4.html
*********************************************
In October 2002 Creativity and Cognition 4, an ACM SIGCHI
International Conference will take place at Burleigh Court,
Loughborough University UK and in locations around the campus
including the University Gallery.
The first Creativity and Cognition Conference was held at
Loughborough in 1993, and two further conferences, in 1996 and 1999
have continued the expressed aim of creating opportunities for
artists and scientists to engage in a dialogue about their ideas and
working practices. As before, the dialogue will center upon issues of
immediate or potential concern for creative computer-human
interaction.
--
________________________________________________________________________
email ernest@ernestedmonds.org.uk
sms mobile@ernestedmonds.org.uk
http://www.ernestedmonds.com
phone +44 (0) 1509 222690
fax +44 (0) 1509 610815
From honor@va.com.au Fri Nov 23 16:25:01 2001
From: honor@va.com.au (honor)
Date: Fri, 23 Nov 2001 16:25:01 +0000
Subject: [spectre] milosevic charged with genocide in bosnia
In-Reply-To:
Message-ID: <5.0.2.1.0.20011123162217.00acf910@va.com.au>
hi,
i'm sure you've heard the news already, but if not:
Quoted from B92:
"Hague charges Milosevic with genocide
14:40 THE HAGUE, Friday =96 The International Criminal Tribunal in The Hague=
=20
has formally charged Slobodan Milosevic with genocide in Bosnia.
The court has confirmed that an indictment drawn up by Prosecutor Carla Del=
=20
Ponte concerning atrocities against Croats and Muslims contained enough=20
evidence to proceed to trial.
In addition to genocide, the new indictment includes charges of crimes=20
against humanity and grave breaches of the Geneva Convention during the=20
Bosnian war of 1992 to 1995.
In its summary of the indictment, the prosecution alleges that Milosevic=20
=93participated in a joint criminal enterprise, the purpose of which was the=
=20
forcible and permanent removal of non-Serbs from the Republic of=20
Bosnia-Herzegovina=94.
The indictment alleges that thousands of Bosnian Muslims and Croats were=20
killed and thousands more imprisoned in more than fifty detention=20
facilities under inhumane conditions. Many more were forcibly transferred=20
from their homes. (Reuters) "
Quoted from BBC:=20
"The UN war crimes tribunal in The Hague has formally charged former=20
Yugoslav President Slobodan Milosevic with genocide in connection with the=
=20
1992-1995 Bosnian war. "
best
honor
http://news.bbc.co.uk/hi/english/world/europe/newsid_1672000/1672414.stm
From nc-agricowi@netcologne.de Fri Nov 23 17:08:58 2001
From: nc-agricowi@netcologne.de (Agricola de Cologne)
Date: Fri, 23 Nov 2001 18:08:58 +0100
Subject: [spectre] Call for submissions
Message-ID: <006e01c17441$8b121980$1568a8d5@agricola2>
A Virtual Memorial is calling for artists
***Main Deadline 1 December 2001***
Although at present AIDS is out of the news, the dramatic situation of new
infections and infected people did not change, at all, the human tragedy
keeps going on.
On occasion of World AIDS Day on 1 December
The "Features of the Month December 2001" on
www.a-virtual-memorial.org
are dedicated entirely to the victims of AIDS.
In order to create a Memorial for the Victims of AIDS to be published
online on 1 December,
artists are invited to submit
either one image (.jpg) or one text (email or .txt file) or one web based
work (URL or Flash .swf file/Quicktime .mov file) which has a subject
connected to AIDS.
***Main Deadline 1 December 2001.***
But submissions are welcome afterwards, as well during all December and will
posted online immediately.
Send your submission to
aids@a-virtual-memorial.org
Wilfried Agricola de Cologne
info@a-virtual-memorial.org
www.a-virtual-memorial.org
A Virtual Memorial -
Memorial project against the Forgetting and for Humanity
From geert@xs4all.nl Sun Nov 25 00:47:31 2001
From: geert@xs4all.nl (geert lovink)
Date: Sun, 25 Nov 2001 11:47:31 +1100
Subject: [spectre] Russian NGO industry meets Putin for a civil society summit
Message-ID: <016501c17572$aaf6ff40$b3de3dca@geert>
http://www.tol.cz/look/TOLnew/article.tpl?IdLanguage=1&IdPublication=4&NrIss
ue=22&NrSection=3&NrArticle=2750
Transitions On Line (Prague)
23 November 2001
The Kremlin Tames Civil Society
The Kremlin is trying to bring Russia's civil society to heel
and transform it into a loyal supporter of the authorities.
by Dmitry Pinsker
MOSCOW, Russia -- A pompous gathering, pretentiously called the
"Civic Forum," will take place in the Kremlin on 21 November. The
forum's aim is twofold--for Russian civil society to demonstrate
its existence to the world and show its loyalty to the president.
This undertaking began back in May, when, with military precision,
President Vladimir Putin ordered court spin doctor and director of
the Effective Politics Foundation Gleb Pavlovsky to come up with
a concept for Russian civil society within two weeks and begin its
immediate implementation.
The Kremlin spin doctors paid no heed to the Narodnaya Assambleya
(People's Assembly), an independent association of Russia's largest
civil society organizations, [which] warned that it's impossible to
"build civil society from above." The association has now found itself
also roped into organizing the forum with the Kremlin. True, the
Kremlin would have liked to and even tried to ignore these independent
organizations, but that strategy didn't work.
Civil society organizations today are the last area of public political
life not to have been integrated into the "power vertical." The Kremlin
has brought the Federation Council to heel, established a firm
pro-presidential majority in the Duma, and tamed the regional governors.
It has used the Russian Union of Industrialists and Entrepreneurs to
rein in businessmen and has brought most of the media under its control.
Russian NGOs provide 1.5 million jobs, and another 10 million are
involved with them or concerned by them in some way. This represents
10 percent of voters--on the whole particularly active voters. As
Pavlovsky pointed out quite openly, this is a political resource the
authorities can't afford to overlook.
The authorities have at least three other reasons for wanting to
get involved in building civil society: First, they are concerned
by the interest that exiled oligarch Boris Berezovsky has been
showing in the issue. Berezovsky and his money are behind the
Foundation for Civic Freedoms, which allocates grants to various
social and human-rights programs, such as the Sakharov Museum and the
Alexander Yakovlev Foundation, which is collecting archive material
on Soviet-era repressions.
The second reason is financial. The Kremlin is worried by the fact that
almost all Russian public organizations survive on foreign money. For
Russian officials with their paranoia--whether real or merely a tribute
to the current fashion in the Kremlin--and visions of plots by foreign
secret services at every turn, the fact that money is coming in from
abroad and isn't controlled by the state is obvious cause for concern.
"Most of this money is normal, 'clean' money, of course," said one
highly placed Kremlin official. "But we know full well that some of it,
especially coming through Islamic organizations, is sent by extremists
to fund terrorism and anti-state activities. And some of it comes from
foreign intelligence services." This is about the most liberal opinion
coming from the Kremlin.
Finally, the third reason for the state's interest--though it won't admit
it--is that these public organizations have become a serious force that is
ever harder to ignore. The state became particularly aware of this when
environmental organizations took only three months to collect 2.5 million
signatures for a petition that a referendum be held on bringing foreign
nuclear waste into Russia.
The Kremlin's initial strategy was to build up loyal organizations in
parallel with the "awkward" ones, which would gradually push genuine
opponents of the authorities to the sidelines and then take their place
at negotiations with government officials and act as representatives
on the international scene.
Pavlovsky later tried to explain the fact that major organizations--such
as Memorial or the Committee of Soldiers' Mothers--weren't invited to
take part in a forum held in June by saying that the organizers didn't
want to frighten the authorities right away. In fact, the organizers
tried to invite Alexander Auzan, the head of the Consumers Confederation,
without inviting other members of the Narodnaya Assambleya. As a result,
Auzan refused to take part.
"The Kremlin's mistake is that civil society isn't the field in which
the authorities can be virtually the sole player," Auzan said. "The
consolidation process that Pavlovsky calls for is already under way.
After what happened in June, it has been moving even faster. They've
only made us stronger."
The June attempt to build a loyal civil society didn't work, and the
Kremlin found itself having to agree to cooperate with the "awkward"
organizations . But, having agreed to play by rules not of their own
making, the civil society organizations find themselves always one step
behind. It's entirely possible that next week's forum could make what
many NGO leaders have feared a reality, even though they continue working
in the forum's organizing committee--namely, that the authorities will
find a way to go back on their agreements and will simply use the
independent organizations' names and authority to pursue their own aims.
The first of these aims is purely organizational--to create an
administrative structure to represent Russian civil society at the
international level and to engage in dialogue with the president.
Obviously, this structure has to be a "comfortable" one for Putin.
Most unpleasant for the NGO leaders is that the Kremlin has already
begun creating this structure, only not from above, but from below, by
turning to regional associations with little knowledge of Moscow politics
but with an intuitive, Soviet-style attraction to power.
The second aim is ideological and propagandistic. Pavlovsky has been
busy repeating it the last few weeks. After the events of 11 September,
the idea goes, society's main task today is to help the state ensure
national security and help broaden the president's powers.
As for any idea of debate, Kremlin officials say that if anyone wants
to raise controversial issues at the forum, they're free to do so and
can speak their minds. The main thing is that by the end of the forum,
the president should have a loyal, organized civil society ready to
give all his policies its full support.
/Dmitry Pinsker is a political correspondent for Yezhenedelny Zhurnal./
This article originally appeared in the 16-22 November issue of
The Russia Journal, which is published weekly in Moscow and
Washington.
From inke@snafu.de Sun Nov 25 15:27:35 2001
From: inke@snafu.de (Inke Arns)
Date: Sun, 25 Nov 2001 16:27:35 +0100
Subject: [spectre] =?iso-8859-1?Q?Job_Offer_/_Le_Mois_de_la_Photo,_Montr=E9al,_?= Canada
Message-ID: <3.0.3.32.20011125162735.00b30cc0@pop.snafu.de>
Date: Fri, 23 Nov 2001 16:00:32 -0500
From: Vox
Subject: Offre d'emploi 04
Le Mois de la Photo =E0 Montr=E9al est =E0 la recherche d'une personne pr=EA=
te =E0
relever le d=E9fi de la direction pour sa prochaine =E9dition qui se tiendra=
en
septembre 2003.
Mis sur pied en 1987, le Mois de la Photo =E0 Montr=E9al pr=E9sente des
expositions et des activit=E9s d'animation dans pr=E8s de 40 sites de la Vil=
le
de Montr=E9al. L'ambition de l'=E9v=E9nement est d'interroger des enjeux
d'actualit=E9 de la photographie contemporaine =E0 travers les recherches de=
s
artistes, des commissaires d'exposition et des sp=E9cialistes de l'image. La
biennale offre en effet un terrain propice aux =E9changes et aux d=E9bats en
favorisant les rencontres et en permettant =E0 un public curieux de voir et
de comprendre la photographie contemporaine.
Responsabilit=E9s
- assurer la direction artistique de l'=E9v=E9nement
- repr=E9senter l'=E9v=E9nement aupr=E8s des m=E9dias et des intervenants=
politiques
- d=E9velopper les relations internationales
- repr=E9senter l'=E9v=E9nement aupr=E8s des diff=E9rents partenaires
- diriger la recherche de financement
- superviser l'=E9quipe de travail
- =E9laborer les =E9ch=E9anciers
Exigences
- connaissance des pratiques et de la th=E9orie de la photographie=
contemporaine
- connaissance du milieu de l'art contemporain
- comp=E9tences certifi=E9es en histoire de l'art, arts visuels ou=
photographie
- exp=E9rience en direction de projets ou gestion d'organismes culturels
- sens de l'initiative et de la concertation
- aisance =E0 communiquer et =E0 r=E9diger (bilingue)
- aptitudes essentielles en gestion de ressources humaines et du travail
d'=E9quipe
Disponibilit=E9
un mandat de deux ans qui d=E9bute le 15 janvier 2002, =E0 temps plein
Les personnes int=E9ress=E9es doivent envoyer leur curriculum vit=E6, une
s=E9lection de deux textes publi=E9s ainsi qu'un projet d'intention (400 mot=
s
maximum) proposant une orientation artistique pour le prochain Mois de la
Photo =E0 Montr=E9al qui se tiendra en septembre 2003. Un comit=E9 repr=E9se=
ntatif
du milieu des arts visuels montr=E9alais s=E9lectionnera de 3 =E0 4=
candidats qui
seront convoqu=E9s en entrevue pour la s=E9lection finale.
