From doug@belper.fsnet.co.uk Sat Mar 1 23:08:56 2003 From: doug@belper.fsnet.co.uk (DOUGLAS LEMAN) Date: Sat, 1 Mar 2003 23:08:56 -0000 Subject: [spectre] Heidi Grundmann Publication Message-ID: <000a01c2e047$8a425ce0$ba70893e@default> This is a multi-part message in MIME format. ------=_NextPart_000_0007_01C2E047.88B72900 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi there, Im preparing to write a dissertation and need a copy of the 1984 = publication Art and Telecommunication ed by Heidi Grundmann. Any ideas, = Iv searched all the usual places. Any help will be much appreciated. Please contact dougleman@hotmail.com Cheers Doug ------=_NextPart_000_0007_01C2E047.88B72900 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Hi there,
 
Im preparing to write a dissertation = and need a=20 copy of the 1984 publication Art and Telecommunication ed by Heidi = Grundmann.=20 Any ideas, Iv searched all the usual places.
Any help will be much appreciated. = Please contact=20 dougleman@hotmail.com
 
Cheers
 
Doug
------=_NextPart_000_0007_01C2E047.88B72900-- From splash@year01.com Sat Mar 1 05:57:07 2003 From: splash@year01.com (Year Zero One) Date: Sat, 1 Mar 2003 00:57:07 -0500 Subject: [spectre] Year Zero One presents: the Splash Page Project Message-ID: + + + Year Zero One presents: the Splash Page Project March 1 - May 1 2003 : linkoln.net We are pleased to present net.art bumper stickers by linkoln.net. Grab some printer-friendly labels and print out these slogans for the information age! Since most net.heads have laptops worth more than their cars (if they own a car) perhaps these stickers will appear on more laptop lids than bumpers... The work is currently on view at http://www.year01.com abe linkoln is one online persona of sound / multimedia / and sometimes net artist rick silva (http://lightmovingintime.com). in his one year life online abe linkoln has launched two projects, "net art bumper stickers" and "net.art paparazzi," as well as been the curator of 3 different net art shows; "4z4: a net.art no show", "screened out: a collection of rejected proposals," and most recently "fuck net.art." linkoln.net is also known for its "start page" which features one of the best net art link collections online. Find out more about the mind behind linkoln.net at the website - http://www.linkoln.net Year Zero One has offered its splash page as an exhibition space for artists that will operate on a bimonthly basis. A selection of Canadian and international net.artists have been invited to show their work in this forum. The Splash Page Project launched on Feb. 1, 2002 with a piece by net.artist Mouchette. The Project is curated by Michelle Kasprzak. If you have a proposal for this space, please e-mail: splash@year01.com Year Zero One is an on-line artist run centre which operates as a network for the dissemination of digital culture and new media through web based exhibitions, an extensive media arts directory/bulletin, and the Year01 Forum - an electronic art journal. http://www.year01.com + + + -- From barry.king@aut.ac.nz Sun Mar 2 20:59:11 2003 From: barry.king@aut.ac.nz (Barry King) Date: Mon, 03 Mar 2003 09:59:11 +1300 Subject: [spectre] Unsubscribe Message-ID: Dr Barry King, Associate Professor and Head of School, Communication Studies, Auckland University of Technology, Private Bag 92006. Auckland 1020, New Zealand. Telephone: 64-9-917-9626 Facsimile: 64-9-917-9987 Mobile: 021-555-923 From mpandil@soros.org.mk Mon Mar 3 14:36:03 2003 From: mpandil@soros.org.mk (Misko) Date: Mon, 03 Mar 2003 15:36:03 +0100 Subject: [spectre] INVITATION TO RESIDENCY PROJECT COMPETITION Message-ID: <20030303153534.DB15.MPANDIL@soros.org.mk> INVITATION TO RESIDENCY PROJECT COMPETITION A group of artists from Belgrade has the pleasure of announcing the competition for a 24 hour residential occupation of a Trabant car. The project includes a three day stay for two persons in Belgrade, the capital of Yugoslavia, and covers travel cost, visas, accommodation and living expenses for three days, and the materials required for the art work to be produced during the project. The Trabant Residency Project is an annual event, founded in 2002 by three artists from Belgrade who spent full 24 hours in a Trabant car, and devoted all their time to art work, discussing art, reading about art. Their action led to the institution of an international residential programme. Two artists will be selected among the applicants to participate in the Trabant 03 project. They will spend 24 hours in the old Trabant car, an exhibit at the Last Eastern European Show taking place at the Museum of Modern Art in Belgrade from May 17 to June 15, 2003. They will then take part in the press conference, along with all previous participants of the project. The two artists will then have a two day recuperation stay in Belgrade, which they will be free to spend as they wish. The works and documentation resulting from the activities in the project will be exhibited in the Last Eastern European Show, and will be returned to the authors after the Show is closed. The application must include: 1. Contact address and e-mail 2. Short CV (including short history of art work and activities) 3. Visual materials in digital form (maximum 1MB) The competition is open from March 4th -April 10th and is limited only to artists from EU countries. Send your applications to vladah@bitsyu.net For more details on The Last East European Show see www.msub.org.yu A group of artists: Zolt Kovac Vera Vecanski Vladimir Nikolic --------------------- Original Message Ends -------------------- ------------------------------------------------------- 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 Mar 4 09:36:32 2003 From: mpandil@soros.org.mk (Misko) Date: Tue, 04 Mar 2003 10:36:32 +0100 Subject: [spectre] Reconciling for the Future - The Workshop Message-ID: <20030304103604.3E4C.MPANDIL@soros.org.mk> Forwarded by Misko ----------------------- Original Message ----------------------- From: "RECONCILIATION-CDRSEE" To: "RECONCILIATION-CDRSEE" Date: Mon, 3 Mar 2003 17:12:08 +0200 Subject: Reconciling for the Future - The Workshop ---- "Reconciling for the Future" Weekly newsletter IV March 3, 2003 www.reconcilingforthefuture.org www.see-future.org THE WORKSHOP Thessaloniki, Greece, April 2003 As the internet forum has been successfully running for almost 6 weeks, with 170 registered users and 125 contributions, and having attracted wide media coverage in SE Europe, CDRSEE is pleased to announce the launching of the second phase of "Reconciling for the Future" programme, which is The Workshop. The Workshop will take place in Thessaloniki, Greece, 4-6th of April 2003 and will be the focal point for all contributions and online discussions. Already a new category in the internet forum has been created to assist in the brainstorming for the Workshop and turn all the contributions into useful input for the Workshop's agenda. As the dates for the Workshop are approaching we anticipate recommendations from all of you, the internet forum participants, regarding: a) Specific project ideas that could significantly advance the process of reconciliation in Southeast Europe; b) Whether and how to create one or more Reconciliation Institutes in the region; c) Whether to launch a grass-roots political process and, if so, what the components of that process might be and to identify in what way such an initiative would add value to existing Charters or Declarations. In order to help determine the most important areas on which to focus, we urge you to participate in the following poll. Which of the following are the most important pillars of the Reconciliation Process? a.. Youth & Education? b.. Inter-Religious dialogue? c.. Media? d.. Human Rights? e.. Co-operation through Arts and Culture? f.. Local democracy and cross-border co-operation? * To contribute your thoughts and participate in the poll, visit www.reconcilingforthefuture.org or www.see-future.org => Please also note that two new categories have been created within the workshop area. One for potential donors to review proposed projects and NGOs to share their proposed programmes and another for participants to post information about NGOs, individuals, and projects in the field of reconciliation in the Western Balkans. NGOs and sponsors are encouraged to visit these two pages. --------------------- Original Message Ends -------------------- ------------------------------------------------------- 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 ------------------------------------------------------- --------------------- Original Message Ends -------------------- ------------------------------------------------------- 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 contact@eipcp.net Sat Mar 1 19:53:14 2003 From: contact@eipcp.net (eipcp) Date: Sat, 1 Mar 2003 20:53:14 +0100 Subject: [spectre] debate on cultural policies in Europe Message-ID: eipcp-website: New texts on cultural policies in Europe http://www.eipcp.net/policies/index.html The 'policies'-section of the website of the European Institute for Progressive Cultural Policies has been extended with three texts critically commenting on the recent discussion paper 'Anticipating European Cultural Policies' by Therese Kaufmann and Gerald Raunig, which proposes a new conceptual framework for the ongoing debates on cultural policies in Europe. The analyses/discussions by Dragan Klaic (EFAH), Monika Mokre (FOKUS) and Stefan Nowotny draw upon some of the basic conceptions of the paper (e.g. the connection between cultural programming and a radical democratisation in the EU), contain complementary aspects such as on the Media-programmes in the EU and deepen a critical discourse on the notion of 'culture' as well as its 'autonomy'. --- eipcp - european institute for progressive cultural policies a-1060 vienna, gumpendorfer strasse 63b contact@eipcp.net www.eipcp.net www.republicart.net From Josephine Bosma Wed Mar 5 09:44:02 2003 From: Josephine Bosma (Josephine Bosma) Date: Wed, 5 Mar 2003 10:44:02 +0100 Subject: [spectre] memorial site for Stalin's victims Message-ID: <6412576505.20030305104402@xs4all.nl> hi all, This Russian site is dedicated to Stalin's victims, and apparently has all their names listed. For those of you that can read Russian and find this topic interesting: stalin.memo.ru J * From abroeck@transmediale.de Tue Mar 4 11:43:32 2003 From: abroeck@transmediale.de (Andreas Broeckmann) Date: Tue, 4 Mar 2003 12:43:32 +0100 Subject: [spectre] MA/PgDip in Creative Technology at Salford Message-ID: Creative Technology - MA/PgDip The School of Art & Design, The University of Salford, Greater Manchester, United Kingdom Duration: 1 year full-time; 2 years part-time Course Web Site: http://creativetechnology.salford.ac.uk/ School Web Site: http://www.artdes.salford.ac.uk/ For information about application procedures and entrance requirements please contact: Art and Design Postgraduate Admissions: masters-artdes@salford.ac.uk Tel: 0161 295 6148 For further course information and details please contact: Mathias Fuchs, Programme Leader: m.fuchs@salford.ac.uk Tel: 0161 295 6157 Paul Sermon, Reader in Creative Technology: p.sermon@salford.ac.uk Tel: 0161 295 6149 OVERVIEW The MA/PgDip Creative Technology is a practice-based course focusing on the creative uses of technology. The course's innovative feature is the exploration of the dissolving boundaries between industry, design, visual arts, and computer and communication technology as a result of digital technology. The course brings together a broad range of graduates from a variety of different backgrounds. The course's philosophy is expressed through the following