Votre candidature devra nous parvenir avant le 14 d=E9cembre 2001 au 460, ru=
e
Sainte-Catherine Ouest, local 320, Montr=E9al (Qu=E9bec) H3B 1A7.
Pour de plus amples informations, pri=E8re de contacter Pierre Blache au
(514) 390-0382.
___________________________________________________________
Le Mois de la photo =E0 Montr=E9al is looking for a person who is ready to t=
ake
on the challenge of directing the next biennale, to be held in September=
2003.
Since 1987, Le Mois de la photo =E0 Montr=E9al has been organizing exhibitio=
ns
and other public events in more than 40 locations across the city of
Montreal. The aim of the event is to question issues in contemporary
photography by presenting the work of artists, curators, and other
specialists in visual culture. The biennale offers formal opportunities
for exchange and debate and gives its growing audience the chance to see
and understand contemporary photography.
Responsibilities:
- giving artistic direction to the event;
- representing the event to the media and government officials;
- developing and maintaining international relations;
- representing the event among its various partners;
- directing fund-raising;
- supervising the working team;
- developing and meeting the production schedule.
Requirements:
- knowledge of the practice and theory of contemporary photography;
- knowledge of the contemporary art scene;
- qualifications in the history of art, the visual art and/or photography;
- experience in project management or management of cultural organizations;
- proven initiative and capacity to bring partners together;
- communication and writing skills (French and English);
- experience in managing human resources in an atmosphere of team-work.
Availability:
The mandate is full time for two years, beginning on January 15, 2002.
Interested persons should send their resumes, two published texts, as well
as an expression of interest (maximum 400 words) proposing an artistic
direction for the next Mois de la Photo =E0 Montr=E9al, September 2003. A
committee drawn from the visual arts community of Montreal will choose 3-4
candidates who will be asked to attend a final interview.
Your application must be received before December 14, 2001, at 460
Sainte-Catherine Street West, Suite 320, Montreal, Quebec H3B 1A7.
For additional information, please contact Pierre Blache at 514-390-0382.
_ =20
VOX, centre de diffusion de la photographie
Organisateur du Mois de la Photo =E0 Montr=E9al
460, rue Sainte-Catherine Ouest, local 320
Montr=E9al (Qu=E9bec) H3B 1A7
CANADA
www.voxphoto.com
Phone : (514) 390-0382
Fax : (514) 390-8802=20
From Garrett@asquare.org Sun Nov 25 19:25:15 2001
From: Garrett@asquare.org (Garrett Lynch)
Date: Sun, 25 Nov 2001 20:25:15 +0100
Subject: [spectre] new work 'Mailstory' / nouveau travail 'Mailstory'
Message-ID:
+-----------------------------------------------------------+
Hello everyone
Some new(ish) work online (actually old work redone for the internet). A
sound piece entitled "Mailstory" which is featured in the newly relaunched
http://www.slackerbonding.com/
the review and link to the work, can be found by going to x-posed > gallery
> mailstory or directly ...
http://www.slackerbonding.com/x_posed.php?i=06&a=gallery/MailStoryby
and the work can be found at ...
http://www.asquare.org/mailstory/bottom.html
+-----------------------------------------------------------+
+-----------------------------------------------------------+
Salut tous
Nouveau travail (en fete travail re-fait pour l'internet) en son avec le nom
"Mailstory" qui est choisi pour le galerie, a le tout nouveau
http://www.slackerbonding.com/
le revue et lien a le travail, peut ete trouve a x-posed > gallery >
mailstory ou directement ...
http://www.slackerbonding.com/x_posed.php?i=06&a=gallery/MailStoryby
et le travail peut ete trouve a ...
http://www.asquare.org/mailstory/bottom.html
+-----------------------------------------------------------+
a+
Garrett Lynch
+-----------------------------------------------------------+
Garrett@asquare.org
http://www.asquare.org/
http://www.intimacyandloneliness.f2s.com/
http://www.playpause.f2s.com/
+-----------------------------------------------------------+
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
From chris@mediascot.org Sun Nov 25 23:42:55 2001
From: chris@mediascot.org (Chris Byrne)
Date: Sun, 25 Nov 2001 23:42:55 +0000
Subject: [spectre] New Media Scotland - 3 new projects
Message-ID:
New Media Scotland presents:
Desktop Icons
a programme of short digital films curated by Iliyana Nedkova
7.00pm, 30 November, CCA, 350 Sauchiehall Street, Glasgow
Tickets =A34/=A32.50 - CCA box office, 0141 352 4900
More information at http://www.mediascot.org
Desktop Icons will be launched as part of New Media: Networks Conference at
the CCA before touring to venues across the UK and Europe. Desktop Icons
features short digital films and videos by Scottish and international
artists, exploring the cross over of popular culture, media and new
creative technologies. Artists include Chris Cunningham (England), Kristin
Lucas (USA), Michael Maziere (England), Matt Hulse (Scotland), Phil Collins
(Northern Ireland), Richard Fenwick (England), Beagles and Ramsay
(Scotland), and many others from around the world. Desktop Icons is funded
by the Scottish Arts Council and supported by Anthony D'Offay Gallery,
London; Electronic Arts Intermix, New York; Media Arts Academy, Cologne;
Atelier Jeunes Cineastes, Brussels; Partizan Midi Minuit, Paris; Zenith
Publishing, Cambridge.
------------------
01game+01application
artist's software by Torsten Lauschmann
Available for free download from http://host.mediascot.org
Torsten Lauschmann is interested in how our perceptions of media are
influenced by shifting contexts, in this case he has looked again at the
art of programming. Lauschmann's concerns around the twin strategies of
deconstruction and d=E9tournement are once more in evidence, but expressed
through software. The artist has created two applications available to
download as freeware. The first, 'Restart' from 1999, re-works the arcade
classic Space Invaders with a novel twist. Torsten has created a new
application, 'Diskompactor', specially for HOST. The software re-mixes any
audio CD placed in your computer's CD-ROM drive. 'Diskompactor' was funded
by Glasgow City Council and the Scottish Arts Council.
------------------
Blind Date
Croatia/Scotland artists' exchange
5pm, 12 December, Collective Gallery, 22-28 Cockburn Street, Edinburgh
6pm, 13 December, Street Level, 26 King Street, Glasgow
More information at http://www.mediascot.org
In early 2001, 3 Scottish based artists: Kevin Kelly, Annemarie Copestake
and Karen Cunningham travelled to Croatia to undertake short residencies.
Each artist worked alongside a Croatian artist to produce work for
exhibition in 3 two-person shows at the Miroslav Kraljevic Gallery, Zagreb.
Two events celebrate the return visit by Croatian artists to Scotland,
featuring talks and presentations by the artists and curators involved in
the project. Copies of a beautiful full colour catalogue produced for the
exhibitions will be available. This cultural 'Blind Date' is a
collaboration between New Media Scotland and Miroslav Kraljevic Gallery
with the support of the British Council, the Ministry of Culture of the
Republic of Croatia, Collective Gallery and Street Level Photoworks.
New Media Scotland works nationally to enable arts activity shaped by new
technologies. We aim to support research and development in new media, and
to increase the number and quality of opportunities for artists in this
area. For further information, please contact:
--------------------------------------------------------
info@mediascot.org
--------------------------------------------------------
New Media Scotland tel: +44 131 477 3774
P.O. Box 23434, Edinburgh EH7 5SZ fax: +44 131 477 3775
Scotland, UK http://www.mediascot.org
--------------------------------------------------------
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D
This message has been sent to you by New Media Scotland.
If you do not wish to receive information from us,
please reply with "UNSUBSCRIBE" in the message body.
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D
From netwurker@pop.hotkey.net.au Mon Nov 26 01:04:22 2001
From: netwurker@pop.hotkey.net.au (][D(NA).fence][)
Date: Mon, 26 Nov 2001 12:04:22 +1100
Subject: [spectre] p.la][tent][y.jar][ring][.ism
Message-ID: <5.1.0.14.0.20011126120404.024c6390@pop.hotkey.net.au>
--=====================_14847734==_.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed
...........[e.turn][coat][.all & add.ven(alan)[][tur.ing]
...........[merge DeeNA with false plast.equed ne(h)ollow.jisms][
...........[in sil.ver][ge][ arcs of finger.nail][gunn][ed bytish-lite]
...........[all this is strip][the][page squalls & ab.soul.][e][.lee.tist
torque]
...........[sur][lee][vivors of This. N][m][arrow. Meatist. ][r][Age.]
....[ret.r][l][o][w][grade & r][e][a][lity-function][pe.ists]
....[h][is.tree][am-fi][s][ts & singers of a silly.co][vurt][ne.ic line]
....[all b][l][uff-ed creche.ation & all na][rrow minded net.wurk][ive
][g][loss][
..[i. hover. &. i. thrill.]
..[blood. act.u][rin][als. & bursting voiced-in Kode]
..[my. sig.nulls. scream. N. yrs. d.gra][pe][de & mim][s][ic][k][][
.[d.sign.][who][re][like][. dust.]
.[d.vulv][a][ed thought. meats. blind. fashistic. spreads.]
.[my. n][m][ode.dom. 4. a. .Magnet. .Wipe-out. .Gun.]
________________
. . .... .....
net.wurker][mez][
.U.phoric.magn.et][h][ic.moments.go.here.
xXXx
./.
www.hotkey.net.au/~netwurker
.... . .??? .......
--=====================_14847734==_.ALT
Content-Type: text/html; charset="us-ascii"
...........[e.turn][coat][.all & add.ven(alan)[][tur.ing]
...........[merge DeeNA with false plast.equed ne(h)ollow.jisms][
...........[in sil.ver][ge][ arcs of finger.nail][gunn][ed
bytish-lite]
...........[all this is strip][the][page squalls &
ab.soul.][e][.lee.tist torque]
...........[sur][lee][vivors of This. N][m][arrow. Meatist.
][r][Age.]
....[ret.r][l][o][w][grade & r][e][a][lity-function][pe.ists]
....[h][is.tree][am-fi][s][ts & singers of a silly.co][vurt][ne.ic
line]
....[all b][l][uff-ed creche.ation & all na][rrow minded
net.wurk][ive ][g][loss][
..[i. hover. &. i. thrill.]
..[blood. act.u][rin][als. & bursting voiced-in Kode]
..[my. sig.nulls. scream. N. yrs. d.gra][pe][de &
mim][s][ic][k][][
.[d.sign.][who][re][like][. dust.]
.[d.vulv][a][ed thought. meats. blind. fashistic. spreads.]
.[my. n][m][ode.dom. 4. a. .Magnet. .Wipe-out.
.Gun.]
________________
. . .... .....
net.wurker][mez][
.U.phoric.magn.et][h][ic.moments.go.here.
xXXx
./.
www.hotkey.net.au/~netwurker
.... . .??? .......
--=====================_14847734==_.ALT--
From czegledy@interlog.com Mon Nov 26 20:25:36 2001
From: czegledy@interlog.com (Nina Czegledy)
Date: Mon, 26 Nov 2001 21:25:36 +0100
Subject: [spectre] NEW MEDIA in CANADA
Message-ID:
Apologies for cross-posting.
Please forward to interested parties.
NEW MEDIA IN CANADA:
THREE UNIQUE EVENTS
=46EATURING ART WORK, DISCUSSIONS,
IMAGES AND SOUNDS
BY LEADING NEW MEDIA ARTISTS, CURATORS, PRODUCERS AND DJS.
=46REE TO THE PUBLIC
www.newmedia.sunderland.ac.uk/crumb
www.criticalmedia.ca
Streaming info will be available on
the websites.
**********
WHEN: Saturday December 01 2001, 20:00 - 23:00
WHAT: Information technology and art event featuring new media art work,
djs, live net sounds; nio live video mixing; generative rhythms and
soundscapes, artists' videos, net-art, elounge, open mouse, cash bar
WHERE: Old City Registry Building, Nicholas St. (corner Daly), Ottawa
WHO: Presenters: Nichola Feldman-Kiss curator www.itac.ca/ItandArt; Dr.
Marilyn Burgess, the Canada Council for the Arts; Sandra Acs, NSERC;
Nancy Paterson, new media artist (the library, stockmarket skirt).
Performers: Michelle Kasprzak artist, Jim Andrews, new media artist;
=AEegistered =A9opyright; artengine.ca; selected net-art and artists videos
HOSTED BY: The Ottawa Art Gallery
**********
WHEN: Sunday December 02 2001 10:00 - 17:00
WHAT: Symposium - Curating New Media
Organized by the Curatorial Resource for Upstart Media Bliss (CRUMB)
and
Critical Media and hosted by the Ottawa Art Gallery
WHERE: Arts Court Theatre, 2 Daly Avenue, Ottawa
WHO: Jean Gagnon; Kathleen Pirrie-Adams; Catherine Richards; Liane
Davison; Nichola Feldman-Kiss; Sarah Cook; Nina Czegledy; Skawennati
Tricia Fragnito; Michelle Kasprzak
TOPICS: Three sessions, centered on the key areas
of Production, Distribution, and Consumption. The
presentations will focus primarily on inclusive, overall issues
of producing, presenting and experiencing new media in Canada,
illustrated by novel approaches, practical examples and will
indicate directions to take in the future.
RSVPs essential: Ottawa Art Gallery 613-233-8699, ext. 221
*********
WHEN: Sunday December 02 17 00 - 23 00
WHAT: elounge / open mouse / cash bar
WHERE: Old City Registry Building, Nicholas St. (corner Daly), Ottawa
WHO: 4 turntable set - djs Jeff Waye and Louis Braden, ninjatune
From info@kulturamt.oldenburg.de Mon Nov 26 12:29:23 2001
From: info@kulturamt.oldenburg.de (Kulturamt der Stadt Oldenburg)
Date: Mon, 26 Nov 2001 14:29:23 +0200
Subject: [spectre] exh. Cyberfem Spirit - Spirit of Data, Oldenburg/D
Message-ID:
Pressemitteilung
Ausstellungsank=FCndigung
"Cyberfem Spirit - Spirit of Data"
Er=F6ffnung der Ausstellung: 30. November 2001, 19 Uhr, 20 Uhr PowerPoint
Performance 'Microsoft Me' von Heather Cassils und Cathy Davies
Dauer der Ausstellung: 1. Dezember 2001 - 13. Januar 2002
Ursula Biemann (CH) - Heather Cassils / Cathy Davies (USA) - The Gender
Changer Academy (NL, S, CA, ZA, HK) - Diane Ludin / Francesca da Rimini
/ Agnese Trocchi / (USA, I, AUS) - Jen Liu (USA) - Jenny Marketou (GR) -
Die Patinnen Teil II (D) - Cornelia Sollfrank (D) - Pernille Spence (GB)
- Linda Wallace (AUS)
Konzept: Helene von Oldenburg, kuratiert von: Rosanne Altstatt und
Helene von Oldenburg
Mit dem Begriff "Cyberfeminismus" k=F6nnen feministische Strategien,
Innovationen und Kritiken, die sich in Relation zum digitalen Medium
definieren, bezeichnet werden. Cyberfeminismus ist ein sich in
permanenter Bewegung befindliches Netzwerk aus Theorie, Politik und
k=FCnstlerischer Praxis, das immer wieder neu definiert und potentiell
durch jede zus=E4tzliche Position ver=E4ndert wird. Die Ausstellung
"Cyberfem Spirit - Spirit of Data" gibt demzufolge keine einheitliche
Definition des Cyberfeminismus vor, sondern die unterschiedlichen
k=FCnstlerischen Positionen werden die Koordinaten in der aktuell
stattfindenden cyberfeministischen Ortsbestimmung verschieben.
W=E4hrend der Ausstellung gibt es mehrere Aktivit=E4ten von
K=FCnstlerinnengruppen. Heather Cassils und Cathy Davies pr=E4sentieren sich
am Er=F6ffnungsabend in einer PowerPoint Performance als Klone von Bill
Gates. Die Gender Changer Academy veranstaltet am 11./12. Dezember 2001
einen Hardware Computer Workshop f=FCr einen unkonventionellen Umgang mit
der Maschine. Und zur Finissage am 12. Januar 2002 werden die DJs Die
Patinnen Teil II sich pers=F6nlich die Ehre geben, zum Kurzfilm 'la storia
di giradischi a Madame Hu' live ihre K=FCnste in krimineller Elektronik zu
zeigen.
In der Ausstellung stellt Jenny Marketou mit 'TaystesROOM
:www.taystes.net' ein Open Source Tool f=FCr einen eigenverantwortlichen
Umgang mit =DCberwachung im Netz zur Verf=FCgung. 'eurovision' von Linda
Wallace ist eine interactive Videoinstallation zum globalen Einfluss
wissenschaftlich-technischer europ=E4ischer Medienexporte. Cornelia
Sollfrank f=FCgt mit 'improved television' einer Reihe von Interventionen
in ein Musikst=FCck von Arnold Sch=F6nberg eine cyberfeministische Variante
hinzu. 'i look up ... i look down' ist ein Video von Pernille Spence
=FCber die Sehnsucht nach Freiheit von Schwerkraft. Im Video 'Remote
Sensing' zeichnet Ursula Biemann eine Topographie des globalen
Sexhandels im Zeitalter geografischer Informationssysteme. Die Arbeit
von Jen Liu 'world domination projekt in RGB' ber=FChrt das Thema
virtueller Macht.
Das Edith-Ru=DF-Haus f=FCr Medienkunst realisiert mit "Cyberfem Spirit" die
Ausstellungsetappe einer Veranstaltungsreihe zum Thema Cyberfeminismus,
die im Dezember in Bremen, 7.-9. Dezember 2001, mit dem Laboratorium
"technics of cyber<>feminism ", Frauen.Kultur.Labor
Thealit und in Hamburg, 13.-16. Dezember 2001, mit der Konferenz "very
Cyberfeminist International", Old Boys Network stattfindet.
In Kooperation mit CONSTANT vzw. Vereniging voor kunst en media,
Brussels (BE), Les P=E9n=E9lopes, Paris (F), MAKE, the organisation for
women in the arts, formerly The Women's Art Library, London (GB).
Gef=F6rdert von der NORD MEDIA, der Oldenburgischen Landesbank und with
the support of the Culture 2000 programme of the European Union,
Directorate General Education and Culture.
Bildmaterial rufen Sie bitte ab unter www.edith-russ-haus.de/presse-c/.
=46=FCr weitere Fragen stehen wir Ihnen gern zur Verf=FCgung.
From Michael@Mandiberg.com Tue Nov 27 06:57:16 2001
From: Michael@Mandiberg.com (Michael Mandiberg)
Date: Tue, 27 Nov 2001 08:57:16 +0200
Subject: [spectre] calls x 3 -- a digest of calls for work
Message-ID:
hi all,
i've started maintaining a digest of calls for work, and i thought i
would open it up to the various communities that most of the calls
are catalogued from.
the calls come from net mailing lists (rhizome, nettime, thingist,
franklin furnace), net sources (artswire), and calls sent to me
directly, etc...
the traffic is about two emails a week, with a range of 1 to 5 calls
in each digest. this is a one time spam. if you want to join, go to
http://theredproject.com/calls and enter your email.
feel free to forward this. anyone and everyone is free to join
also, i encourage you to email any calls for work to
calls@theredproject.com, and I will post them in the digest.
peace,
m
n.b. your email will not be used for anything other than sending you
the calls digest.
http://theredproject.com/calls
calls@theredproject.com
-------
Deadline: November 2001
Artist, Writers - how the events of September 11 have altered your
behavior -- toward others, your city, your daily life -- how the
events changed your perception of reality and the world around you
REACTIONS, Exit Art, New York City
We are living in a historical moment. The essence of life has
changed. The world's psyche has been irrevocably altered.
In this new era, Exit Art, as a cultural space near the World Trade
Center, feels an obligation to interpret or translate the feelings of
a larger community into a collective expression of analysis. We want
to know how the events of September 11 have altered your behavior --
toward others, your city, your daily life -- how the events changed
your perception of reality and the world around you.
A change of behavior is a change of culture, which is why Exit Art is
organizing a global project called REACTIONS. This project aims to be
an international response from both inside and outside the art world,
a reflection of how these events have changed your life.
We want to hear and share your reactions.
We are inviting you to participate in REACTIONS by submitting your
response on a flat, 8-1/2 x 11" sheet of paper. Your submission can
take the form of a letter, text, drawing, poem, painting, collage,
photograph, or any other format that can fit on a piece of paper.
REACTIONS will be an exhibition on view at Exit Art in New York City
from January 12 - March 30, 2002. All responses will be exhibited.
Your visual and poetic work will be put into a context of historical
witness. We hope that like us, you feel a sense of urgency to respond
and participate in this necessary, collective expression.
Your effort will be valued; your voice will be heard.
Jeanette Ingberman and Papo Colo
Co-Directors, Exit Art
Jodi Hanel and Bibi Marti
Exhibition Coordinators
SUBMISSIONS
Submit your 8-1/2 x 11" response (or European letter-size equivalent)
via post, email, or in person. Please note that your submissions will
be kept by Exit Art and will not be returned. By submitting
responses, you are giving Exit Art all rights to your work, which may
include publication and tour. Responses must be received by December
15, 2001.
Three-dimensional or oversized responses will NOT be accepted. Please
mail responses to
Attention Reactions, Exit Art 548 Broadway, New York, NY 10012.
Or email reactions@exitart.org
EXIT ART is - A nationally and internationally renowned site for
innovative and experimental exhibitions, performances, and
multi-media programs.
- An interdisciplinary laboratory for contemporary culture that
brings artists, curators, and audiences together to explore new ideas.
- A place that challenges widely held and accepted ideas about
culture and society and is regarded by contemporary art audiences as
a vital source of new ideas and new work.
- Committed to presenting the work of young and emerging artists, and
to placing their work within the context of contemporary art issues.
- An independent view of American culture.
Exit Art, a non-profit cultural center in New York, has charted the
new in art and contemporary culture since it's founding by Jeanette
Ingberman and Papo Colo in 1982. Over the course of more than 19
years, Exit Art has been presenting groundbreaking exhibitions on
visual art, design, performance, popular culture and media, bringing
under-recognized concepts and art practices to a larger public
locally and globally.
Deadline: December 15, 2001
Artists whose focus is sculpture
International Residency Program, Sculpture Space, Utica, NY
Sculpture Space is an international residency program providing
access to a specialized studio facility for professional artists
whose focus is sculpture. There are no geographic or stylistic
restrictions.
The Studio is located in downtown Utica, New York, in proximity to
light industry, and various fabrication shops. The facility consists
of 5,500 square feet of open studio, and one 400 square foot private
studio for special projects. The space is outfitted with concrete
floors, a two ton system of traveling hoists, and extra wide overhead
doors. The 3/4 acres of land that surround the building can
supplement indoor studio space in the summer. An outdoor work pad is
equipped with a 50' monorail hoist. Depending on the scale of the
work, a maximum of four artists can be accommodated at one time.
Each year twenty new artists are selected for two full month
residencies each year. Each artits receives a $2000 stipend to help
pay their residency expenses. A subsidized three bedroom apartment is
available at low cost to artists within walking distance of the
studio. Food is the artists' responsibility and there is a fully
equipped kitchen in both the apartment and studio.
The deadline for application is December 15th of each year.
For complete details, visit http://www.sculpturespace.org
Deadline: January 1, 2002 (extended)
Proposals on all aspects of new media and writing, especially by
those whose work is based in new media, on or off the internet
Incubation 2002, Nottingham Trent University, UK
Extended Deadline Call for Proposals for Incubation 2002 to be held
on 15-17 July 2002 at The Nottingham Trent University, UK
http://trace.ntu.ac.uk/incubation/
We invite proposals for Incubation2, the leading international
conference on Writing and the Internet. For our second conference we
continue our focus on the role of the internet and telecommunications
and particularly invite contributions that address the way new media
create new potentials and re-define the acts of writing and reading.
We welcome proposals on all aspects of new media and writing,
especially by those whose work is based in new media, on or off the
internet.
PANELS
In response to several queries, we would like to confirm that we
welcome suggestions for panels as long as they include a nominated
organiser.
DEADLINE EXTENDED
In view of the difficulties since 11 September, the deadline for
proposals has been extended to 1st January 2002
Proposals must be submitted via webform. The form, and full details
of the conference can be found at http://trace.ntu.ac.uk/incubation/
INCUBATION ARCHIVE 2000
For three days in July 2000 trAce provided a platform for the most
essential voices on the web today. Writers, critics, theorists and
web-artists came from around the world to speak at Incubation at The
Nottingham Trent University. Incubation Archive is the online record
of this dynamic event. It includes audio, text and electronic
versions of presentations and performances; information about
contributors; a gallery of photographs taken over the three days, and
the background of the conference itself.
http://trace.ntu.ac.uk/incubation/archive/2000/index.htm
--
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From eurindie@yahoo.com Tue Nov 27 21:07:47 2001
From: eurindie@yahoo.com (Aleksandar Gubas)
Date: Tue, 27 Nov 2001 13:07:47 -0800 (PST)
Subject: [spectre] Mikrokino FEST 2002 Call For Entries
Message-ID: <20011127210747.12945.qmail@web12808.mail.yahoo.com>
CALL FOR ENTRIES
Mikrokino FEST 2002 is an international short film festival to be held for
the second time from February 22-26th, 2002 in Belgrade, Serbia.