features: Understanding the various approaches, methods, and issues related to digital technology and industrial and creative practice; Gaining specific skills in a number of areas including creative thinking, research methods, computer systems, visualisation, multimedia, interactivity, and telematics; Developing the ability to think dynamically and creatively; Gaining the expertise to focus on a specific avenue of interest, carry out enquiries and experiment, and produce pioneering projects or realise innovative working prototypes and solutions. STRUCTURE Semester 1 encourages students to interrogate technology and its effects through theoretical and practical means and explore notions of creativity and practice. Realisation is carried out through a series of short projects. Emphasis is placed on developing the ability to manage, develop and present ideas, the ability to integrate research findings and issues within a practice-based project, and the ability to analyse projects and project outcomes. Semester 2 focuses on developing the ability to propose, manage and develop a project grounded in thorough research techniques, which embed theoretical enquiry within a practical outcome. The emphasis is placed on students managing and coordinating their own learning, whilst encouraging the exploration of technology at first hand by developing appropriate skills. Students are also encouraged to make contact with practitioners and/or industry to gain support and experience of professional practice. Semester 3 is purely self-directed. Each student undertakes a practical project, which requires project initiation and self-management of their studio, workshop and research time. Students interact with each other at regular work-in-progress reviews, and are also supported by a regular series of personal tutorials with their project supervisor and module coordinator. FEATURES This programme brings together a wide and varied intake of graduates from differing creative and technological backgrounds. Its diverse features keep students informed about recent developments, events, festivals, conferences and symposia in the field of creative technology. Guest artists and researchers demonstrate their projects and investigations, and students receive an insight into state-of-the-art techniques, artistic strategies and creative methodologies. The guests on one hand demonstrate their work and on the other hand discuss the students' work in progress. A website presents ongoing events, discussions and theoretical considerations to a wider public. Additionally, selected printed media distributes information about the course and its participants to relevant festival sites, partner universities and project supporters. Students undertake a range of visits to production facilities, art shows, exhibitions, trade shows, consultancies and artists' studios in the U.K. Europe, and the USA.. Special projects allow students to participate in high-profile international art events and get in touch with international artists and critics. In particular, telematic events, web-based work and projects in collaboration with partner universities prepare students for personal exchange and knowledge dissemination. The course is affiliated to the Creative Technology Research Group headed by Paul Sermon, Reader in Creative Technology at the University of Salford. The research group is involved in a wide array of art, design and technology research, including a virtual university project in collaboration with English, French, Canadian, Austrian and U.S. universities. Prototyping events for remote teaching and joint artistic practice are conducted through the framework of the course. Some of the main features of the MA in Creative Technology programme have many parallels and crossovers, in terms of both teaching staff and research, with the BSc in Computer and Video Games course. APPLICANT PROFILE This programme has always attracted graduates from a diversity of backgrounds including visual arts, design, computing, engineering, marketing, music, multimedia, sociology, media studies and many more. Students are challenged to work on technically complex and artistically demanding projects which are aimed at developing new approaches to non-standard problems. A high degree of cooperation amongst students on the one hand and between course members and external specialists on the other is required. GRADUATE DESTINATIONS Maria Stukoff: 2001: Artist, Freelance New Media Curator and Consultant: VIPER Festival, Switzerland Greg Lock: 1998: Research Artist: University of Salford, Centre for Virtual Environments Paul McIntosh: 1998: Web Manager at Cando Steve Symons: 1998: Programme Leader, MA Multimedia Arts, Liverpool John Moores University From atordai@mail.dntcj.ro Tue Mar 4 10:05:42 2003 From: atordai@mail.dntcj.ro (Attila Tordai) Date: Tue, 4 Mar 2003 11:05:42 +0100 Subject: [spectre] UnoccupiedTerritories - call for participation Message-ID: CALL FOR PARTICIPATION Unoccupied Territories Inhabited zones and overlapping mind-made constructions in our everyday life =93In spite of its ubiquity, everyday space is nearly invisible in the professional discourse of the city... (...) These spaces exist physically somewhere in the junctures between private, commercial and domestic.=94 (Margaret Crawford, =93Blurring the Boundaries: Public Space and Private Life=94) =93Unoccupied Territories=94 is the first event of the cultural exchange program =93Her und Hin=94 organized by K&S Gallery, Berlin. The project deals with the creation of psychological spaces, and poses the question whether and how we occupy public or private space determined by urban planning. =93Non-places" appear around us day by day - spaces that are non-specific, could be anywhere without a possibility to connect with. It has to be noted though that the same space can be fully and intimately inhabited by a person although it will remain alien to another person. Furthermore, an area that is familiar to a local person might feel very hostile to an immigrant and vice versa. Perhaps we all inhabit different personal spaces in various ways. We are collecting contributions, short personal interpretations - from writers, architects, scientists, social workers, scholars, fellows, emigrants and ordinary people - that investigate issues of =93territories=94 in a social and cultural sense: how occupied or unoccupied territories are perceived, in which directions can they be extended as a discourse? Please submit texts between 1 sentence and 10 pages, and sent it to the following address: Galerie K&S Linienstr. 156 /157 10115 Berlin or via e-mail to: k-s@dland.de, atordai@mail.dntcj.ro Deadline: March 26, 2003, 23:45h. The selected texts will be printed and presented in Galerie K&S, Berlin, from April 11 to May 31 as the first part of the =93Unoccupied Territories=94 exhibition. The submissions can be in any languages, but NO text will be translated. All materials are going to be published in a catalogue at the end of the year. The project is curated by Attila Tordai-S. (from Cluj, Romania), guest curator of K&S. Galerie K&S is an initiative of Akademie Schloss Solitude, Stuttgart and K=FCnstlerhaus Bethanien, Berlin. The international exchange program =93Her und Hin=94 manifests itself as a culture transfer and will be accompanied by art magazines. Art administrators, curators and artists from Eastern Europe, will have the opportunity to get connected with the networks of both artists=92 houses (RESIDENCY PROGRAMS) and K&S Gallery, to meet their fellows and other artists and to work on collaborative projects. The exhibitions, symposium, discussions etc., resulting from this exchange, will first take place in Berlin and then in the respective partner=92s city. Miriam Bers is the program coordinator. The international exchange program =93Her und Hin=94 is friendly supported by the Allianz Kulturstiftung. From ft@gewi.kfunigraz.ac.at Wed Mar 5 10:24:53 2003 From: ft@gewi.kfunigraz.ac.at (f,) Date: Wed, 5 Mar 2003 11:24:53 +0100 (CET) Subject: [spectre] fwd: call for applications: jan van eyck academie Message-ID: sorry for crosspostings THE_JAN_VAN_EYCK_ACADEMIE_POST-ACADEMIC_INSTITUTE_FOR_RESEARCH_AND PRODUCTION_IN_FINE_ARTS, DESIGN, THEORY_INVITES ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- --> ARTISTS ---------------------------------------------------------------------------- --> DESIGNERS ---------------------------------------------------------------------------- --> THEORISTS ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- TO APPLY FOR A ONE OR TWO YEAR RESEARCH PERIOD, STARTING IN JANUARY 2004 ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- The Jan van Eyck Academie offers artists, designers and theorists time and space to set up research projects and realise productions. The objectives of researchers and advising researchers are of primary significance to the Œheterogeneous¹ programme at the Jan van Eyck Academie ­ the programme covers everything that is being Œdone¹ and Œmade¹ by the researchers and the artistic/technical members of staff. Researchers are expected to establish the aims, methodologies and realisation of their projects as well as to be engaged with what is being produced by fellow researchers. ---------------------------------------------------------------------------- The Jan van Eyck Academie facilitates an advisory framework for individual and collaborative projects. Besides a stipend, a production budget and a studio, researchers are offered access to the technical workshops (materials, graphics, photography, time-based media, computer), the library and the facilities of the production bureau. For Dutch researchers costs for living accommodation in Maastricht are compensated. Foreign researchers are offered assistance in finding additional financial means. ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- THE FOLLOWING ADVISING RESEARCHERS ARE ACTIVE IN THE JAN VAN EYCK ACADEMIE ---------------------------------------------------------------------------- --> NORMAN BRYSON --> MARC DE KESEL --> SUE GOLDING --> SUCHAN KINOSHITA --> JOUKE KLEEREBEZEM --> AGLAIA KONRAD --> EVA MEYER --> JOHN MURPHY --> ERAN SCHAERF --> FILIEP TACQ ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- Information on the departments of Fine Art, Design and Theory, as well as details about conditions, grants and registration can be found at >http://www.janvaneyck.nl< Application forms can be downloaded. Application along with research proposals, in English, should be submitted before 1 May 2003 to the Jan van Eyck Academie, Academieplein 1, 6211 KM Maastricht, Netherlands, to the attention of Leon Westenberg T +31 <0>43.3503724, F +31 <0>43.3503759 E leon.westenberg@janvaneyck.nl ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- CURRENT RESEARCH PROJECTS AND PRODUCTIONS INCLUDE ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- An interactive visualisation of patterns inside (Chinese) language ---------------------------------------------------------------------------- Communicating Books ---------------------------------------------------------------------------- The Genesis of the Cliché of Belgian Art, On the Popularisation of Contemporary Art, On the Mediatisation of Art ---------------------------------------------------------------------------- On contemporary drawing Practices ---------------------------------------------------------------------------- Ambient Pitch ---------------------------------------------------------------------------- Production books on housing, public space and a new urban paradigm ---------------------------------------------------------------------------- The material History of Radio and Comics, The Benefit of popular Culture, Who is Superman? ---------------------------------------------------------------------------- What is the Body in a Lapse, a transitional Moment, a Moment of Disappearence? ---------------------------------------------------------------------------- Food, Eating and the Body in contemporary Cultural Production ---------------------------------------------------------------------------- Poetry, Philosophy and Prose ---------------------------------------------------------------------------- Website Jan van Eyck Academie ---------------------------------------------------------------------------- How Theory and Practice of New Media Art bite at each other ---------------------------------------------------------------------------- A Matter of Place and Time ---------------------------------------------------------------------------- Annual report Jan van Eyck Academie ---------------------------------------------------------------------------- Photography as a Means of Art History in the 19th Century ---------------------------------------------------------------------------- Š ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- More information on research projects can be found at >http://www.janvaneyck.nl/policy/polres.html< ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- PROGRAMME SPRING 2003 ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- 10.03.2003: Terror on Images. Iconoclasm ---------------------------------------------------------------------------- 02.04.2003: The Mediated Body ---------------------------------------------------------------------------- 11.04-11.05.2003: Personal Publishing Pandemonium ---------------------------------------------------------------------------- 15.03-15.04.2003: exhibition Jan van Eyck (ex-) researchers at Centre for Contemporary Art in Vilnius [LT] ---------------------------------------------------------------------------- Ongoing Seminars: Dirty Theory >; Lacan's 7th and 11th Seminar >; On the Deviant ; The Book ; Undercover Autobiography ---------------------------------------------------------------------------- Book Launches: En coulisses, parfois les artists changent de costumes ; Diagonal: Essays on contemporary Cuban Art ; Proceeding#1 Dakar ; Scripta Manet ; The Milgram Re-enactment ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- An update of the programma of the Jan van Eyck can be found at >http://www.janvaneyck.nl/programme/propro.html< ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- GUESTS in 2003 include --> Tony Ackroyd, Alev Adil, Jan van Adrichem, Hildegard Amenshauser, Ernst van Alphen, Orla Barry, Yves Bernard, Hugues Boekraad, Pavel Braila, Max Bruinsma, Sabet Buchman, Esther Cleven, Leo Delfgaauw, Johan Deumens, Ryan Gander, Antje von Graevenitz, Fons Haagmans, Cees Hamelinck, Els Hoek, Katalin Herzog, Myriam van Imschoot, Steven Jacobs, Steve Kennedy, Mark Kremer, Amadeus Kronheim, Giles Lane, Patricia van der Lugt, Sven Lütticken, Gabrielle Marks, Mairead McClean, Rogerio Lira, Bart Lootsma, Stefan Majakowski, Jos de Mul, Martijn van Nieuwenhuizen, Despina Papadopoulos, Dirk Pültau, Riek Sijbring, Femke Snelting, James Swinson, Theo Tegelaers, Antoon Van den Braembussche, Renée van de Vall, Philip Van Haute, Daniël van der Velden, Hildegard Westerkamp, Katharina Zakravsky, Robert Zwijnenberg. ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- ---------------------------------------------------------------------------- From netwurker at hotkey.net.au Fri Mar 7 11:52:04 2003 From: netwurker at hotkey.net.au (][mez][) Date: Fri Mar 7 01:58:05 2003 Subject: [spectre] ANNOUNCING: mez@boringart.com Message-ID: <5.1.1.6.0.20030307115152.046a1d18@pop.hotkey.net.au> ___ Boring Art proudly presents mez@boringart.com .......................... pro][tean][.lapsing.txts . . With a critical presence of mind net.wurker][mez][ researches structures of language, inter alia; far beyond from the perspectives of Wittgenstein, Barthes, Kristeva or Derrida. With a wit and acuity the code of the visual mezangelles simultaneously slices and intertwines the semiotic and semantic discourses to coexist within the riveting structure of art'wurk' in a very unconcized and evokingly pleasurable forms of 'all the _texts_' . hence, dictum sapienti sat est - respice finem .. are you ready for a sneak preview ?? --- {i. am. [trapped. in. seizure. language. | part girl| [part][ial][ boy () c|or|e [war][e][s | ][fairy f][ [lossed chip & coded dale | . . .... ..... net.wurker][mez][ .][E][mot][E][ion capt][l][ure.goes.here. xXXx ./. --- [TXT] ::][syn][tax.onomic bone-like language ::ab][c][ode searching vs t][crunc][hickening syntax ::body clo][cks][g.gages ::new ][sub][genreism ::har][de][mon][ic][y balancing . . .... ..... blind [t]rusting.txt . . *star[.dot]*star Subject: mETAstasize [21:11] AltX claims that the imprint brings to web-readers a must-have library of uncategorizable writing being produced by some of the most provocative artists in contemporary new media culture --- [21:19] I think of Mez' and my work, some of which is in the email list "format" - and I know for myself how hard it is to republish or recapitulate this - [21:20] <][mez][> egg.actly alan. my contribution that's n.cluded in the Hard-Code ebook was not the mezanglled version that i n.dicated but the translated version...again, that recourse to traditionality even here.... (r2) !: [21:29] *** ][mez][ has quit IRC (QUIT: .i.dream.the.n e X ][t][ us. ) . . .... ..... net.coder][mez][ .net.c][haracter][o.ding][!][. .. Subject: _net.code(r2) !: November 4th 2001:_ --- ][mez][ says, "...all the _texts_ [and I use this term 2 n.clude the whole shebang, not just the typed components] should be able 2 b negotiated [in terms of meaning] from the very email core that I have constructed ini.tially, in ut][n][e][t][ro.........but I find that ppl r reluctant 2 do so........" _net.code(r3) !: Sunday April 21 2002 :_ --- More ? pro][tean][.lapsing.txts [ http://www.boringart.com ] 06/03/03-07/04/03 and remember; is your life Boring enough !! Maria Tjader-Knight AD Curator BoringArt From nc-agricowi at netcologne.de Fri Mar 7 08:53:13 2003 From: nc-agricowi at netcologne.de (ViolenceOnlineFestival) Date: Fri Mar 7 08:56:37 2003 Subject: [spectre] Violence - Version 6.0 - Call for new entries Message-ID: <00c601c2e47e$9b58de60$0600a8c0@NMARTPROJECTNET> Violence Online Festival News www.newmediafest.org/violence/ 1. Version 4.1 - TURBULENCE Spotlight 2. Version 5.0 3. Version 6.0 - Call for new entries ************************************* 1. On occasion of New York's TURBULENCE Spotlight on: Agricola de Cologne and his Violence Online Festival www.turbulence.org/spotlight/agricola online since 4 March Violence Online Festival launches Version 4.1 on 7 March 2003. Version 4.1 includes some new artists/works among them Mark Palmer, Atana Dojonv, Igor Marinkovic and Roland Schappert, and different additional changes. www.newmediafest.org/violence/ 2. On 17 March 2003, Version 5.0 of Violence Online Festival will be launched. 4. Looking for new entries for inclusion in Version 6.0 to be launched on 4 April on occasion of the participation in 1st New Media Art Festival Chiang Mai (Thailand) 4-15 April 2003. Violence Online Festival is looking for new artists reflecting violence. Special subject is this time "Rape". Subject is still ongoing, as well as violence of any kind. You find the entry form for this current call on www.newmediafest.org/violence/ contacts: violence@newmediafest.org ********************************************** TURBULENCE Spotligh ton: Agricola de Cologne For Immediate Release March 4, 2003 Turbulence Spotlight: Agricola de Cologne http://turbulence.org/spotlight/agricola “Agricola” stands for humanity, and the combination of art and humanism; the city of Cologne stands for art and culture. Therefore, the brand "Agricola de Cologne" stands for awareness of history, humanity, and new ways of approaching art. Agricola's “brand” penetrates his art. Currently his works are net-based and incorporate strong multimedia, collaborative and networking components. The result is a universe of multifaceted sites and art projects incorporated in the "NewMediaArtprojectNetwork" created by the artist. All three works on Turbulence point to interactive aspects of Agricola's net-based works: "[and_scape]" (2002) is based—like most of his individual works—on Agricola's specific language of "Simultaneous Associative Media Art Composing." In short, this associative working system uses and develops a variety of different media simultaneously: in this case, programming, image, voice, sound, music, and words/text. The work was inspired by texts of the Chernobyl survivor Liubov Sirota. "Family Portrait" (2001), a collaborative documentary, focuses on the three female members of the Partnoy Family, all of them active as artists in different disciplines, who escaped from the so-called Argentine Holocaust, persecution and imprisonment. Conceptually, "Violence" (2002-2003) is the most complex of the projects: it is an ongoing online festival curated by Agricola in which more than 200 artists from 30 countries reflect on the phenomenon of violence. Their works are embedded in the dynamic environment of a virtual media company, "Violence Media Incorporated." “Violence” recently received the "Special Prize of the Organisation Committee of Computer Space Festival 2002" Sofia (Bulgaria). BIOGRAPHY Agricola de Cologne is a multidisciplinary media artist, new media curator, and creator of NewMediaArtprojectNetwork. He has had more than 100 solo exhibitions in cooperation with more than 70 museums throughout Europe. Agricola has participated in a variety of international media festivals including THAW 02 Iowa City (USA), FILE Festival 2001, 2002 Sao Paulo (Brazil), MediaTerra Festival, Athens (GREECE), and Art on the Net 2001, 2002. His net-based art works have received numerous prizes. For more information about Turbulence’s projects, please visit http://turbulence.org From gordana.novakovic at virgin.net Fri Mar 7 10:59:31 2003 From: gordana.novakovic at virgin.net (Gordana) Date: Fri Mar 7 12:07:04 2003 Subject: [spectre] Prosthetic Head: Stelarc Premiere Message-ID: <010b01c2e499$18efe7a0$1bb4fea9@b9i5o4> Dear friends, It is a shame that ICA did not announce the real new media event after such a long time finally in London - Stelarc's new work and talk. So, for all of you who are at the moment in London: London Premiere Lecture: 7 Mar, 8pm Installation: 7-12 Mar, 12-6pm Stelarc: Prosthetic Head Stelarc has constructed an automated, animated and intelligent artificial head that speaks to you as you interrogate it. The Prosthetic Head is a 3D avatar head that has real-time lip syncing, speech synthesis and facial expressions. The Prosthetic Head will also be able to acknowledge the presence and position of the physical body that approaches it. And eventually it will be able to analyse the user's tone of voice and facial expression. The Prosthetic Head will have the capability of expanding its data base from the conversations it will have, becoming increasingly autonomous in its responses. The artist will then no longer be able to take full responsibility for what his head says. Lecture:?8, ?7 Concs. ?6 ICA Members Installation Free with Day Membership ICA The Mall London SW1Y 5AH Tel: 020 7766 1422 -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/attachments/20030307/bd9dab0a/attachment.xhtml From graeme.kirkpatrick at UNN.AC.UK Fri Mar 7 12:04:47 2003 From: graeme.kirkpatrick at UNN.AC.UK (Graeme Kirkpatrick) Date: Fri Mar 7 16:35:39 2003 Subject: [spectre] MA