Mikrokino FEST is organized by LOW-FI VIDEO (Belgrade-based organization
promoting short, independent and alternative films), the leading Eastern
European microcinema programmer. LOW-FI VIDEO was launched in 1997, and to
this date it has screened almost 500 Serbian and more than 160 foreign
short film.
The success of Mikrokino FEST 2001 where 80 short films, 2 interactive
CD-ROM projects and one full-length feature film, from five continents,
were presented to the Serbian audience logically led to Mikrokino FEST
2002.
Mikrokino FEST 2002 will be a competitive festival with two symbolic
awards:
1. Mikrokino Audience Award
2. LOW-FI VIDEO's Mikrokino2002 Reward
Mikrokino FEST 2002 is looking for titles from all over the world. The
categories are:
1. Short narrative (drama, comedy, action, any other genre)
2. Short animation (any kind)
3. Short experimental
4. Documentary
5. Internet and CD-ROM film (made primarily for the Internet or CD-ROM
presentation)
There is no entry fee.
There is no censorship.
Each film will be previewed by the preview jury, which will select the
films to be shown at the Mikrokino FEST 2002.
Deadline for submissions: January 1, 2002
Entry form and declaration can be downloaded at:
www.lowfivideo.com/mikrokino
mailto: mikrokino@yahoo.com
__________________________________________________
Do You Yahoo!?
Yahoo! GeoCities - quick and easy web site hosting, just $8.95/month.
http://geocities.yahoo.com/ps/info1
From rafael@csi.com Tue Nov 27 21:21:31 2001
From: rafael@csi.com (Rafael Lozano-Hemmer)
Date: Tue, 27 Nov 2001 22:21:31 +0100
Subject: [spectre] Life 4.0, Jury Statement
Message-ID:
JURY STATEMENT
The jury for the Life 4.0 competition - Daniel Canogar, Machiko
Kusahara, Rafael Lozano-Hemmer, Sally Jane Norman and Nell Tenhaaf -
reviewed 35 artworks that utilise artificial life concepts and
techniques. These pieces were pre-selected from a group of 63
submissions received from 18 countries. The first prize of the Life
4.0 competition is shared by Scott Draves for Electric Sheep, a
collectively generated screensaver, and Haruki Nishijima for Remain
in Light, an interactive sound and light installation. This latter
project was also the public's choice at the presentation of the
awards in Madrid. The third prize is awarded to the Web-based artwork
Novus Extinctus by the collective Transnational Temps (Andy Deck,
=46red Adam, and Ver=F3nica Perales).
=46IRST PRIZE EX AEQUO (US$4,250 each)
Electric Sheep
Scott Draves, USA
http://electricsheep.org
http://draves.org
Electric Sheep, named after Philip K. Dick's famous novel "Do
Androids Dream of Electric Sheep", aims to realise the collective
dream of sleeping computers from all over the Internet. A
screen-saver serves as a shared visual space, where clients offer
computational power to generate animations or so-called "sheep".
These are individual graphic entities based on a 65-number string of
code randomly chosen by the server, rendered using the artist's
fractal flame software (future versions will implement other
generative animation software). Users can download the flock of sheep
at any time and monitor the rendering of new ones - a permanent
digital lambing season. User nicknames are stored for those who want
to muster their own livestock. Though disk space limits the flock to
about thirty live specimens, users can vote to extend the lives of
their favourite sheep. The artificial life premise of this work
functions effectively at both the metaphorical and software design
levels: generative algorithms allow us to breed an online farm of
digital "sheep". The work is strongly anchored in the ethics of
freely distributed and participatory software development processes:
creative energies firing new graphic beings come from donated
computing cycles, and many enthusiastic shepherds have formed an
active developer community. Thus, the "electric sheep farm" offers
fertile ground for a new digital and social knowledge commons.
Remain in Light
Haruki Nishijima, Japan
We live surrounded by invisible electromagnetic waves. Wireless
transmission signals create a dense network around us, a
communicative tapestry that remains invisible. The Japanese artist
Haruki Nishijima has visually represented these signals that surround
us. In his installation Remain in Light the user becomes an
entomologist who goes out to hunt for sounds equipped with a head
set, a backpack handcrafted in the form of a traditional wooden
collector=B4s box, and a butterfly net that doubles as an antenna.
While walking through the city, the user captures fragments of sounds
from media such as cellular phones or radio. In the installation
site, the box that has recorded the sounds is opened for viewing, and
is networked to a computer that coordinates a visual display. This
display is composed of firefly-like lights projected on multiple
transparent screens; each light corresponding to an individual sound.
The screens are made of the same material that is used in Japan as
insect screening. When the viewer approaches a projection screen, the
floating points of light scatter, and as they hit the edge of the
screen their corresponding sound is triggered. This is a poetic
installation that binds an urban soundscape with an imaginary ecology.
THIRD PRIZE (US$1,500)
Novus Extinctus
Transnational Temps (Andy Deck, Fred Adam, Veronica Perales), USA.,
=46rance, Spain
http://www.artcontext.org/novus
The artists have made an extensive Internet artwork that includes a
taxonomy of Web domain names, a search engine that sorts through this
strange data, marketing slogans, user input into the site, and
mysterious graphics that seem to be constructed from code. The key
idea and message of Novus Extinctus is that the expansion of human
presence on the World Wide Web parallels a frightening decline in
biodiversity in our real world habitats: the number of Web domain
names registered climbs daily but so does the number of extinct
species. And so, to build the metaphor, domain names on the site are
associated with Latin species names. When one selects a domain name
and processes it, this association appears and also links to real
animal sites, like TigerDirect.com. The marketing spoof continues in
the Free Domain search engine for finding domain names that have
recently become available through extinction, and in testimonials
where the artists appear among others, praising the usefulness of the
engine. The sociopolitical astuteness of this work is summed up in
the artists' statement that our growing data bank of genetic codes,
as in the Human Genome Project, cannot in any way compensate for the
loss of species. Following from this perception, the site
marvellously undermines the platitude that computer code and genetic
code are somehow interchangeable, reminding us that an easy idea can
become a dangerous one. This work was developed with the support of
the Electrography Museum in Cuenca, Spain.
HONORARY MENTIONS (alphabetical order)
Relazioni Emergenti
Mauro Annunziato, Piero Pierucci, Italy
Entering the space, one encounters feather-like abstract patterns
spreading on the screen accompanied with sound. As the participant
moves his/her hand on the screen, the generation of graphic patterns
follows the hand movement. Although they are not given life-like
forms, the graphical and acoustical patterns evolve autonomously
according to the genetic information and algorithm that allows them
to mutate. A participant can freely interact with them by guiding and
nurturing them, as the hand position fosters germination. The
combination of continuous autonomous evolution and the
transplantation by participants produces distributed local
communities of patterns with subtle variety and beauty. The
experience is as if one is given a green thumb in a digital garden.
The piece invites participants to enjoy creating images with their
bodies, showing the potentials of alife concepts not only in
art-making but also in offering the joy of art and design experiences
for many people.
The Table: Childhood
Max Dean and Raffaello D'Andrea, Canada and USA.
Table is an ordinary-looking piece of furniture, something you might
have in your office, that unexpectedly displays autonomous movement
in response to someone entering its environment. The artificial
behaviour that is built into this work is simple in one sense,
because the table just glides across the floor of a small room that
it can't get out of. But it is also unpredictable and complex. For
example, it picks only one person from a group to respond to, it
learns the body language of the individual it initiates a
relationship with, and it also moves when there is no one in the
room. The interaction is controlled through a vision system that uses
a video camera and custom software. The Table's visible behaviour
might be described as teasing: it makes small inviting movements when
a person first comes into the room, it parries the person's movements
as if it were challenging her or him (in fact, if a person is
unresponsive the table becomes more active and enticing), and it
might even block the doorway as the viewer is trying to leave through
it. The Table: Childhood was a popular participant in the Venice
Biennial, and its maturation process into adolescence and adulthood
continues.
Castenedize!: Dingir 2.0
Ivor Diosi, E/Bone, Slovak Republic
Ivor Diosi combines projected virtual entities and primitivistic
sculptural elements in a multi-user interactive installation space.
Optical trackers and sound sensors monitor participant body motions
and speech, using data thus gathered to trigger and catalyse computer
graphics avatar behaviours. The screened view of the world offered to
participants conveys a simple but effective impression of enmeshed
realities: multiagent software animates playful, responsive swarms of
graphic creatures. One of the challenges in mixed reality works is to
create a convincing visual register for the aesthetics of combined
real and virtual worlds: how can we build coherent relationships
between solidly rooted physical objects and their weightless,
computer-generated counterparts? Inspired by Casta=F1eda cosmology,
Dingir 2.0 embeds its sensors and speakers in hulks of simulated
organic appendages which, in the physically and virtually morphed
universe displayed to participants, enter into strange resonance with
the digital avatar swarms.
Breathe
Jessica Findley and Margot Jacobs, USA
These two artists have collaborated several times on interactive
works, with an interest in creating experiences that invoke emotional
responses. In the environment Breathe, the viewer has to enter a
chamber made of white fabric where he or she lies down facing upward.
A force sensitive resistor is strapped around the chest and then the
person relaxes, breathing deeply. The resistor measures the flow of
breath, and this is translated into a signal sent to two small motors
that turn a pair of dowels. The person lying below sees two sets of
strings moving up and down between the dowels: one follows their
breathing, and the other plays back the breath of the previous
occupant. A microchip coordinates all of the movement and records the
breath. This mechanism generates a simple but elegant method for
looping one person's experience into the next person's, or weaving
together the breathing rhythm of an infinite string of people. This
is a very accessible feedback system built with an intelligent
economy of means.
Skeletal Reflections
Chico MacMurtrie, USA
Sooner or later, our world will be co-inhabited with humanoid robots
with elegant looking yet robust bodies and intelligence. That is what
robots such as Honda's PINO or Sony's ASIMO demonstrate. However,
Chico MacMurtrie's Skeletal Reflections is quite different. The
autonomous robot is designed intentionally as a skeleton without
skin, with artistic taste. It simulates human beings as a machine,
with a system that controls muscles. When a human demonstrates a
posture, the robot recognizes it using the motion capture software,
and mimics it. Gestures that we know from paintings depicting
historical moments such as praying or elegant bowing, which have been
associated with social, psychological, spiritual activities of human
beings and legitimated in art history, become strangely out of place
when they are convincingly performed by the skeletal robot. The piece
deliberately and ironically raises questions about the relationship
between humans and robots, and the way we have represented and
recognized our emotions through postures in the course of history.
Eden
Jon McCormack, Australia
Eden is an interactive self-generating artificial ecosystem.
McCormack uses a cellular automata model of A-life, with creatures in
constant evolution simulating the characteristics of a real ecology.
The creatures search for food, confront predators, and reproduce with
other creatures. Simultaneously, they move through their environment
transmitting and listening for each other's sounds, generating the
soundscape that we hear while experiencing Eden. The survival of the
virtual world depends on the presence of people in the installation
space, because their movement feeds the creatures. The artificial
world is projected onto two translucent screens that form an "x" in
the space. This original configuration creates transparency and depth
effects that enrich the reading of the work. Eden illustrates the
emergent properties and open nature of A-life systems.
Machine autiste-artiste
Samuel Neuhardt, France
This young French artist's work conveys a critical approach to
robotics and artificial life, where new technologies are often
acclaimed as improving communication and exchange, and the cloning
mythology tends to focus on propagating ideal and idealised
creatures. Many robotics artists today strive to build virtuoso
artificial artists: in the lineage of Vaucanson's eighteenth century
clavecin-player, increasingly accomplished robots delight us as they
paint, play music, write poetry, etc. Neuhardt's "machine
autiste-artiste" is animated but at the same time totally refractory
to communication. It rocks mechanically in a corner, ignoring all
contact with the outside world. Its patently, noisily mechanical
movement bleakly conveys an undeniably human pathology. The artist's
twin or clone, designed to reflect the introversion and obsession he
experiences during creative activity, thus acts as a disturbingly,
chillingly intriguing specimen of artificial life. There is no
empathy at work here, just irrefutable recognition of the state of
non-communication that - like it or not - is also a vital component
of human behaviour.
INCENTIVE FOR NEW PRODUCTIONS (US$5,000 each)
The Life 4.0 jury has also split the first "production incentive"
award designed to help development of new A-life artworks in Latin
America, Spain and Portugal. The two winning proposals represent very
different artistic approaches to the field.