Computer Game Studies Message-ID: MA Computer Game Studies From October 2003, Northumbria University will be the first in the English speaking world to offer a Master of Arts degree in Video Game Studies. The degree will look at computer games as cultural artefacts worthy of serious scholarly attention. The history, sociology and cultural significance of games like ?Centipede?, ?Black & White?, and ?Grand Theft Auto? will be explored using a range of interpretative and analytical methodologies. The course has the following aims: ? To introduce the idea that the video game is an expressive cultural medium of broad scope and significance ? Review the main interpretive strategies and methods that have been used to analyse the computer game as a cultural phenomenon ? Encourage students to draw on sources from more than one discipline to develop critical perspectives on computer games These will be realized through discussion of the following themes: ? The history of computer games ? The diverse narrative genres of computer game and the conceptual and analytical frameworks with which to categorise them ? Comparison and integration of perspectives on the ?game play? situation ? The socio-technical basis of game production and classification of games templates ? The changing demographics of computer game consumption, including the question of gender ? Development of critical perspectives on games playing The degree has been welcomed as a 'very exciting development' by Jason Della Rocca, president of the International Game Developers Association, and we hope to involve the growing number of UK based storyline consultancies in the delivery of some classes. Computer games are an educational resource, a medium for self-expression and a professional sport. Graduates from the degree will be able to contribute to the development of a new cultural industry. They will be extremely well-placed to find work in the following areas: ? Story-line and character consultancy ? Game journalism ? Game testing ? Games retail ? Digital archiving In a small way, the existence of a course that is dedicated to analysing the meaning of computer games will contribute to the growing self- confidence of the computer games industry as a cultural, as well as technical and economic force in contemporary society. Our graduates will find that they have the expertise to ensure that people and society get the games they deserve. This expertise is likely to be of increasing value as games technology continues to develop. Anyone with a good honours degree and a genuine interest in computer games is welcome to study on the degree. Applications are being considered now. For further information and an application form, contact: Dr Graeme Kirkpatrick, School of Arts & Social Sciences, Northumbria University, Newcastle-upon-Tyne NE1 8ST. Tel: 0191 227 3413 graeme.kirkpatrick@unn.ac.uk From right at xnet.ro Sat Mar 8 19:59:08 2003 From: right at xnet.ro (Razvan Ion) Date: Sat Mar 8 18:54:08 2003 Subject: [spectre] artphoto new online issue Message-ID: <006701c2e59c$6aabd460$ec78e7c1@b.astral.ro> artphoto contemporary art magazine dedicated to photo & video has launched a new issue online at www.artphoto.ro We remind you the second printed issue is on sale.(English/Romanian) orders for printed edition can be send to artphoto@pcnet.ro generously supported by Pro-Helvetia & Fabrik a magazine & catalogue edited by Razvan Ion & published by Zoom Foto Film Foundation Please forward this message to your partners and friends. Thank you.-------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/attachments/20030308/51492351/attachment.xhtml From netwurker at hotkey.net.au Sun Mar 9 10:23:30 2003 From: netwurker at hotkey.net.au (][Buyo][Logical) Date: Sun Mar 9 00:21:52 2003 Subject: [spectre] [Buyo]_Logical Pop_ Message-ID: <5.1.1.6.0.20030309102251.0202d6f8@pop.hotkey.net.au> _[Buyo]Logical Pop Cult[ural] M.[*.ap]Perri.[R]tiff_ +[man.]data painted lives < + > standard longevity varnish +remove nuclear fa[em]m[e]ily constraints + switch.writ yr conscious in2 the mut[e. N t(e)xt]ant.age +conti[mo.bile.an]nuity pro.mise[rly]s + blau-moonish seep.ia to.ne[o].alities [] +abortiff c[abled] onnec.t.issuing < = > [grand] supra.marketing malls + media-s[l]eizure packaging +rust-tinted d[r]oll[i]s[h] [r]anch.o.red wimmen + twinned_metier pedals vying w.ar[gentile] dribbling +old [fish&bird shoals] s.kool [de]Bord[.ing]s permanent|wired_meme dam[n]age _[Re]al.l.igned D[b]ipol[ar]e Reality Fractures < seek > Tensile Wirelessness_ ************************ - pro][rating][.logical.txt - - http://www.hotkey.net.au/~netwurker/txts _ _sparks of lost buyo][logic][pop][+n.cultured][_ From sagasnet at sagasnet.de Sun Mar 9 23:29:57 2003 From: sagasnet at sagasnet.de (sagasnet) Date: Sun Mar 9 23:34:19 2003 Subject: [spectre] Developing Interactive Entertainment Workshop___Karlsruhe_Helsinki Message-ID: Due to last minutes cancellations two places available still ! _______Developing Interactive Entertainment Workshop Greg Roach (Hyperbole Studios, LA) Part 1 Concepting: 20.3. ? 26.3.2003, ZKM Karlsruhe Confirmed speakers: Ted Evans, Flextech Television (London) Maureen Thomas, CUMIS Cambridge University Moving Image Studio, Mika Tuomola, Media Lab UIAH, Helsinki Olivier Janin, TEAMCHAMN Part 2 Prototyping: 23.9. ? 29.9.2003, UIAH, MEDIA LAB, Helsinki _______Funding for travel and hotel costs ? to a limited extend ? available. In this intensive hands-on workshop the relationship between storytelling, visual media techniques and interactivity will be explored in depth. During part 1 participants work in teams on the development of several interactive narrative concepts, 2 ? 3 of these concepts will be selected for being prototyped in part 2. Preliminary Timetable Part 1 Thursday, March 20 2003 Arrival 4.00 p.m. Guided Tour through FUTURE CINEMA exhibition 6.30 p.m. Meet & Greet (details t.b.a.) Friday, March 21 2003 9.15 a.m. OPENING SPEECH 9.30 a.m. Greg Roach INTRODUCTORY LECTURE I: Basic theories of interactive narrative design, examining the similarities and differences between traditional media, games and interactive entertainment and detailing important conceptual and design principles. 11.15 a.m. Maureen Thomas INTERACTIVITY AND NARRATION - LECTURE with following DISCUSSION 1.45 p.m. Greg Roach INTRODUCTORY LECTURE II Tools, media, production and development - examining the practical reality of creating large-scale interactive media products. 3.30 p.m. Participants presenting individual interactive ideas (5 min max. per person) - group forming process Saturday, March 22 2003 9.15 a.m. Greg Roach INTRODUCTORY LECTURE III: Platform and the marketplace - examining the market and technology forces which have become the gatekeepers of content distribution and identifying strategies for successfully managing these expectations. 11.00 a.m. Mika Tuomola INTERACTOR CHARACTERISATION - LECTURE with following discussion Interactive entertainment emerges in collaboration and/or by accepted rules between the "Authored Actors" (machine agents, bots) and "Interactors" (human agents, users). The encounter of the Actors is dramatic, narrative by the means of character action: the Interactor acts with or within the work and thus drives the whole (temporal-spatial) action of it among the other Actors. In stand-alone computer games, the relationship is generally between Authored Actors and somehow characterised and limited Interactor. On the other hand, online virtual worlds typically put more weight on the relationship between the Interactors. In both cases and the cases in between them, one must emphasise Interactor's characterisation in design: the interactive entertainment must be made effective mainly by the means of necessarily characterised interactions, as drama becomes effective by character actions. 1.30 p.m. Ted Evans STORYBASED iTV APPLICATIONS - PRESENTATION with following DISCUSSION 3.15 p.m. Olivier Janin, BANJA INTERACTIVE FICTION - PRESENTATION with following DISCUSSION BANJA - a award winning - interactive series broadcasted on broadband web portals in Europe, America and Asia brought several innovations, like: -creating within the comedy a dynamic for the audience, both individual and communal, -mixing a scheduled narrative content delivery with an unlimited entertainment area, -interfacing the program with the fiction itself. 5.00 p.m. group work Sunday, March 23 2003 9.30 a.m. Greg Roach GROUP WORK 11.00 p.m. Greg Roach First PRESENTATION of group concepts with following DISCUSSION 1.30 p.m. Greg Roach GROUP WORK Monday, March 24 2003 9.15 a.m. Greg Roach GROUP WORK 11.00 a.m. Greg Roach USER TESTING of group concepts with following DISCUSSION 2.00 p.m. Greg Roach GROUP WORK Tuesday, March 25 2003 9.15 a.m. Greg Roach GROUP WORK 1.00 p.m. Greg Roach PRESENTATION and DISCUSSION of final concepts ____working language: English creative cross-disciplinary workshop addressing writers, director, producers, developers, designers, programmers,... _____more details and application forms available at www.sagas.de >>> sagas Writing Interactive Fiction >>> is a joint non-profit initiative of the >>> European MEDIA Programme Training >>> -and the Academy for Film and TV Munich >>> aimed at developing fiction writing skills for the interactive media market. >>> sagas Writing Interactive Fiction creative cross-disciplinary workshops >>> are addressing European media professionals like scriptwriters, directors, >>> producers, >>> artists, designers, developers, programmers ... Best regards, Brunhild Bushoff ---------------------------- sagas Writing Interactive Fiction c/o Bayerisches Filmzentrum Bavariafilmplatz 7 D-82031 Muenchen-Gruenwald tel + 49 89 64 98 11 30 fax + 49 89 64 98 13 30 mobile + 49 (0) 171 45 28 0 52 URL http://www.sagas.de e-mail info@sagas.de a joint initiative of MEDIA Programme TRAINING & Academy for TV and Film Munich -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/attachments/20030309/ae3996b7/attachment.xhtml From are at xs4all.nl Mon Mar 10 15:45:10 2003 From: are at xs4all.nl (Károly Tóth) Date: Mon Mar 10 15:45:36 2003 Subject: [spectre] ZEROGLAB VIDEO - S&M&DC - ~10SEC Message-ID: <001201c2e713$a748b4b0$4601010a@mumus> ZEROGLAB VIDEO - S&M&DC - ~10SEC __________________________________________ http://www.xs4all.nl/~are/assets/multimedia/zeroglab_s&m&dc.avi s&m&dc = sex + money + dead conscience enjoy! from zeroglab ____________________________________ zeroglab nanofestival nanofestival@xs4all.nl http://www.xs4all.nl/~are/html/nano.html From garrett.lynch at eudoramail.com Mon Mar 10 16:55:25 2003 From: garrett.lynch at eudoramail.com (- G a r r e t t -) Date: Mon Mar 10 18:10:05 2003 Subject: [spectre] None Message-ID: +-----------------------------------------------------------+ Hello everyone The Banner Art Collective (http://bannerart.org/), in collaboration with Velvet-Strike (http://www.opensorcery.net/velvet-strike/), announces the Banner-Strike Contest. Banner-Strike is a contest for digital graffiti and net.art that is created under specific limitations and which critically examines the impending war in Iraq. All entries will be displayed in bannerart.org's ongoing banner art exhibition and also turned into a Velvet-Strike spray (to be installed in Counter-Strike). The winner of the contest will win the October 2003 release of Counter-Strike: Condition Zero and will be highlighted on the front page of both sites for one month. The deadline for submissions is 16 April, 2003. The winner will be announced on 18 April, 2003. - Technical Requirements - Submitted banners need to be in gif or jpeg/jpg format with no animation. All of the following sizes are acceptable: 234x60, 88x31, 