Cuarteto de Cuerda Rob=F3tico
Carlos Corpa, Basilio Mart=ED, David Cabellos, Spain
One of the most compelling aspects of this group's robots is that
they are born as part of a performative "community" --breaking the
stereotype of a solitary anthropomorphic robot developed to serve
humans. The robots are highly specialised individuals whose
contribution to a collective performance of visual art and music
proposes new machine aesthetics. Carlos' work seeks to contrast
high-art elements like the string quartet with festive events closer
to a popular carnival of excess. The gesticulating robotic performers
will grind and strum devotedly at authentic, finely crafted musical
instruments to generate sounds for a 21st century salon of decidedly
concrete music. To focus solely on the parodic elements of the work
might be to miss the fact that the mechanical spasms of these
aspiring maestros, these would-be Paco de Lucias, call into question
our perception of robots as utilitarian instruments capable of
executing precise pre-calculated movements. The jury felt that the
Robotic String Quartet may be taken to a next level of chaotic
sophistication by supporting their development.
El Continuo
Enrique Rosas Gonz=E1lez, Mexico
Enrique Rosas Gonz=E1lez is a Mexican artist who is exploring the
relationship between art science and technology in a thoroughly
renaissance spirit, covering fields as diverse as electricity,
electronics and botany. For the new Life 4.0 category to encourage
new productions the artist has proposed "El Continuo", a complex,
dynamic electrical and electronic sculpture. Enrique Rosas is
interested in the cognitive processes of pattern recognition that we
use to decipher reality, but from a very unique standpoint: he
intends to relate scientific studies of matter with other more
esoteric fields of knowledge such as archetypal memory and
futurology. "El Continuo" clearly evokes Marcel Duchamp, particularly
his famous "Bachelor Machine" considered by many people to be a
metaphoric model of artificial life. "El Continuo" connects many
elements including a plant, 24 networked computers, and two rotating
discs that generate sparks and become praxinoscopes, those XIX
century proto-cinematographic optical apparatuses that recreate the
illusion of movement from static images. Couched in enigmatic
language, this project reminds us of alchemical investigations of
another era, which aimed to connect matter with the energetic
dimension of life. The technological sophistication and highly
personal aesthetics of Enrique Rosas's work appealed strongly to the
Life 4.0 Jury.
=46urther information
http://www.telefonica.es/fat/vida4
--
From info@mediainmotion.de Tue Nov 27 14:37:22 2001
From: info@mediainmotion.de (daxl-fuelepp)
Date: Tue, 27 Nov 2001 16:37:22 +0200
Subject: [spectre] kroatische Kuenstlerinnen in Berlin
Message-ID:
Einladung zur Ausstellung
2 mal Donassy
ERDE LUFT WASSER MENSCH LEBENSRAUM
INFORMATION GESELlSCHAFT REFLEKTION
Kunst Mode in 2D & 3D
=20
der kroatischen K=FCnstlerinnen Branka und Dunja Donassy
am Donnerstag, dem 29. Nov. 2001, 18:30 - 21:00
im IFS (Institut f=FCr Sprachvermittlung), Potsdamer Str. 98, 10785 Berlin
(Tiergarten)
Eine Veranstaltung der Botschaft der Republik Kroatien
und des Instituts f=FCr Sprachvermittlung und internationalen Kulturaustausc=
h
--
---------------------------------------------------------------
m e d i a i n m o t i o n berlin/zagreb
---------------------------------------------------------------
Ingeborg Fuelepp - Heiko Daxl
if@mediainmotion.de hd@mediainmotion.de
---------------------------------------------------------------
Visit our Web-Sites
media in motion berlin:
http://www.mediainmotion.de
VideoKunstMultiMedia Berlin:
http://tat.bln.de/vm/
Media-Scape Zagreb:
http://www.arhitekt.hr/casa
---------------------------------------------------------------
G O R T , K L A A T U B A R A D A N I K T O
---------------------------------------------------------------
=20
From abroeck@transmediale.de Wed Nov 28 08:39:12 2001
From: abroeck@transmediale.de (Andreas Broeckmann)
Date: Wed, 28 Nov 2001 10:39:12 +0200
Subject: [spectre] xing #3.2 -ingl. NETMAGE FESTIVAL/DIESEL AWARD/XING - Bologna 6-9
dec
Message-ID:
Date: Wed, 28 Nov 2001 01:22:27 +0100
Subject: xing #3.2 -ingl. NETMAGE FESTIVAL/DIESEL AWARD/XING - Bologna 6-9
dec
=46rom: XING info
XING
presents
NETMAGE 02
CREATIVE AND INNOVATIVE IMAGES ON ART, MEDIA, COMMUNICATION
INTERNATIONAL FESTIVAL
produced in collaboration with Diesel
Bologna December 6th - 9th, 2001
=46rom the 6th through the 9th of December, the city of Bologna will host
the second edition of Netmage, an international festival dedicated to
celebrating innovation in the vast field of contemporary visual arts.
Netmage 02 will focus primarily on multimedia design - on images and on
cutting-edge "styling." Our aim is a celebration of the new, the
innovative, the talented.
A multiscreen projector, developed explicitly for this event, will enable
the viewing of original audiovisual materials produced ad hoc for the first
ever European prize in video-jing, the artistic medium which utilizes web,
CD rom, dvd, and video clips in exciting live performances before an
audience. =20
Over the course of its four days, Netmage will serve as the meeting point
for young creative minds and talented multi-media artists from all over
Europe.
The 2001 edition is produced in collaboration with Diesel, thus enabling
the creation of the Netmage Diesel Award. This prize will be awarded on
the fourth day of the festival by a jury of experts. The first and second
prize consist in the funding to produce an original showreel of the
artists' work.
Every night, special guests will perform live electronic and eletroacoustic
music. Specifically, three international groups, renowned for their fame
in this field, are invited: the Norsq (Paris), the Farmersmanuelle (Mego -
Vienna) and the Dat Politics (Paris).
Performances which make innovative use of images are also in store. The
theatrical group Motus will debut the new edition of their Rooms project
(Room 101), an experiment in digital imaging. Rooms is installation; at
once theatre and cinema; real, hyperreal and fiction. In this performance,
Motus creates for us two parallel worlds: a hotel room and a second
"digital" room, which changes and interacts with the first.
Netmage will also host a series of afternoon workshops (illustrating
international scenarios, involving screenings and discussions) led by
specially invited production teams. Among these, London's Onedotzero and
Paris' Batofar. We will close with a workshop illustrating the birth of
the new Italian art scene curated by Rome's Ala Est .
Every day, the curious festival-goer will have the opportunity to browse
materials related to artists and guests in a special consulting library.
Netmage was created and realized by Xing, a team active in Bologna, Milan,
Rome and Paris, dedicated to celebrating the arts without
artificially-imposed boundaries: music, performance, visual arts, cinema,
and communications media.
Sponsors Diesel, Tele + D+, RAI SAT, AFAA Association Fran=E7aise d'Action
Artistique, Minist=E8re des Affaires Etrang=E8res , The British Council, Com=
une
di Bologna, Kataweb Art, ZeroEdizioni, Blow Up, RAI RADIO2 Weekendance,
Gianni Grassili Sound Service, Adcom
Where
Scuderie Bentivoglio- Piazza Verdi - Bologna
Info + booking
Netmage festival (only from 2 to 9 December 2001)
Scuderie Bentivoglio - Piazza Verdi 2 - Bologna
tel ++39.051.223192
e-mail info@netmage.it info@xing.it =20
websites www.netmage.it www.xing.it www.diesel.com
press office Xing Bologna
Silvia Fanti
tel ++39.335.5727161 =20
e-mail pressoff@xing.it
press office Diesel
Monica Salmaso
tel ++39.02.70151123
e-mail Monica_Salmaso@diesel.com
__________________________________________
PROGRAM
THURSDAY 6 DECEMBER
H15 WORKSHOP PRESENTED BY
Batofar (Parigi)
H 22 VJ CONTEST
-Reel Crew / Dj Seam (UK)
-Mordka / Jake Mandell (USA)
-Visual Kitchen Vzw / Styrofoam (B)
H 23 VJ CONTEST
-Sun Wu-Kung (I)
-lleuchtmittell / Bernd Karner (Heimelektro Ulm) (D)
-Visomat Inc. / Dj Skate (labstyle/berlin) (D)
H 00.30 GUEST
Norscq (F)
Presented by Batofar
FRIDAY 7 DICEMBRE
H15 WORKSHOP PRESENTED BY
Onedotzero (Londra)
H 22 VJ CONTEST
-Ogino Knauss (I)
-Kar=F8 Goldt / Rashim (A)
-VDJ Safy Sniper (D/Israel)
H 23 VJ CONTEST
-D-Fuse / DJ Fibla (UK)
-Exceeda / Dj Tom Guest (Steady Beats) (UK)
-Qubo Gas (F)
H 24 Onedotzero video screening:
J-Star
H 01.30 GUEST
Farmersmanuelle (A)
SATURDAY 8 DICEMBRE
H15 WORKSHOP
PLUG&PLAY Roma
H 22.30 VJ CONTEST
Assegnazione di
Netmage Diesel Awards
H 23.00
SANTI SAULE (I/B)
Super8 vj-iing
H 23.30 VJ CONTEST
Show 2=B0-1=B0 vincitori Vjing
H 00.30 GUEST
Dat politics (F)
Presented by Batofar
___________________________
SPECIAL EVENT ( EVERY DAY FROM 6TH TO 9TH DECEMBER):
Motus (I): Room 101
Scuderie Bentivoglio - 1=B0 piano:
Thursday 6 =20
H 21.00 e H 23.00
Friday7
H 21.00 e H 23.00
Saturday 8
H 21.00 e H 23.00
Sunday 9
H 21.00
From inke@snafu.de Wed Nov 28 13:36:18 2001
From: inke@snafu.de (Inke Arns)
Date: Wed, 28 Nov 2001 14:36:18 +0100
Subject: [spectre] Assistant Professor, Theory and History of Art, Ottawa
Message-ID: <3.0.3.32.20011128143618.00912390@pop.snafu.de>
Date: Wed, 28 Nov 2001 11:18:57 -0500
From: Catherine Richards
Subject: "please post to the spectre list"
http://www.uottawa.ca/academic/arts/arts-visuels/eng/english_depteng.html
Department of Visual Arts
University of Ottawa
THEORY AND HISTORY OF ART
ASSISTANT PROFESSOR
The Department of Visual Arts of the University of Ottawa announces
the opening of a full-time, tenure-track position at the rank of
Assistant Professor in Theory and History of art.
The Department offers a B.A. with Concentration in Visual Arts and a
Bachelor of Fine Arts programmes which are committed to studio
practice and theory.
Requirements:
* Ph.D. or equivalent with a specialization in modern art and
contemporary art
* Teaching and research experience
* Publications
* The candidate will teach in English and in French
* Salary will be determined according to the Collective
Agreement of the University of Ottawa
Starting date: July 1st, 2002.
Deadline for applications: December 1st, 2001 or until appointment of
a suitable candidate.
In accordance with Canadian Immigration requirements, this
advertisement is directed to Canadian citizens and permanent
residents. Equity is a University Policy.
Applicants should submit their curriculum vitae, examples of recent
published works and the names of three referees. The letters from the
referees should be sent directly to the Chair of the Department:
Tibor Egervari, Chairman
Department of Visual Arts
University of Ottawa
P.O. Box 450, Stn A
Ottawa ON K1N 6N5
For more information, please contact us at : finearts@uottawa.ca, by
internet: www.uottawa.ca/academic/arts/arts-visuels, or by phone at
the following number : (613) 562-5868.
--
From mpandil@soros.org.mk Wed Nov 28 14:17:03 2001
From: mpandil@soros.org.mk (Misko)
Date: Wed, 28 Nov 2001 15:17:03 +0100
Subject: [spectre] Program of UNDERSTANDING THE BALKANS - THE BALKANS AND GLOBALISATION
Message-ID: <20011128151235.FBA4.MPANDIL@soros.org.mk>
UNDERSTANDING THE BALKANS
- THE BALKANS AND GLOBALISATION -
December, 01 - 02, 2001,=20
Museum of Macedonia,=20
Str.Kurciska b.b., Skopje, Republic of Macedonia
CONFERENCE
Saturday, 01.12.2001.
11:00 - Opening of the Conference & Promotion of the book=20
"Understanding the Balkans", 2000.=20
11.30 - Sandra DUNGACIU (Romania)
Uses, misuses and abuses of the concept of globalization in the Balkans
12:00 - Stevan VUKOVIC (Yugoslavia)
Haunted by the Balkan ghosts
12:30 - Bojan Ivanov (Macedonia)
Globulization
13:00 - Ferid MUHIC (Macedonia)
Balancing between Balkanization and Globalization =20
13:30 - Discussion
14:00 - Melentie Pandilovski (Macedonia)
Irreversibility of Globalisation?