120x60, 120x240, 125x125, 240x400, 300x250, 336x280 and 250x250. To submit, go to bannerart.org and use the submission form upload your work for review. Please mark in the "special requirements" field on the upload form that your submission is for the contest and not just for normal entry to the site's continuing banner art exhibition, submissions for which are continuing as usual. All entries will be shrunk proportionally and converted to a spray paint .wad file by the creators of Velvet-Strike. You can do this conversion yourself to test how your work might look, by downloading the freeware application "Wally 1.55b" on the "Counterspray" site (http://www.counterspray.com/makeyourown.htm). Below is the list of conversion sizes that will be used: 234x60 half-banner->192x48 88x31 microbar->96x32 (with a transparent border) 120x60 button->96x48 120x240 button->64x128 125x125 button->96x96 240x400 rect->48x80 300x250 rect->96x80 336x280 rect->96x80 250x250 popup->96x96 Any technical questions should be directed to Brandon Barr (brandon@bannerart.org), Garrett Lynch (garrett@almost.be), or Anne-Marie Schleiner (opensorcery@opensorcery.net). +-----------------------------------------------------------+ a+ Garrett Lynch / Brandon Barr -- +-----------------------------------------------------------+ -- +-----------------------------------------------------------+ Garrett@asquare.org http://www.asquare.org/ http://www.bannerart.org/ http://www.zendco.com/ http://rhizome.org/member.rhiz?user_id=1000113 +-----------------------------------------------------------+ From gordana.novakovic at btopenworld.com Fri Mar 7 10:56:12 2003 From: gordana.novakovic at btopenworld.com (gordana.novakovic) Date: Mon Mar 10 18:11:53 2003 Subject: [spectre] Prosthetic Head: Stelarc Premiere Message-ID: <00e801c2e498$369e4860$1bb4fea9@b9i5o4> Dear friends, It is a shame that ICA did not announce the real new media event after such a long time finally in London - Stelarc's new work and talk. So, for all of you who are at the moment in London: London Premiere Lecture: 7 Mar, 8pm Installation: 7-12 Mar, 12-6pm Stelarc: Prosthetic Head Stelarc has constructed an automated, animated and intelligent artificial head that speaks to you as you interrogate it. The Prosthetic Head is a 3D avatar head that has real-time lip syncing, speech synthesis and facial expressions. The Prosthetic Head will also be able to acknowledge the presence and position of the physical body that approaches it. And eventually it will be able to analyse the user's tone of voice and facial expression. The Prosthetic Head will have the capability of expanding its data base from the conversations it will have, becoming increasingly autonomous in its responses. The artist will then no longer be able to take full responsibility for what his head says. Lecture:?8, ?7 Concs. ?6 ICA Members Installation Free with Day Membership ICA The Mall London SW1Y 5AH Tel: 020 7766 1422 -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/attachments/20030307/63ef7e7a/attachment.xhtml From adrian.miles at uib.no Sat Mar 8 11:02:11 2003 From: adrian.miles at uib.no (Adrian Miles) Date: Mon Mar 10 18:12:48 2003 Subject: [spectre] vog: a manifesto Message-ID: distributed desktop interactive video, a possible future. videoblog::vog 28 months | 36 vogs [http://hypertext.rmit.edu.au/vog/] vogma a manifesto [ in no particular order ] a vog respects bandwidth a vog is not streaming video (this is not the reinvention of television) a vog uses performative video and/or audio a vog is personal a vog uses available technology a vog experiments with writerly video and audio a vog lies between writing and the televisual a vog explores the proximate distance of words and moving media a vog is dziga vertov with a mac and a modem a vog is a video blog where video in a blog must be more than video in a blog [first published december 6 2000 - http://hypertext.rmit.edu.au/vog/manifesto/] vog literacy http://hypertext.rmit.edu.au/vog/vlog/archive/2002/42002.html#1509 a vog is http://hypertext.rmit.edu.au/vog/vlog/archive/2002/22002.html#1080 all work requires qt5.x or better. cheers adrian miles -- + lecturer in new media and cinema studies [http://hypertext.rmit.edu.au/vog/vlog] + interactive desktop video developer [http://hypertext.rmit.edu.au/vog/] + hypertext rmit [http://hypertext.rmit.edu.au] + InterMedia:UiB. university of bergen [http://www.intermedia.uib.no] From ruine-kuenste.berlin at snafu.de Mon Mar 10 21:51:23 2003 From: ruine-kuenste.berlin at snafu.de (Ruine der Kuenste Berlin) Date: Mon Mar 10 21:56:35 2003 Subject: [spectre] Betreff: [rohrpost] Net.art deceased: Buchneuerscheinung Message-ID: <001d01c2e746$d37b5f00$014349d5@taivun> -----Ursprüngliche Nachricht----- Von: "Gerrit Gohlke" An: Gesendet: Sonntag, 9. März 2003 21:34 Betreff: [rohrpost] Net.art deceased: Buchneuerscheinung Wenn schon Mutter AN(N)A log, was erwartet Ihr vom Sohn DIGI Tal ? Wolf Kahlen wolf.kahlen@tu-berlin.de PS. Wer's denn genauer wissen möchte: Wir (ich will nur für Künstler sprechen) haben alle das gute Recht, immer wieder neu die Kunst tot zu sagen, besonders, wenn wir mit zu falschen Hoffnungen angetreten sind, aber sie dann auch wieder auferstehen zu lassen, wenn die eigene Weltwahrnehmung sich ändert.Die 'Krankheit' (Goriunova), die zu den Hinrichtungen wie den Wiedergeburten führt und immer schon geführt hat, ist, dass in der Kunstgeschichte der Menschheit, die eine Material- und Mediengeschichte ist, mit jedem neuen Wahrnehmungswerkzeug (aller 12 oder mehr Sinne), ob Spiegel...Kamera...Video...Audio...Internet...(füllen Sie die Räume davor und danach weiter aus,wenn Sie wollen) die bürgerliche, also nicht von den Künstlern, die sich später als 'ewig' herausgestellt haben, sondern von denen, die letztendlich doch 'nur Bürger' mit ein paar klugen Wahrnehmungen waren, gesellschaftliche Hoffnungen für ihren menschenverbessernden Einsatz gehegt wurden.Und das ist selten unsere Aufgabe, meine nie, gewesen. Kurz: .....Dada hat keinen normalen Menschen aufgeweckt, sondern war das hohe Kunstvergnügen der Intellektuellen....Popkunst ebenso wie Fluxus, Happening, Video...Die 'ganz Grossen' haben sich erstaunlich zurückgehalten in ihren Euphorien oder hoch über die Latte alles Möglichen zu springen hinausgezielt, sich also wiederum letzlich ein intellektuelles Vergnügen aus dem Unerreichbaren gemacht. Das ist, wenn man kühl hinsieht, leider so, sorry für alle Anderen, die es auch (allzu)gut meinten. Die 'Zweitrangigen' (das ist nur numerisch gemeint) waren eben doch nicht die Künstler in erster Linie, die -und darauf kommt es an, auf nichts Anderes : -das im Hegelschen Sinne wesentlich Geistige, sich sinnlich äussern zu lassen, beherrschten. Das Dilemma (bis auf eine wirkliche Handvoll Namen), dass sich Andere vielleicht schneller gesellschaftutopisch, vermeinttlich realitätsbewusster geäussert haben, aber ihre Kraft nicht reichte, um -jetzt gehen wir ins Netz - eine neue Wirklichkeiten-Präsenz (siehe oben: An(n)a log...) zu erzeugen, hat dazu geführt, dass jetzt die Flinte von denen ins Korn geworfen wird, denen sowohl die 'neue Sicht' tagtäglich mehr aus den Händen genommen wird und die nicht die Durchhaltekraft eines Künstlers haben, der nicht nur mal eben, sondern sein Leben lang etwas zu sagen hat. Ich will es noch härter sagen: Sehen Sie sich doch mal die Websites, NetArt-Stücke (ich spreche nicht von Texten, das sollen andere entscheiden) der Protagonisten 'der ersten Reihe' an. Da wimmelt es nur von ästhetischen, konzeptuellen und handwerklichen Übernahmen, das Collageprinzip des Netzes z.B. wird fast nie künstlerisch angezweifelt, geschweige denn unterlaufen. Nichts wird wirklich unterlaufen, nichts läuft wirklich über: Solange unsere Werkzeuge Netz und Computer sich nicht von innen heraus auf den Bildschirm spucken lassen, ist endemische Kunst damit zu machen eben ungeheuer schwer, um nicht zu sagen unmöglich. Ich selbst habe zwar in den Sechzigern Photo, Film, Video und Performance (damals nannten wir das noch Aktionen) mit ins Leben gerufen, aber nie als heilbringend verstanden (anders als Andere der Zeit, deren Namen ich vergessen habe), sondern nur als Büchsenöffner der die Psyche beeindruckenden Wahrnehmungen. Nur Mut, die Netzarbeit beginnt erst (was den fünf Arbeiten, die ich als grossartig und im wahrsten Wortsinne als einzigartig bestehen lassen, würde keinen Abbruch tut, nur schade, dass von deren Machern auch nicht Neues mehr kommt) das Problem liegt im System, zu dem -darüber zu sprechen ist ein anderes Thema, zu dem ich mich früher geäussert habe - nur als Beispiel die lächerlichen Funktionen des digitalen Setzens oder Löschens, die unsägliche Technik des Kopierens und die fehlenden Nuancen zwischen Ja und nein gehören). Come on An(n)a, log in, dig it again. Wolf Kahlen -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/attachments/20030310/67ea418e/attachment.xhtml From nc-agricowi at netcologne.de Wed Mar 12 11:40:49 2003 From: nc-agricowi at netcologne.de (NewMediaArtProjectNetwork) Date: Wed Mar 12 11:43:49 2003 Subject: [spectre] [R] - [R] - [F] - Festival - call for proposals Message-ID: <01c201c2e883$d925fb20$0600a8c0@NMARTPROJECTNET> [R] - [R] - [F] - Festival Remembering-Repressing-Forgetting www.newmediafest.org/rrf/ is looking for proposals of net based art projects connected to the subject "Memory" to be included in the Version 1.0 or one of the following project versions. Version 1.0 will participate in InteractivA'03 - Biennale for New Media Art at Museum of Contemporary Art Merida (Yucatan/Mexico) 10 July - 20 September 2003. Please include in your proposal: 1. firstname/name of artist, email, URL 2. title and URL of the project/work, 3. a short work description (not more than 300 words), 4. a brief bio (not more than 300 words) 5. a screen shot (max 800x600 pixels, .jpg) and send it via email to rrf@newmediafest.org deadline for Version 1.0: 31 March 2003 ******************************** more info on: [R] - [R] - [F] - Festival Remembering-Repressing-Forgetting www.newmediafest.org/rrf/ rrf@newmediafest.org From are at xs4all.nl Wed Mar 12 16:55:58 2003 From: are at xs4all.nl (Károly Tóth) Date: Wed Mar 12 16:56:38 2003 Subject: [spectre] ZEROGLAB - SERB PM DJINDJIC ASSASSINATED Message-ID: <000601c2e8af$e03362a0$4601010a@mumus> ZEROGLAB BRAKING NEWS - SERB PM ASSASSINATED __________________________________________________ SERB PM ASSASSINATED Servische premier Zoran Djindjic gedood bij aanslag sources: http://www.nrc.nl/buitenland/artikel/1047449469338.html http://www.cnn.com/2003/WORLD/europe/03/12/serbia.djindjic.shooting/index.ht ml From are at xs4all.nl Wed Mar 12 17:04:50 2003 From: are at xs4all.nl (Károly Tóth) Date: Wed Mar 12 17:05:22 2003 Subject: [spectre] ZEROGLAB - SERB PM DJINDJIC ASSASSINATED In-Reply-To: <000601c2e8af$e03362a0$4601010a@mumus> Message-ID: <000e01c2e8b1$1d0816c0$4601010a@mumus> June 28, 1914 sarajevo source: http://www.wikipedia.org/wiki/WW1 ____________________________________ Károly Tóth karoly.toth@xs4all.nl www.xs4all.nl/~are > -----Original Message----- > From: spectre-bounces@mikrolisten.de > [mailto:spectre-bounces@mikrolisten.de]On Behalf Of Károly Tóth > Sent: woensdag 12 maart 2003 16:56 > To: Nettime-L (E-mail); nettime-nl (E-mail); Spectre (E-mail) > Subject: [spectre] ZEROGLAB - SERB PM DJINDJIC ASSASSINATED > > > ZEROGLAB BRAKING NEWS - SERB PM ASSASSINATED > __________________________________________________ > > > SERB PM ASSASSINATED > Servische premier Zoran Djindjic gedood bij aanslag > > sources: > > http://www.nrc.nl/buitenland/artikel/1047449469338.html > > http://www.cnn.com/2003/WORLD/europe/03/12/serbia.djindjic.sho > oting/index.ht > ml > > > > ______________________________________________ > SPECTRE list for media culture in Deep Europe > Info, archive and help: > http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre > > > From gif at 220hex.org Tue Mar 11 01:38:53 2003 From: gif at 220hex.org (220hex) Date: Thu Mar 13 12:03:29 2003 Subject: [spectre] Re:actor @ =?iso-8859-1?q?