14:30 - Charis MELETIADIS (Greece)
Balkans and the European Integration Proces: The construction
of the cultural argument
15:00 - Discussion
PRESENTATION & PROJECTS
Sunday, 02.12.2001.
PRESENTATION
11:00 - Nada SVOB DOKIC (Croatia)
Redefining Cultural Identities: "South-eastern Europe"
11:30 - Alexander Kiossev (Bulgaria)
Nexus
12:00 - Walter van der Cruijsen (Holland)
European creative network; Draft for a trans-cultural network in East-Eur=
ope
12:30 - Discussion
PROJECTS
13:00 - Zoran NASKOVSKI & Vesna PAVLOVIC (Yugoslavia)
1. CROSSOVER, video, 2000.
13:30 - Ventsislav ZANKOV (Bulgaria)
The Balkans belong with us=85.. Where do we?
14:00 - Zoran PANTELIC, "APSOLUTNO" (Yugoslavia)
In the Balkans, video 2.5 min., 1998.
17:00 - 18.00 - Basket Ball Game between the participants of the Conference
-------------------------------------------------------
Melentie Pandilovski
Director
Contemporary Arts Center - Skopje
Orce Nikolov 109, 1000 Skopje
Republic of Macedonia
Tel/Fax: +389.2.133.541
Tel/Fax: +389.2.214.495
Mobile: +389.70.217.075
http://www.scca.org.mk
-------------------------------------------------------
From email@ctrlaltdel.org Wed Nov 28 14:25:30 2001
From: email@ctrlaltdel.org (Peter Luining)
Date: Wed, 28 Nov 2001 15:25:30 +0100
Subject: [spectre] [artcart] Multiple Personalities
Message-ID: <3C04F3DA.B033A9EC@ctrlaltdel.org>
FOR IMMEDIATE RELEASE
MULTIPLE PERSONALITIES:
AN ONSITE / ONLINE GROUP EXHIBITION OF
ARTIST MULTIPLES & EDITIONS
An Onsite / Online Group Exhibition of Artist Multiples & Editions
Link: http://www.artcart.de/multiples/ + http://www.hainesgallery.com/
artcart is pleased to announce the participation of our artists
Valéry Grancher, Mario Hergueta and Peter Luining in the group
exhibition "Multiple Personalities" - organized by HAINES GALLERY
in San Francisco.
Throughout history, the multiple has been seen as a vehicle for
information and way to de-emphasize the obsession and privileges of
the art "object". Utilizing the mass-distribution and communication
of the Internet, innovative printing equipment and model building
software, net artists have continued the philosophy of the art
multiple to the highest degree. Essentially, everything that is
created on the net is a multiple. Technology has given artists the
means to truly dematerialize art.
Haines Gallery presents its first group exhibition which is comprised
solely of artist multiples and editions. This show includes work by
Marina Abramovic, Polly Apfelbaum, Joseph Beuys, George Brecht,
Rob Craigie, Michael Daines, Mark Dion, Douglas Gordon, Valéry
Grancher, Ann Hamilton, Damien Hirst, Mario Hergueta, Barbara Kruger,
Peter Luining, Michael Mandiberg, MTAA, David Nash, Dennis Oppenheim,
Alan Rath, Jonathan Seliger, John F. Simon, Jr., Lorna Simpson, Kiki
Smith, Fred Tomaselli, Mary Tsiongas, and Andy Warhol.
The exhibition will exist both physically and virtually, comprised
of work by traditional and experimental artists and thus emphasizing
the extent of this art forms context as a product, a concept and
a methodology.
LOCATION & CONTACT INFORMATION
49 Geary Street Fifth Floor San Francisco, CA 94108
(415)-397 8114 Fax: 415.397.8115
E-mail:info@hainesgallery.com
http://www.hainesgallery.com/
Haines Gallery is open Tuesday through Friday 10.30am - 5.30pm and on
Saturday from 10.30am - 5.00pm. The Gallery also stay open late on
the First Thursday of every month until 7.30pm.
artcart: http://www.artcart.de
E-mail: info@artcart.de
artcart stay open all day and all night.
Visit it our special selection for "multiple personalities" at:
http://www.artcart.de/multiples
From arotert@emaf.de Wed Nov 28 13:31:49 2001
From: arotert@emaf.de (EMAF)
Date: Wed, 28 Nov 2001 15:31:49 +0200
Subject: [spectre] European Media Art Festival 2002
Message-ID:
European Media Art Festival 2002
Osnabrueck
24.-28.April 2002
http://www.emaf.de
--Call for entries!!!--
-------------------------------------------------------------------
(First part: german text- second part: english text.)
-------------------------------------------------------------------
"New Images - New Stories" - Art in Modern Media: So pr=E4sentiert
sich das EMAF 2002. Produktionen international renommierter K=FCnstler
werden ebenso vertreten sein, wie innovative Arbeiten junger Talente.
Als Forum f=FCr internationale Medienkunst zeigt das EMAF Filme,
Videos,
Performances, multimediale Installationen und digitale Medien wie
CD-ROM,
DVD und Internet. Specials informieren =FCber neue Produktionen der
Independent-Szene in China und Korea und =FCber die neuesten XS-Movies
f=FCr Internet, Mobil-Telefone und Handhelds.
Im Rahmen des Festivals wird der Preis der Deutschen Filmkritik f=FCr
die
beste experimentelle Film- und Videoarbeit vergeben. Mit dem OLB
-Medienkunstpreis des EMAF werden richtungsweisende
Medien-Installationen
ausgezeichnet. Die Ausstellung des Festivals wird vom
24. April- 20. Mai 2002 in der Kunsthalle Dominikanerkirche gezeigt.
Die Festivalsektionen sind: Cinema, Ausstellung, Kongress, Electronic
Lounge,
Internationales Studentenforum, Performances, Veejay Battle.
Wir laden Sie herzlich ein, sich mit Ihren Arbeiten und Projekten am
EMAF 2002 zu beteiligen!
Weitere Informationen und Anmeldeformulare finden Sie auf unserer
Homepage
http://www.emaf.de
Ihr Festivalteam!
---------------------------------------------------------------------
European Media Art Festival
Postf.1861
Lohstr.45A
D-49074 Osnabrueck
T:+ 49/541/25779/21658
=46:+ 49/541/28327
Email: info@emaf.de
http://www.emaf.de
---------------------------------------------------------------------
=46=F6rderer des EMAF
>
Nord Media-
die Mediengesellschaft Niedersachsen/Bremen mbH, Hannover
Stadt Osnabrueck
Ausw=E4rtiges Amt, Berlin
Bundesministerium f=FCr Bildung und Wissenschaft, Bonn
Oldenburgische Landesbank, Oldenburg
EU Commission, Brussels
und
Zusch=FCsse weitere F=F6rderer.
--------------------------------------------------------------------
European Media Art Festival 2002
Osnabrueck
24.-28.April 2002
http://www.emaf.de
--Call for entries!!!--
The theme of this year's EMAF 2002 is "New Images - New Stories " -
Art in Modern Media. Productions from internationally renowned artists
as well as innovative works from creative young talents are on
exhibition.
The EMAF plays a major role as a forum for international media art
presenting film, video, performances, multimedia installations and
digital media such as CD-ROM, DVD and the Internet. Specials feature
current productions from China and Korea and the latest XS-Movies for
Internet, mobile phones and handhelds.
As part of the festival the German Film Criticism Prize is awarded to
the best experimental film and video production. The OLB Media Art
Prize
is awarded to the most innovative media installations.
The exhibition of the festival in the Kunsthalle Domenikanerkirche
will
be shown from 24. April - 20. May 2002.
=46estivalsections are: Cinema, Exhibition, Congress, Electronic Lounge,
International Studentforum, Performances, Veejay Battle.
We would like to invite you to take part in the EMAF 2001 with your
artworks and projects!
=46or further information and application forms please visit:
www.emaf.de
Your festival team!
---------------------------------------------------------------------
The EMAF is supported by:
Nord Media-
die Mediengesellschaft Niedersachsen/Bremen mbH, Hannover
Stadt Osnabrueck
Ausw=E4rtiges Amt, Berlin
Bundesministerium f=FCr Bildung und Wissenschaft, Bonn
Oldenburgische Landesbank, Oldenburg
EU Commission, Brussels
and
contributions made by other supporters.
---------------------------------------------------------------------
If you do not want to receive any further information please return
this message and write REMOVE in the subject line. Thank you very
much!
Wenn Sie keine weiteren Informationen erhalten m=F6chten,
schreiben Sie bitte ENTFERNEN in die Betreffzeile und senden Sie
diese Mail an uns zur=FCck. Vielen Dank !
---------------------------------------------------------------------
From epk@xs4all.nl Wed Nov 28 17:11:42 2001
From: epk@xs4all.nl (Eric Kluitenberg)
Date: Wed, 28 Nov 2001 18:11:42 +0100
Subject: [spectre] Debate: Critical Design Discourses #1
Message-ID:
A N N O U N C E M E N T
Critical Design Discourses #1
Visual Communication - Addressing the critical mass
Thursday December 6, 2001
De Balie, Centre for Culture and Politics, Amsterdam
Start: 20.00 hrs.
Last year the "First Things First 2000 Manifesto" appeared in various
international design magazines. It was a call to designers world-wide to
develop a more critical approach to their profession. This call was signed
by an impressive list of designers, critics, editors of design magazines,
and art directors. The authors of the manifesto claim that an increasing
number of practitioners, designers, visual communicators, are becoming
increasingly uncomfortable with a very narrow definition of their design
practice, primarily geared towards effectively packaging and selling
consumer products. Designers should address their social and political
responsibilities more consciously, and apply their problem solving skills
to the multitude of urgent social questions that require solutions.
The text of the First Things First manifesto can be found at:
http://adbusters.org/campaigns/first/
Since its publication a certain discussion about the social and political
role and context of design has started, but this discussion is still very
much in its infancy. De Balie, Centre for Culture and Politics in
Amsterdam, would like to provide new impulses for this discussion to unfold
and has decided to organise a first debate with a number of internationally
recognised specialist in the field of visual communication. In this debate
we primarily would like to make an inventory of the current status of
critical design discourses, well over a year after the publication of this
manifesto. There are many questions at hand; a critique of the experience
economy, sustainability, responsibility as business model, the relation of
design with the public domain, and the new multicultural and intensely
internationalised context in which design has to operate. What concrete
efforts have been made to address these questions?
Participants in the debate are; Jamie Hayton (SP) designer and head of the
design department of Fabrica (IT); Wendelin Hess (CH), graphic designer and
art-director of Grenzwert Magazin; Mieke Gerritzen (NL)
graphic designer and co-author of "Catalogue of Strategies"; and Femke
Snelting (NL) designer and member of De Geuzen - Foundation for Multivisual
Research.
The debate will be chaired by Max Bruinsma (NL), ex-editor in chief of the
design magazine Eye (London), independent critic, and 'editorial design'
instructor.
The debate can be followed live via internet at: http://www.balie.nl/live
____________________
tickets & reservations:
price: Euro 7,50 (f 16,50) / E. 5,00 ( f 11,00)
opening hours box office: work days 13.00-18.00 hrs or until the start of
the program.
In the weekend 1 1/2 hour before the programs starts.
Reserve by phone: 31.20.55 35 100 during opening hours until 45 minutes
before the program starts.
De Balie
Kleine-Gartmanplantsoen 10
1017 RR Amsterdam
http://www.balie.nl
From cinetron@passport.ca Thu Nov 29 06:42:52 2001
From: cinetron@passport.ca (Jim Ruxton)
Date: Thu, 29 Nov 2001 01:42:52 -0500
Subject: [spectre] Call for Submissions to 5th Annual Subtle Technologies Conference
Message-ID: <013901c178a1$127e0100$0100a8c0@oemcomputer>
This is a multi-part message in MIME format.
------=_NextPart_000_0136_01C17877.29094800
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
"Call for Submissions to "Subtle Technologies 2002"
Subtle Technologies Conference
May 9,10,11,12 2002
University of Toronto,
Toronto Ont.
Canada
We are currently inviting speakers to present at the fifth annual Subtle
Technologies Conference in Toronto.
The Subtle Technologies Conference is an opportunity for scientists and
artists to come together and share each others language in those areas =
which
are still searching for definitions, explanations and meaning. This
conference explores the discoveries made by artists and scientists. We =
are
looking for speakers to provide a global perspective on the exploration =
of
subtle phenomena and its representations. Approaches that go beyond
mainstream theories and would be considered controversial are welcome. =
Some
of the topics which we are interested in having represented by =
scientists
and artists include but are not limited to: consciousness research, =
quantum
physics including quantum computing and other unconventional computing
technologies, holographic modeling, mathematical explorations including
neural networks and fuzzy systems, biomagnetics, alternative energy =
systems,
chaos theory, genetics, sonic explorations, bioenergy, pharmacology,
theories of cosmology, neurobiology, sensing systems and devices,
cybernetics, and artificial intelligence.
It is our goal to have a varied program to provide a forum for the cross
pollination of ideas. Presentations will be 50 minutes long including
questions. An honorarium will be offered to all speakers. Since the =
audience
will be from diverse backgrounds the presentation should be accessible =
to a
general audience. Please send a brief one page abstract of the topic you
would like to present to the co-ordinates listed below. If you have any
questions, feel free to contact us. If you know any one who would be
interested in speaking, please pass this invitation along to them. The
deadline for submissions is December 21 2001. The Subtle Technologies
This conference is sponsored by the Canada Council for the Arts and =
Toronto Arts
Council.
Contact Co-ordinates
Jim Ruxton
Home (416)535-4405
Work (416)927-7679
Email cinetron@passport.ca
Address 258 Salem Avenue
Toronto, On M6H 3C7
Canada
http://www.subtletechnologies.com
------=_NextPart_000_0136_01C17877.29094800
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
"Call for Submissions to "Subtle Technologies 2002"
Subtle=20
Technologies Conference
May 9,10,11,12 2002
University of Toronto,
Toronto Ont.
Canada
We are currently inviting =
speakers=20
to present at the fifth annual Subtle
Technologies Conference in=20
Toronto.
The Subtle Technologies Conference is an opportunity for =
scientists and
artists to come together and share each others =
language in=20
those areas which
are still searching for definitions, explanations =
and=20
meaning. This
conference explores the discoveries made by artists and =
scientists. We are
looking for speakers to provide a global =
perspective on=20
the exploration of
subtle phenomena and its representations. =
Approaches that=20
go beyond
mainstream theories and would be considered controversial =
are=20
welcome. Some
of the topics which we are interested in having=20
represented by scientists
and artists include but are not limited to: =
consciousness research, quantum
physics including quantum computing =
and other=20
unconventional computing
technologies, holographic modeling, =
mathematical=20
explorations including
neural networks and fuzzy systems, =
biomagnetics,=20
alternative energy systems,
chaos theory, genetics, sonic =
explorations,=20
bioenergy, pharmacology,
theories of cosmology, neurobiology, sensing =
systems=20
and devices,
cybernetics, and artificial intelligence.
It is our =
goal to=20
have a varied program to provide a forum for the cross
pollination of =
ideas.=20
Presentations will be 50 minutes long including
questions. An =
honorarium will=20
be offered to all speakers. Since the audience
will be from diverse=20
backgrounds the presentation should be accessible to a
general =
audience.=20
Please send a brief one page abstract of the topic you
would like to =
present=20
to the co-ordinates listed below. If you have any
questions, feel =
free to=20
contact us. If you know any one who would be
interested in speaking, =
please=20
pass this invitation along to them. The
deadline for submissions is =
December=20
21 2001. The Subtle Technologies
This conference is sponsored by the =
Canada=20
Council for the Arts and Toronto Arts
Council.
Contact=20
Co-ordinates
Jim Ruxton
Home (416)535-4405
Work =
(416)927-7679
Email=20
cinetron@passport.caAddress =
258=20
Salem Avenue
Toronto, On M6H 3C7
Canada
http://www.subtletechnologies.=
com
.read.transitive.DOC.scr::
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groupie][le.err][ors][
.pay.load][ings][ = c.rash][ed N ruby red][ing computer .w][tid][a][l][+
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.Da.][screened][mage][s scream in static fury][ = memory residing +
triggered e.vent][u.alities][ + ][I][N.][the silicon ][crypt.ing +
poly.][wants a cracked Outlook][morphically perverse
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g.][lingual][lob][es][al threat + medi][a][um + low][ings of the virus
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c][pr][o][grammatic][de
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p][l][ayloading by the s][ vitriolic v][endor emails +
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www.hotkey.net.au/~netwurker
.... . .??? .......
--=====================_9907526==_.ALT--
From a.ludovico@neural.it Thu Nov 29 07:47:16 2001
From: a.ludovico@neural.it (Alessandro Ludovico)
Date: Thu, 29 Nov 2001 08:47:16 +0100
Subject: [spectre] first (italian) emendment: Free speech is forbidden on the Net !
Message-ID:
From: Ferry Byte
--
first (italian) emendment: Free speech is forbidden on the Net !
The above sentence sounds as a rule for Italian police, justice and
government as free speech and dissident are nowdays counteracted in
Italy by any means
New legislative measures - on copyright, publishing industries,
police controls, but also monitoring and intimidation procedures have
been recenlty used to infringe protests' privacy taking a deep look
at their chat-tools, mailing-lists, mailboxes etc. along with
inquiries concerning every kinds of people involved in net-jokes or
real protest (an animal-rights supporter site has been closed because
of a single page considered a libel one, but also other Web sites
dealing for example with supposed saint or bonsai-kitten)
Two specific polital persecutions on the Net involve us directly: the
first one relates a fascist thug named Caradonna that wants 129.000
of Euro to be forgotten while the second one relates the suppression
of the right to netstrike - a new telematic way to organize a
political march (also known as virtual sit-in)
For these reasons we invite You to "take a look" at us not only as a
show of solidarity but also because on our site - and expecially by
our mailing-lists - you can find news on these emerging kinds of
censorships; but first of all we advise You to have the right idea of
this "good-looking" country
no-profit organization "Isole nella Rete"
[ http://www.ecn.org ] [ mailto:inr@ecn.org ]
(press release in occasion of the first Italian Cyberspace Law
Conference - www.iclc.org edition)
--
--
Ferry Byte della comunita' cyber-rights di Isole nella Rete
Key fingerprint = A5 F9 A5 D3 35 70 BF 25 25 90 C1 18 ED B8 AC 64
,::.
n-:;:;.' http://strano.net/mutante
/_\ `;:.'
|~~~| ``'
|~~~|
|___|
--
Alessandro Ludovico
Neural Online - http://www.neural.it/ daily updated news + reviews
Suoni Futuri Digitali - http://www.apogeonline.com/catalogo/614.html
ISBN 88-7303-614-7
From geert@desk.nl Wed Nov 28 23:04:43 2001
From: geert@desk.nl (geert lovink)
Date: Thu, 29 Nov 2001 10:04:43 +1100
Subject: [spectre] THE THEMERSONS AND THE REMAKE OF PHARMACY BY BRUCE CHECEFSKY
Message-ID: <044501c17869$86177cf0$afde3dca@geert>
THE THEMERSONS AND THE REMAKE OF PHARMACY BY BRUCE CHECEFSKY
December 4th, 2001 7PM
Location One
26 Greene Street NYC 10013, Between Grand and Canal
Subway: Canal Street (N, R, 6, A, C, E, J, M, Z)
Gallery Hours: Tuesday - Saturday, 12 - 6 PM
(212) 334-3347
Streamed live at www.location1.org
To see our invite go to:
http://www.location1.org/artists/images/checefsky_invite.jpg
Location One is pleased to announce Bruce Checefsky's presentation of
the groundbreaking work of experimenal filmmakers Franciszka and Stefan
Themerson. Perhaps the most influential of Polish cutting-edge artists,
the Themersons produced five short films between 1930 and 1937 in Warsaw
that rank among the greatest of European avant-garde: Pharmacy, Europa,
Moment Musical, Short Circuit and The Adventure of a Good Citizen.
Whereas only the last three films survived the war, a remake of Pharmacy
(1930, b/w, silent, 3 minutes) was produced in Budapest in 2001 under
the direction of award winning animator and film writer Laszlo L. Revesz
and Bruce Checefsky.
Bruce Checefsky will present a short contextual history of the photogram
as it relates to the Themersons and show slides of his work followed by
a screening of Pharmacy (2001, b/w, silent, trt 4:40 minutes).
Checefsky explains: "Our remake of Pharmacy is not a reconstruction of
the original but an interpretation based on surviving documents, film
stills, and notes. I wanted to remake Pharmacy because it was an
extremely important film. It is a way of talking about a sort of
stimulant to make the thinkable something as yet untaught. It points to
that strange zone where art and action discover secret and unpredictable
relations with one another. The problem is how to inhabit this condition
and how to continue the underground aesthetics of resistance and extend
it into the problematic borders of and in our view of justice"
Bruce Checefsky is an artist/photographer based in Cleveland. He is
director of the Reinberger Galleries, Cleveland Institute of Art and has
organized and curated numerous exhibitions. His own works have been
presented in solo exhibitions in numerous countries such as Czech
Republic, Germany, Hungary, Japan, The Netherlands, Poland, Ukraine.
The event is organized jointly by Location One and the Polish Cultural
Institute (www.PolishCulture-NYC.org).
Location One (www.location1.org) is a new not-for profit art center,
which fosters the convergence of all types of creative expression. We
maintain a gallery space suitable for every form of performance and
exhibition, and within this space, multimedia net-broadcasting
facilities that allow us to web cast a 24-hour stream of both live and
archived events. Our International Residency Program invites artists
from other countries to experiment with emerging technologies. Location
One is an exploration space for continual creative discovery.
From inke@snafu.de Fri Nov 30 00:47:02 2001
From: inke@snafu.de (inke@snafu.de)
Date: Fri, 30 Nov 2001 00:47:02 GMT
Subject: [spectre] Sound in Art - Gallery Priestor
Message-ID:
Von: Juraj =?iso-8859-2?Q?=C8arn=FD?=
Datum: Thu, 29 Nov 2001 23:14:13 +0100
Betreff: Sound in Art - Gallery Priestor
Gallery Priestor for Contemporary Arts
have a pleasure to invite you to the exhibition
Sound in Art
Marc Behrens /D/, Monogramista T.D. /SK/
Marko Peljhan /SLO/, Susan Philipsz /UK/
Marjetica Potrc /SLO/, Carina Randlov /DK/
Egill Saebjornsson /IS/, Scanner+Tonne /UK/
curator: Natasa Petresin /SLO/
opening: 7th December 2001 at 5 pm
address: Somolickeho 1/B, Bratislava, Slovak Republic
opening program:
5.30 pm Marc Behrens - performance
parallel program:
7th December - Buryzone, Cajakova ul. 11
7pm - Egill Saebjörnsson - sound event
8pm - Presentation of Apsolutno group
9pm – Closing party
exhibition lasts till: 16th December 2001
more info: www.publicis.sk/priestor
In the age of new technologies, evolving new media and tactics in contemporary
art, so called sound art or practice of introducing aural dimensions into
visual arts has confronted a revival of its characteristics. We can trace its
roots back to early 20th century into the Futurist and Dada movement and find
its most important realisations in the 60ies with the breakthrough of the
neo-avantgarde in the form of John Cage, Nam June Paik and Laurie Anderson, and
continue to find its connectedness with contemporary experimental and
electronica music from 80ies until now.
In exhibited projects the participating artists are developing subjective
relationships with sound. I was interested to display as broad and various
spectrum of sound art works as possible. These include 'silent' pieces
(Monogramista T.D., Susan Philipsz), web-based art works (Marjetica Potrè,
Scanner+Tonne), sound sculpture (Marc Behrens), music video (Egill Saebjörnsson
) and installation and video ambience that include sound as its most
constitutive element (Marko Peljhan, Carina Randlov).
Natasa Petresin
Websites: Marc Behrens - www.mbehrens.com, Marko Peljhan -
makrolab.ljudmila.org, Marjetica Potrè - www.potrc.org, Egill Saebjörnsson -
www.egill.org, Scanner - www.scannerdot.com, Tonne - www.tonne.org.uk
Thanks for support:
Publicis Knut, Spinner, Palisády s.r.o, Daimler-Chrysler, SME, Danish
Contemporary Art Foundation, Aena d.o.o., Brocadero d.o.o., Velvyslanectvo
Republiky Slovinsko
From nils@x-i.net Fri Nov 30 13:19:44 2001
From: nils@x-i.net (Nils Claesson)
Date: Fri, 30 Nov 2001 14:19:44 +0100 (CET)
Subject: [spectre] Landmark_new_venue_in_Bergen
Message-ID: <1007126384.3c0787704af33@mail.x-i.net>
Landmark.
Bergen is going cool.
As cool as cool will be in Norway.