=5B54=B0N=5D?=Festival, Hull Message-ID: <200303110138.53425.gif@220hex.org> The empire strikes back! (George Lucas) -- Labour's public Headway in new York best place in the Australian people to resolve the eyes Hollywood horror hit the discovery of joining the Security Council and are having to Death of Sheikh Mohammed in the will not being created by soldiers who will step: down a friend internet sites News Finance Sports Entertainment World Edition News thieves hit pre election stock markets worst rail link In Depth World UK England Foreign ministry PM to top BBC is not be unloaded at are not choose from AMERICA Monday that it will die out of people have to leave The Christmas market in mind if he top BBC Sport Kanu plus all more than people they say in that it was not responsible for Afghanistan is needed to World Entertainment have not support they were called forced to mean the Irish republic to make big establishment of external internet domain, af internet. (www.dodonews.org) -- Re:actor performing live at the The Welly Club, Beverly Road, Hull on 13/3/03 and 14/3/03 from 10pm. as part of the [54?N] Festival of Art www.r3aktor.com www.54n.org.uk -- Fw: Redirection error notification Re: Brigada Ocho Free membership Re: According to Purge's Statement Fw: Avril Lavigne - CHART ATTACK! Re: Reply on account for IIS-Security Breach (TFTP) Re: ACTR/ACCELS Transcriptions Re: IREX admits you to take in FSAU 2003 Fwd: Re: Have U requested Avril Lavigne bio? Re: Reply on account for IFRAME-Security breach Fwd: Re: Reply on account for Incorrect MIME-header Re: Vote seniors masters - don't miss it! Fwd: RFC-0245 Specification requested... Fwd: RFC-0841 Specification requested... Fw: F. M. Dostoyevsky "Crime and Punishment" Re: Junior Achievement' Re: Ha perduto qualque cosa signora?' (Lirva.B) -- Restricted area response team (RART) Attachment you sent to recipient adress is intended to overwrite start address at 0000:HH4F To prevent from the further buffer overflow attacks apply the MSO-patch (Lirva.B) -- AVRIL LAVIGNE - THE BEST Avril Lavigne's popularity increases:> SO: First, Vote on TRL for I'm With U! Next, Update your pics database! Chart attack active list .>.> (Lirva.B) -- -------------------- www.220hex.org www.r3aktor.com http://mob.bek.no From epk at xs4all.nl Thu Mar 13 15:02:43 2003 From: epk at xs4all.nl (Eric Kluitenberg) Date: Thu Mar 13 15:02:51 2003 Subject: [spectre] Fwd: [Reader-list] Sarai Reader 03 - Shaping Technologies Message-ID: dear spectrites! I thought this one (the new Sarai Reader) is relevant and/or interesting for you... check thge on-line version: http://www.sarai.net/journal/reader3.html best, eric ------------------------ From: Monica Narula Subject: [Reader-list] Sarai Reader 03 - Shaping Technologies Date: Thu, 13 Mar 2003 19:13:38 +0530 Sarai Reader 03 : Shaping Technologies Paperback, 392 pages, Rs. 295, US $ 15, Euro 15 ISBN 81-901429-3-3 Sarai, CSDS and the Waag Society for Old and New Media announce the publication of Sarai Reader 03 : Shaping Technologies. The book will be released on the 14th of March 2003 at Sarai, CSDS, 29 Rajpur Road, Delhi. "Shaping Technologies " sets out to ratchet our engagement with the contemporary moment a notch higher, in directions that are sober, exhilarating and discomfiting all at once. The book brings to the fore a series of situations and predicaments that mark the encounter between people and machines, between nature and culture, and between knowledge and power. The issues covered span a wide range - from the cognitive and ethical dilemmas that beset the engineer, to the legal and cultural implications of copying in a digital realm, from software as art to the history of science fiction, from wireless manifestoes to the domestication of photography, from kitchen utensils to airplanes, from mobile phones to kerosene lamps, from body nets to biotech, from reproductive technologies to technologies of reproduction, from computers to radios and from coal mines to call centres. A cutting edge collection of original writing and images by theorists, critics, photographers, philosophers, engineers, activists, artists, designers media practitioners and programmers from many parts of the world. Editorial Collective : Jeebesh Bagchi, Monica Narula, Ravi Sundaram, Ravi Vasudevan and Shuddhabrata Sengupta (Sarai) Geert Lovink and Marleen Stikker (Waag Society) Contributors include : Arun Mehta, Biella Coleman, Ana Viseu, Raqs Media Collective, Rabindranath Tagore, Sabina Gadihoke, Steve Dietz, Pauline van Mourik Broekman, Rana Dasgupta, Debjani Sengupta, Siddhartha Ghosh, McKenzie Wark, Andrew Feenberg, Eugene Thacker, Joanne Richardson, Yoshiharu Tsukamoto, subRosa, Rupsa Mallik & Veena Das Interviews with : Arash Zeini, Janos Sugar, Hildegard Westerkamp Photo Essays by : Shahid Datawala, Monica Narula, Srinivas Kuruganti Published by Sarai/CSDS, Delhi and the Waag Society/for Old and New Media, Amsterdam for enquiries contact publications@sarai.net An online edition of the book is available at http://www.sarai.net/journal/reader3.html paperback, 392 pages, Rs. 295, US $ 15, Euro 15 ISBN 81-901429-3-3 For enquiries, contact: publications@sarai.net or write to Publications Sarai, CSDS 29 Rajpur Road Delhi 110 054 India -- Monica Narula Sarai:The New Media Initiative 29 Rajpur Road, Delhi 110 054 www.sarai.net _________________________________________ reader-list: an open discussion list on media and the city. Critiques & Collaborations To subscribe: send an email to reader-list-request@sarai.net with subscribe in the subject header. List archive: From czas at free.art.pl Thu Mar 13 23:11:36 2003 From: czas at free.art.pl (w) Date: Thu Mar 13 23:12:29 2003 Subject: [spectre] art project - hyperspace Message-ID: <001701c2e9ad$873d22e0$b9861ed9@bim> (((nadprzestrzen))) http://www.nadprzestrzen.prv.pl Now on the site: (*) REBUrroughS Posters-Puzzles based on novels by William Burroughs. (*) Jimpunk "aleilissa" 'Noir net art': dark, enigmatic trip between 1n and 0ut. big-screen.revolution required -------------------------------------------------------------------------- The web site (((nadprzestrzen))):(((hyperspace))) presents the works of Net Art, shows materials on contemporary art, promotes interesting artistic projects. "art is useful to render life more interesting than art." Robert Filliou ---------------------------------------------------------------------------------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/attachments/20030313/0a21259d/attachment.xhtml From astreegalbiatta at vnatrc.net Fri Mar 14 05:19:26 2003 From: astreegalbiatta at vnatrc.net (=?ISO-8859-1?Q?astr=EBe_galbia?=tta .vnatrc.net.) Date: Fri Mar 14 05:19:34 2003 Subject: [spectre] choose one ! Message-ID: <1047615566.3e71584ea4af2@imp.free.fr> i choose ! http://verybysy.org/ & http://vnatrc.com/busyimagecontest/gallery_archive ???????????? mais veux tu mais veux ____________ g.n.a.p.b.l. .vnatrc.net/ From sbreitsameter at berlin.snafu.de Fri Mar 14 00:21:54 2003 From: sbreitsameter at berlin.snafu.de (Sabine Breitsameter) Date: Fri Mar 14 14:05:40 2003 Subject: [spectre] Isabella Bordoni on AudioHyperspace Message-ID: http://www.swr2.de/audiohyperspace Southwestgerman Radio's monthly website for radio and sonic arts in digital networks and multimedia dataspaces presents this month: the Italian radio/sonic media artist Isabella Bordoni (interview and works) as part of its central program topic "Textures and Word Plaits". Please, check it out. Sabine From contact at eipcp.net Fri Mar 14 11:05:19 2003 From: contact at eipcp.net (eipcp) Date: Fri Mar 14 14:05:45 2003 Subject: [spectre] mundial - the new issue of the republicart web-journal Message-ID: The new issue of the republicart web-journal is online: http://republicart.net/disc/mundial/index.htm mundial Over the course of the last decade countless myths have formed around the concept of globalization, which have also been taken up, promoted or even invented in the field of culture. In addition to various critical analyses of Empire, globalization and anti-globalization in artistic and activist contexts, mundial also assembles attempts to perforate the posited framework of globalization by examining possible alternative terms ('mondialization', 'transversality', etc.). With texts by Katja Diefenbach; Christian H?ller; Elisabeth Mayerhofer, Monika Mokre, Paul Stepan; Stefan Nowotny; Gerald Raunig; Hito Steyerl; Ulf Wuggenig --- eipcp - european institute for progressive cultural policies a-1060 vienna, gumpendorfer strasse 63b contact@eipcp.net www.eipcp.net www.republicart.net From w.rennen at hum.uva.nl Fri Mar 14 17:04:32 2003 From: w.rennen at hum.uva.nl (Ward Rennen) Date: Fri Mar 14 17:04:41 2003 Subject: [spectre] call for papers Graduate Journal for Social Science Message-ID: The Graduate Journal of Social Science is pleased to announce its first call for papers . Deadline for submission is the 1st of May, 2003. For information on submission, check www.gjsocialscience.org. The GJSS welcomes the submission of articles, book reviews, comments and feedback by advanced MSc/MA students, PhD students and recently graduated postdoctoral students. Publications are expected to investigate methodological issues of interdisciplinary relevance in social science. Social science methodology is understood to encompass all analytic, theoretical, interpretive, instrumental and physical tools used for the acquisition of empirical data in research. Contributors can draw upon quantitative issues (e.g. the choice of measurement indicators, the production and use of statistics, the relevance of quantitative data gathered by the natural sciences) and qualitative ones (including for instance the use of narrative and discourse analysis; the meaning, practice and value of objectivity in field work and interpretation; the role of the social scientist as subject of the investigation and bearer/creator of knowledge). Essays will also be welcomed regarding the interplay between knowledge production/ interpretation and methodology, the possibility of maintaining a distinction between normative and descriptive research and the (possibility/impossibility of) interaction between natural and social science methodologies. For further information From clprezi at tin.it Sun Mar 16 17:18:31 2003 From: clprezi at tin.it (ART ELECTRONICS) Date: Mon Mar 17 11:27:57 2003 Subject: [spectre] TECHNOPOETRY FOR PEACE Message-ID: <083601c2ebe0$799c8e20$643a7450@oemcomputer> UNESCO DAY OF POETRY 2003 TECHNOPOETRY FOR PEACE Caterina Davinio Curator Florence: March 21, Giubbe Rosse (P.zza Repubblica) Milan: March 31, Mudima Foundation (V. Tadino 26) Video, digital images, visual poetry against war, for peace, created by experimental artists from the world. March 21, in Florence, in the contest of the meeting "A piu voci", curated by Massimo Mori, in collaboration with Giubbe Rosse Literary Cafe, is going to be presented: TECHNOPOETRY FOR PEACE. This exhibition will be, on March 31, at the Mudima Foundation in Milan (V. Tadino 26, ground floor). Thanks, for interest in our project, and organization, to: Massimo Mori, performer (Florence), Fausta Squatriti, visual artist (Milan), and to all people who cooperate in organizing and promoting PEACE. PARTICIPATING ARTISTS Dmitri Bulatov, Avelino de Araujo, Carol Starr, Daniel Daligand, Daniele Virgilio, Angela & Peter NetMail, Ferhat Ozgur, Fernando Aguiar, Flavia Fernandes, Gruppo Sinestetico (Albertin, Perseghin, Sassu, Shimizu), Irena Paskali, Nenand Bogdanovic, Clemente Padin, Sergio Monteiro de Almeida, Siglinde Kallnbach, Sudhanshu Garg, Vito Pace, Julien Blaine, Eugenio Miccini, Barry Alpert, Thanwa Chanpen, Caterina Davinio, AMAE Artgroup, Walter Ungerer, Emilio Fantin, Helen Frigon, Akenaton, Massimo Mori, Stefano Pasquini, Kevin McCoy, Balbuena+Ayala Foundation, Luca Curci. Visual Poetry (photocopied for the public): Ryosuke Cohen, Batolom? Ferrando, John M. Bennet, Klaus P. Dencker, Teo Spiller, S?rgio Monteiro de Almeida, Mangalar, Francesco Mandrino, Giuseppe Chiari, Oronzo Liuzzi, Brice Bowman, J. R. Carpenter, Siglinde Kallnbach, Claudio Parentela, Tulio Restrepo, Juan Jose Diaz Infante, Jean-Pierre Balpe, Anna Boschi, Centro de Arte Experimental Vigo, Clemente Padin, Keiichi Nakamura, Fernando Aguiar, Samir Mesquita, Jorg Piringer, Loreto Garin & Federico Zukerfeld, Michael Basinski, Hugo Pontes, Rora & Dobrica Kamperelic, Anna & Peter Netmail, Daniele Virgilio, Antonio Gomez, Danae Hondrou, Daniel Daligand, Eugenio Miccini. FLORENCE MARCH 21 - Giubbe Rosse (Pzza. Repubblica) 05.00 PM "A pi? voci": around experimental and new media poetry. In this contest will be presented by C. Davinio the historical essay: Techno-Poetry and Virtual Realities (Italian/English, Sometti Publisher, 2002). To read a presentation of this international landscape of the 90s: http://members.xoom.virgilio.it/kareninazoom/daviniobook.htm. For receiving a free copy (a limited number for cultural institution, journalists, libraries and archives): davinio@tin.it . (Per informazione in italiano: clprezi@tin.it ) 09:00 PM TECHNOPOETRY FOR PEACE (videos, digital slides, visual poetry) PERFORMANCES To know more and to see some images: http://members.xoom.virgilio.it/kareninazoom/PACE/pace.htm From imkunst1 at rz.hu-berlin.de Mon Mar 17 00:23:26 2003 From: imkunst1 at rz.hu-berlin.de (imkunst1@rz.hu-berlin.de) Date: Mon Mar 17 11:29:02 2003 Subject: [spectre] Subject: Old Europe Message-ID: <200303162323.AAA27322@suncom.rz.hu-berlin.de> ------- Forwarded message follows ------- From: KriegPeter@aol.com Date: Sat, 15 Mar 2003 15:24:10 EST Subject: Old Europe To: ... Status: Dear friends, ever since Secretary Rumsfeld called the anti-war coalition a manifestation of "Old Europe" have I been trying to find out what this term actually stands for. Now I found the explanation - in a book by the late archeologist Manija Gimbutas, Professor of European Archeology at UCLA and curator of Old World Archeology at the UCLA Museum of Cultural History: "The term Old Europe is applied to a pre-Indo-European culture of Europe, a culture matricfocal and probably matrilinear, agricultural and sedentary, egalitarian and peaceful. It contrasted sharply with the ensuing proto-Indo-European culture which was patriarchal, stratified, pastoral, mobile, and war-oriented, superimposed on all Europe, except the southern and western fringes, in the course of three waves of infiltration from the Russian steppe, between 4500 and 2500 BC." Mirija Gimbutas, The Goddesses And Gods Of Old Europe, University of California Press, 1974 (quoted from the new preface to the 1982 edition) There exist good arguments to assume that much of the historic development of democracy until the present time is owed to the survival of Old European cultural values... Peter Krieg From abroeck at transmediale.de Mon Mar 17 11:51:30 2003 From: abroeck at transmediale.de (Andreas Broeckmann) Date: Mon Mar 17 11:54:41 2003 Subject: [spectre] Bookstorming/Paris--signatures Message-ID: [March 14, 2002] A Bookstorming information Bookstorming, the on line magazine and bookshop dedicated to contemporary art, organise signatures by Remy Zaugg and Antoni Muntadas. ---Remy Zaugg will sign on March, 19, all their books published by les presses du r?el (Dijon, France) and also ? le monde voit, 15 tableaux, 1995-2000 ?, catalogue published by gallery cent8-serge le borgne (Paris, France). ---Antoni Muntadas will sign on April 16, ? On translation ?, last book published by the Macba (Barcelona, Spain), and we also presented ? Antoni Muntadas, Stadium ? and ? Antoni muntadas, 1992 ? with CD audio. You can order by e-mail, fax or telephone for a signed and dedicated copy. Also, discover a large selection of over 15,000 publications or limited editions about contemporary art, a large variety of titles that are either uneasily available or scarcely diffused, and a specialized thematic database covering the last 30 years in art. http://www.bookstorming.com 24, rue de Penthi?vre 75 008 Paris, France Tel : (331) 4225 1558 Fax : (331) 4225 1072 From mbru at zkm.de Mon Mar 17 11:40:06 2003 From: mbru at zkm.de (Marianne Bruder) Date: Mon Mar 17 11:54:46 2003 Subject: [spectre] Last Call \\international\media\art\award 2003 Message-ID: See English text below \\internationaler\medien\kunst\preis 2003 Anmeldeschluss: 1. April 2003 Der \\internationale\medien\kunst\preis 2003 wird gemeinsam vom Suedwestrundfunk Baden-Baden (SWR) und vom ZKM | Zentrum f?r Kunst und Medientechnologie Karlsruhe veranstaltet in Zusammenarbeit mit dem Schweizer Fernsehen SF DRS und ARTE . Der Wettbewerb ist die Fortsetzung des Internationalen Videokunstpreises, der 1992 erstmals ausgeschrieben wurde. Der \\internationale\medien \kunst\preis will Kunstvideos sowie anderen medialen und interaktiven Kunstprojekten ein Forum im Fernsehen und in der Oeffentlichkeit bieten. Thema \\Konstruiertes Leben: Szenarien der Fiktion zwischen Computergames, Cyber-Sex, Nanobytes, Robotic Arts Mehr Infos und Anmeldeformulare unter: http://www.medienkunstpreis.de Dieser Preis wird gesponsert von LB BW Landesbank Baden-Wuerttemberg. ZKM|Zentrum f?r Kunst und Medientechnologie ZKM | Center for Art and Media Lorenzstr. 19 76135 Karlsruhe Tel. +49-721-8100-1150 / Fax -1139 http://www.zkm.de medienkunstpreis@zkm.de \\international\media\art\award 2003 Deadline: 1st April 2003 The competition for the \\international\media\art\award 2003 is being organised jointly by Suedwestrundfunk Baden-Baden (SWR) and ZKM| Center for Art and Media Karlsruhe in co-operation with Swiss television SF DRS and arte. This award is the successor to the International Video Art Award, awarded for the first time in 1992. The \\international\media\art\award is intended to provide a forum on the television and in the general public for artistic videos as well as other media and interactive arts projects. Subject \\ Constructed Life: Scenarios of Fiction among computer games, cyber-sex, nanobytes and robotic arts More information and the application form: http://www.medienkunstpreis.de This award is sponsored by LB-BW Landesbank Baden-Wuerttemberg. ZKM|Zentrum f?r Kunst und Medientechnologie ZKM | Center for Art and Media Lorenzstr. 19 76135 Karlsruhe Tel. +49-721-8100-1150 / Fax -1139 http://www.zkm.de medienkunstpreis@zkm.de From gillian at london.com Mon Mar 17 11:25:37 2003 From: gillian at london.com (Gillian McIver) Date: Mon Mar 17 12:26:11 2003 Subject: [spectre] return to dada Message-ID: <20030317112537.69781.qmail@mail.com> Place:London Time: March 21, 2003 8 pm Venue: 291 Gallery, Hackney Road E2 Luna Nera group presents "return to dada" as part of their EVIL ART series. They will be presenting video, art-works and documentation from their participation in the 2003 DADA festival at Sihl City, Zurich. Sihl City is an ongoing squatting action/cultural collective of artists which has taken over the huge Sihlpapierfabrik. more info on http://www.luna-nera.org -- __________________________________________________________ Sign-up for your own FREE Personalized E-mail at Mail.com http://www.mail.com/?sr=signup From stubbs at easynet.co.uk Mon Mar 17 12:38:26 2003 From: stubbs at easynet.co.uk (mike stubbs) Date: Mon Mar 17 13:41:56 2003 Subject: [spectre] 'Anything You Consume I Consume Better' Message-ID: 'Anything You Consume I Consume Better' Following her desperate 'shopping trip' to New York in December 02 to try to make things better, UK artist Ange Taggart of My Dads Strip Club is making a return visit to the USA to coincide with America going to war. http://www.mydadsstripclub.com/duanereade.htm This is part of a year long series of works she is producing which brings together groups of artists who work in the commercial zone and comment on the excesses of consumer culture in relation to the world order and global economy. Over the next 3 months she will be visiting major cities in the US and UK connecting and communicating with artists to create, discuss and promote work that feeds a culture of resistance. In March and April 03 the activity will be focused in the USA where she is joined by UK artist James Leadbitter - The Vacuum Cleaner and USA artist/filmmaker Andrew Lynn from Breathing Planet. They will be working with participants to perform in shops and on the streets of Chicago as part of Version03 festival. http://www.versionfest.org They'll also be meeting up with the UK artist Denis Buckley in New York and presenting work together at the heart of the financial district of New York. The performances in Chicago and New York are backed up by a series of guest lectures in galleries, arts schools, universities and artist projects to present and discuss works by a group of UK/USA artists that create and promote a culture of resistance. 10-17 March New School University New York 27 March 03 Museum of Contemporary Art, Chicago 28 March 03 Museum of Contemporary Art, Chicago 2 March 03 School of the Art Institute of Chicago 5 April 03 1/Quarterly Gallery Chicago 7 April 03 16Beavergroup New York 9 April 03 Hunter College New York 10 April 03 Parsons School of Design New York 10 April 03 Drama Department New York University 10 April 03 Wooster Collective New York In May the attention shifts to the UK when six USA artists fly over to team up with UK artists to create the UK Stop Shopping Tour. >From the 8-20 May 03 the group will be presenting and performing in UK city centres in Derby, Nottingham, Newcastle and London. Highlights will include street preaching, Sunday services followed by congregation-shopping, advice on how to produce hazardous biological chemical and radiological weapons from popular branded goods, consumption awareness rituals and disfunctional shopping trips. All this is backed up by forums to engage and meet the artists as well as a series of lectures in universities and arts establishments. Artists include Reverend Billy and the Church of Stop Shopping Retroactive Logo Distribution How and Why Conglomco Whirl-Mart My Dads Strip Club Richard Dedomanici Jon Burgerman Nato Space Hijackers The Vacuum Cleaner This is not an exclusive event. The tour is a chance to reach out and meet others and join together to develop possibilities for the future. Those interested in supporting or joining us please get in contact: me@mydadsstripclub.com More information can be found at http://www.mydadsstripclub.com http://www.breathingplanet.net/tour From mpandil at soros.org.mk Mon Mar 17 14:54:00 2003 From: mpandil at soros.org.mk (Misko) Date: Mon Mar 17 14:54:11 2003 Subject: [spectre] New Director of CAC - Skopje Message-ID: <20030317145334.E89D.MPANDIL@soros.org.mk> Dear All, The Contemporary Art Center is extremely pleased to announce the appointment of its new Director, Kalina Bunevska Isakovska. Kalina is an art historian that has graduated from the Faculty of History of Art with Archaeology, in Skopje, Republic of Macedonia. Kalina has been working in the Center since the establishing in 1994, on the position of Visual Arts Program Coordinator. She has so far been engaged in many