The music scene is getting hyped, MTV are devoting special time to cover=20
Bergen and groups like the famous R=F8yksopp are starting to sell records.
But under the hype and the somehow ill fitting coolness the development o=
f=20
the Bergen scene is a result of things that started in the dance and perf=
ormance
scene in the end of 80ts and beginning of 90ts when groups like Baktruppe=
n and
places like Teatergarasjen was formed and made Bergen the place (In Norwa=
y)=20
for contemporary dance and performance art.
Now Bergen is taking lead over Oslo even in the field electronic arts.
The name of the place is Landmark.
Landmark is a way of distributing new media art in a social environment w=
here
people socialize.
Landmark is a laboratory; it deals in one way with the problem Eric Satie
pointed out when he wrote his music for furniture, to create art in a=20
partial hostile environment.
Landmark is a room specially designed for new media, it has a bar and it=20
has excellent video-projectors and sound systems.
Naturally the place is always on line, (http://www.lmark.no).
Landmark has been created as a collaborative effort between BEK, Bergen=20
centre for electronic arts ( http://www.bek.no) and Bergen Kunsthall. Lo=
cal=20
Art hall.( quite big)
BEK is an artist run media lab.
One of the roots in the Landmark concept was when artist and programmers
participated in The =93Caf=E9 9=94 project last year. Part of =93Caf=E9 9=
=94 was online=20
performances and dj-ing. J=F6rgen Larsson one of the founding members of =
BEK and=20
responsible for Landmarks programming explains that =93Caf=E9 9 =93defini=
tely created=20
the taste for more and the only way to still the hunger and create respec=
t for=20
media art was to make its one venue.
Still electronic arts are not really respected in Norway, many people sti=
ll se
it as boyish techno masturbating.
Landmark is here to be a new land mark.
Now keystroke festival is taking place at Landmark. It started the 26 and=
=20
will
continue until the 6 December.
22 artist will participate in a mix of streaming events.
Connecting Bergen with Toronto, Berlin, Holland and other places.
Also a newly written book over new media by Grete Melby one of BEKs most
trigger-happy members is getting distributed on the monitors of Landmark.
It is possible to follow and participate in the key-stroke festival=20
on-line.
Landmark has a great potential and the Baltic/Russian scene with all its
streaming and audio-experiments could benefit from this new venue.
And if you by chance have ideas for Landmark. Do not hesitate to contact=20
J=F6rgen Larsson at
Mail: larsson@bek.no.
By the way the name Landmark came from an architect in Bergen called=20
Landmark.
He designed quite a few modernist buildings in Bergen, structures needed =
to
make a contrast to the nice, neat and idyllic.
Nils Claesson
Artist and filmmaker and Coordinator for PNEK
The production network for the electronic arts of Norway
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.as=
p
----- End forwarded message -----
From mpandil@soros.org.mk Fri Nov 30 13:58:05 2001
From: mpandil@soros.org.mk (Misko)
Date: Fri, 30 Nov 2001 14:58:05 +0100
Subject: [spectre] update of the program THE BALKANS AND GLOBALISATION
Message-ID: <20011130145638.8A6C.MPANDIL@soros.org.mk>
UNDERSTANDING THE BALKANS
- THE BALKANS AND GLOBALISATION -
December, 01 - 02, 2001,=20
Museum of Macedonia,=20
Str.Kurciska b.b., Skopje, Republic of Macedonia
CONFERENCE
Saturday, 01.12.2001.
11:00 - Opening of the Conference & Promotion of the book=20
"Understanding the Balkans", 2000.=20
11.30 - Sandra DUNGACIU (Romania)
Uses, misuses and abuses of the concept of globalization in the Balkans
12:00 - Stevan VUKOVIC (Yugoslavia)
Haunted by the Balkan ghosts
12:30 - Bojan Ivanov (Macedonia)
Globulization
13:00 - Ferid MUHIC (Macedonia)
Balancing between Balkanization and Globalization =20
13:30 - Discussion
14:00 - Melentie Pandilovski (Macedonia)
Irreversibility of Globalization?
14:30 - Charis MELETIADIS (Greece)
Balkans and the European Integration Proces: The construction
of the cultural argument
15:00 - Dimitrina SEVOVA (Bulgaria) and Alain KESSI (Switzerland)=20
Fragmented and Deterritorialized
The Balkan Patient or the Balkan Client
15:30 - Discussion
16:00 - Special program
PRESENTATION & PROJECTS
Sunday, 02.12.2001.
PRESENTATION
11:00 - Nada SVOB DOKIC (Croatia)
Redefining Cultural Identities: "South-eastern Europe"
11:30 - Alexander Kiossev (Bulgaria)
Nexus
12:00 - Walter van der Cruijsen (Holland)
European creative network; Draft for a trans-cultural network in East-Euro=
pe
12:30 - Discussion
ART PROJECTS=20
13:00=09
Zoran Naskovski + CO crew - Vesna Pavlovic, Man in Yellow
CROSSOVER (a work in progress)
13:30 - Ventsislav ZANKOV (Bulgaria)
The Balkans belong with us=85.. Where do we?
14:00 - Zoran PANTELIC, "APSOLUTNO" (Yugoslavia)
In the Balkans, video 2.5 min., 1998.
16:00 - 18.00 - Basket Ball Game between the participants of the Conference
-------------------------------------------------------
Melentie Pandilovski
Director
Contemporary Arts Center - Skopje
Orce Nikolov 109, 1000 Skopje
Republic of Macedonia
Tel/Fax: +389.2.133.541
Tel/Fax: +389.2.214.495
Mobile: +389.70.217.075
http://www.scca.org.mk
-------------------------------------------------------
From md3169@mclink.it Fri Nov 30 15:31:52 2001
From: md3169@mclink.it (Lorenzo Taiuti)
Date: Fri, 30 Nov 2001 16:31:52 +0100
Subject: [spectre] BerlusconiMania: the Gun & the Book
Message-ID: <005701c179b4$3ae75d80$66826ec3@hamsil>
Messaggio in formato MIME composto da piy parti.
------=_NextPart_000_0054_01C179BC.84B43660
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
"BERLUSCONIMANIA: The Gun & the Book"
In perfect consistency with the Outlaw directions of the New Berlusconi =
Government, a few significant news design the situation in Italy:=20
The Gun=3D In the general scheme of neutralizing the italian magistrates =
( notoriously pursuing Berlusconi for several reasons) the government =
has taken away the police force put in defence of magistracy dealing =
with dangerous cases.=20
That means for instance leaving them defenseless in the struggle =
against the Mafia.
The last week's elections in Sicily marked an enormous success for =
Berlusconi=20
( by now knicknamed "Cavalier Silvio Banana...of course because of =
Banana Republic).
The Berlusconi's campaign has been marked by unprecedented cynicism.=20
His men have been attacking anything ordered by the centreleft, =
therefore giving breath to any kind of unlawful structures & the Mafia.
A strong message of freedom for house building abuse is been given by =
the new powerful man of the Culture Ministery , Sgarbi who is been =
defending (sic) the villas built inside the Agrigento archeological park =
"Valle dei Templi". ( abusive building is one of the main investments of =
Mafia in Sicily)
The Book=3D The "italian Thatcher", Iron/Lady Moratti Minister of =
Education has given state financing on the same level to private and =
state education, pushing hard in direction of liberism and industrial =
sponsoring of education.=20
Her speeches are costantly underlined by deep distrust for culture (that =
is considered, expecially if modern) on the left side. (Goebbels=3D"When =
i hear the word culture my hand goes to the gun...")
Students and teachers are manifesting against the new laws.
More to Come!.........
Ciao
Lorenzo
=20
=20
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
"BERLUSCONIMANIA: The Gun & the Book"
In perfect consistency with the Outlaw directions of the =
New=20
Berlusconi Government, a few significant =
news design the=20
situation in Italy:
The Gun=3D In the general scheme of =
neutralizing the=20
italian magistrates ( notoriously pursuing Berlusconi for several =
reasons) the=20
government has taken away the police force put in defence of magistracy =
dealing=20
with dangerous cases.
That means for instance leaving them=20
defenseless in the struggle against the=20
Mafia.
The last week's elections in Sicily marked an enormous success=20
for Berlusconi
( by now knicknamed "Cavalier Silvio =
Banana...of=20
course because of Banana =
Republic).
The Berlusconi's campaign has been marked by unprecedented =
cynicism.=20
His men have been attacking anything =
ordered=20
by the centreleft, therefore giving breath to any kind of unlawful=20
structures & the Mafia.
A strong message of freedom for house building=20
abuse is been given by the new powerful man of the =
Culture=20
Ministery , Sgarbi who is been defending (sic) the villas =
built=20
inside the Agrigento archeological park "Valle dei Templi". =
(=20
abusive building is one of the main investments of Mafia in=20
Sicily)
The Book=3D The "italian =
Thatcher",=20
Iron/Lady Moratti Minister of Education has given state =
financing on the same level to private and state education, pushing hard =
in=20
direction of liberism and industrial sponsoring of education.
Her speeches are costantly underlined by deep distrust for =
culture=20
(that is considered, expecially if modern) on the left=20
side. (Goebbels=3D"When i hear the word culture my hand =
goes to=20
the gun...")
Students and teachers are manifesting against the new laws.
More to Come!.........
Ciao
Lorenzo
------=_NextPart_000_0054_01C179BC.84B43660--
From md3169@mclink.it Fri Nov 30 17:11:42 2001
From: md3169@mclink.it (Lorenzo Taiuti)
Date: Fri, 30 Nov 2001 18:11:42 +0100
Subject: [spectre] BERLUSCONIMANIA
Message-ID: <010b01c179c2$2e91adc0$66826ec3@hamsil>
Messaggio in formato MIME composto da piy parti.
------=_NextPart_000_0108_01C179CA.76E5A240
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Dear Andreas
you ask me "why is it that the italian people vote for somebody
like that? what is it that they are being promised, or believe they will
get?".
It's difficult to answer.
The answer could be a flat "anybody is doing it" (from time to time). =
Think about english people and Thatcher. Austrians & Heider. And what =
about Bush cheating on votes!....
But there is probably what could be defined as a "national difference".
Italy has been for almost 50 years an ideological battlefield sharpened =
by beeing one of the burning points of the two Political Blocks.
When the ideological fields collapsed, they brought down with them an =
idea of politics as "expression of ideas".
Now is extremely difficult to define what politics are.
In the meantime the only idea left is that ideas/politics are Fake.
And neo-liberism embodies this and a more general pragmatism: if =
ideas/politics are Fake, the only good politics is the one that is on my =
(economical) side.=20
There are not morals to defend.=20
Economy (Money) is all.
And then of course there is the enormous power of the Old Media.
Millions of people watching tv/serials & Talk/shows 24 hour a day =
offered by Big Berlusconi/Brother extend their positif judgement on The =
Man.
This is not old-fashion media-analisys, it's tremendously true.
Like in a 50's Science Fiction movie the hypnotical power of TV is now =
beyond any possible valuation and becomes the power of hypnosis of the =
Man who owns TV. =20
Ciao
Lorenzo=20
------=_NextPart_000_0108_01C179CA.76E5A240
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Dear Andreas
you ask me "why is it that the italian people vote for=20
somebody
like that? what is it that they are being promised, or =
believe they=20
will
get?".
It's difficult to answer.
The answer could be a flat "anybody is doing =
it"=20
(from time to time). Think about english people and =
Thatcher.=20
Austrians & Heider. And what about Bush=20
cheating on votes!....
But there is probably what could be defined as a =
"national=20
difference".
Italy has been for almost 50 years an ideological battlefield =
sharpened by=20
beeing one of the burning points of the two Political=20
Blocks.
When the ideological fields collapsed, they brought down with them =
an idea=20
of politics as "expression of ideas".
Now is extremely difficult to define =
what=20
politics are.
In the meantime the only idea left is that ideas/politics are Fake.
And neo-liberism embodies this and a more general pragmatism: if=20
ideas/politics are Fake, the only good politics is the =
one that=20
is on my (economical) side.
There are not morals to defend.
Economy (Money) is all.
And then of course there is the=20
enormous power of the Old=20
Media.
Millions of people watching tv/serials & Talk/shows 24 hour a =
day=20
offered by Big Berlusconi/Brother extend their =
positif=20
judgement on The Man.
This is not old-fashion media-analisys, it's tremendously =
true.
Like in a 50's Science Fiction movie the hypnotical power of=20
TV is now beyond any possible valuation =
and=20
becomes the power of hypnosis of the Man who owns=20
TV.
Ciao
Lorenzo
------=_NextPart_000_0108_01C179CA.76E5A240--
![](3D"cid:part1.3BF903A0.C93F45D7@mec-kuda.org")