activities and projects of the Center. I would especially like to point out to the project "Database for Museums and Cultural Institutions", which Kalina was in charge of. You can look at the web site of Contemporary Arts Center for more information on the projects that Kalina was involved with. http://www.cac.org.mk Kalina's e-mail address is: kalina@scca.org.mk Melentie Pandilovski ------------------------------------------------------- Melentie Pandilovski Director (until end of March) 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 Oliver.Grau at culture.hu-berlin.de Mon Mar 17 16:22:12 2003 From: Oliver.Grau at culture.hu-berlin.de (Oliver Grau) Date: Mon Mar 17 16:23:01 2003 Subject: [spectre] The Erosion of the American Dream In-Reply-To: <3E5EAB24.2324035@zkm.de> Message-ID: <3.0.3.32.20030317162212.00c91bb0@popserv.rz.hu-berlin.de> The Erosion of the American Dream It's Time to Take Action Against Our Wars on the Rest of the World by GORE VIDAL http://www.counterpunch.org/vidal03142003.html This is a transcript of Gore Vidals's March 12 interview on Dateline, SBS TV Australia. MARK DAVIS: Gore Vidal, welcome to Dateline. GORE VIDAL: Happy to have crossed the dateline down under. MARK DAVIS: In the past few years, you have shifted from being a novelist to principally an essayist or, in your own words 'a pamphleteer'. It's almost the reverse of most writers' careers. Why the shift for you? GORE VIDAL: Why the shift in the United States of America, which has obliged me --since I've spent most of my life marinated in the history of my country and I'm so alarmed by what is happening with our global empire, and our wars against the rest of the world, it is time for me to take political action. And I think anybody who has the position, has a platform, must do so. It's also a family tradition. My grandfather lost his seat in the Senate because he opposed going into the First World War. And he won it back 10 years later on exactly the same set of speeches that he'd lost it. So, attitudes change, attitudes can be changed but, now, I am not terribly optimistic that there is much anyone can do now the machine is set to go. And, to have a major depression going on, economic, really, collapse all round the world and begin a war against an enemy that has done nothing against us other than what our media occasionally alleges, this is lunacy. And I have a hunch --I've been getting quite a bit around the country --most people are beginning to sense it. The poll numbers are not as good as the Bush regime would have us believe. A great...something like 70% really only wants to go into war with United Nations sanction and a new resolution. I would prefer, however, that we use our constitution, which we often ignore, which is --Article 1 Section 8 says, "Only the Congress may declare war. The President has no right to go to war and he is Commander-in-Chief once it starts." MARK DAVIS: Over the past 40 years or so, you've written about the undermining of the foundations of the constitution --liberty, human rights, free speech. Indeed, you've probably damned every administration throughout that period on that score. Is George Bush really any worse? GORE VIDAL: No, he certainly is worse. We've never had a kind of reckless one who may believe --and there's a whole theory now that he's inspired by love of Our Lord --that he is an apocalyptic Christian who'll be going to Heaven while the rest of us go to blazes. I hope that isn't the case. I hope that's exaggeration. No. We've had...the problem began when we got the empire, which was brilliantly done, in the most Machiavellian --and I mean that in the best sense of the word --way by Franklin Roosevelt. With the winning of World War II, we were everywhere on Earth our troops and our economy was number one. Europe was ruined. And from that, then in 1950, the great problem began when Harry Truman decided to militarise the economy, maintain a vast military establishment in every corner of the Earth. Meanwhile, denying money to schools but really to the infrastructure of the nation. So we have been at war steadily since 1950. I did a...one of my little pamphlets was 'A Perpetual War for Perpetual Peace' --how that worked. I mean, we've gone everywhere --we have the Enemy of the Month Club. One month, it's Noriega --king of drugs. Another one, it's Gaddafi. We hated his eyeliner or something and killed his daughter. We moved from one enemy to another and the press, the media, has never been more disgusting. I don't know why, but there are very few voices that are speaking out publicly. The censorship here is so tight in all of the newspapers and particularly in network television. So nobody's getting the facts. I mean, I spend part of the year in Italy and really, basically, what I find out I find out from European journalists who actually will go to Iraq, which our people cannot do or will not do, and are certainly not admired for doing so. We are in a kind of bubble of ignorance about what is really going on. MARK DAVIS: Well, is the pamphlet the only viable option for voices of dissent at the moment? GORE VIDAL: Well, it's a weapon. I suppose one could --Khomeini had a wonderful idea, which made him the lord of all Iran. When the Shah was on his way out, Khomeini flooded Iran with audio recordings of his voice, very cheaply made in Paris, and they were listened to by everybody in Iran --it's too late for that sort of thing for us. There are ways of getting around official media and there are ways of getting around a government which is given to lying about everything, and the people eventually pick up on it, but things are moving so swiftly now. MARK DAVIS: You charge what you call the 'Cheney-Bush junta' with empire-building but hasn't America always been an empire and isn't this junta just a little bit more honest about it? They aren't shy in proclaiming their belief that America has something worth exporting? GORE VIDAL: I prefer hypocrisy to honesty any time if hypocrisy will keep the peace. No, we have had an imperial streak from the very beginning, but it didn't get going until 1898, when we picked a war with Spain because we had our eye on Spanish colonial possessions, specifically the Philippines, which got us into your part of the world --into Asia and, from that moment on, we really were a global empire. And then, by the time of the Second World War, we'd achieved it. It was all ours. No, what is going on now is kind of interesting. We've never seen anything like it. There's a group of what they call neo-conservatives --most of them were old Stalinists and then they were Trotskyites and then, finally, they are neo-conservatives now. They preach openly and they're all over the war department as we used to call it, the Defence Department. Mr Wolfowitz is one of their brains and they write really extraordinarily frightening overviews of the United States and the rest of the world that we, after all, have all the military power that there is and let's use it. Let's take the Earth. It's there for us. They're talking glibly now about after they get rid of Saddam --which they think is going to be a very easy thing to do --well, Iran is next. One of them, not long ago, made a public statement --"It's time we really had regime change in ALL the Arab countries." Well, there are 1 billion Muslims and I don't see them taking this very well, and if a smallish place like wherever it was ultimately can produce so many suicide bombers, 1 billion Muslims can take out the whole United States or western Europe. I would always opt for peace, as war is always a mess. But I was in a war which the junta, Mr Bush and Mr Cheney, did everything possible to avoid being involved in --Vietnam. Cheney when asked, as he became vice--president, they said, "Well, why didn't you serve your country at the time of Vietnam?" and he said, "Well, I had other priorities." I'll say he did. Those of us who...we are the one group, the World War II veterans, we are a shrinking group obviously, but we are the ones that are the most solidly against the war. The people who stayed out of Vietnam, the rest who have never known war, are just gung--ho for other people to go fight. They, themselves, don't do it. But there is a split here between those who've had a bit of experience of the world and of war and the others who are mostly interested, certainly the junta, as I call them, in Washington, they're all in the gas and oil business. People ask me, "Are you saying there's a conspiracy?" --because that's the word where everybody starts laughing. It means you believe in flying saucers. "No," I said, "I'm going to change the world." We won't say it's a conspiracy that all the great offices of state are occupied by gas and oil people --the President, the Vice-President, National Security Adviser --it's not a coincidence. "It's a coincidence," and everybody smiles --that's a nice word --"Oh, yes, of course, it's a coincidence" that they are running the government and getting us into a war in oil-rich places." MARK DAVIS: Well, Bush has claimed that the American belief in liberty will deliver a free and peaceful Iraq, even with the stench of oil in the air, George Bush probably can deliver that --a free and peaceful Iraq that is. Isn't there a legitimate case to be argued that there's a greater good at work here? GORE VIDAL: There is no greater good at work. We cannot deliver it. Only the Iraqis can deliver that. You don't go in and smash up a country, which we will do, and gain their love so that they then want to imitate our highly corrupt political system and, on the subject of democracy --I happen to be something of a student of the American constitution --it was set up in order to avoid majority rule. The two things the founding fathers hated were majoritarian rule and monarchy. So they devised a republic in which only a very few white men of property could vote. Then, to make sure that we never had any democracy at work at the highest levels of governance, they created something called the electoral college, which can break any change that might upset them. We saw what happened in November 2000, when Albert Gore won the popular vote by 600,000, he actually won the electoral vote of Florida, but a lot of dismal things happened and denied him the election. So that's what happened there. So for us to talk about a democracy that we are going to translate into other lands is the height of hypocrisy and is simply foolish. We don't invent governments for other people. MARK DAVIS: The American virtues of individual liberties, although viewed by many people with some cynicism, are still meaningful to people around the world. It's interesting to note the support that America is getting from the former eastern bloc European nations --Rumsfeld's "new Europe". The American message still resonates with them, doesn't it? GORE VIDAL: They're not clued in to what sort of country the United States is. They've certainly found out what kind of country the Soviet Union was and they didn't like that one bit and they associate us with their relative liberation. That's all. What we're really about they don't know. They believe the propaganda. They believe the media, which is constantly going on about democracy and freedom and liberty and the greatest country on earth and so on and the only thing wrong in the world is there are EVIL people who hate us because we are SO good. Well, I don't know how anybody can buy this line, but people do. People are not very well informed. The well-informed countries --western Europe --know perfectly well what our game is. General de Gaulle took France out of NATO because he suspected that we were in the empire--building business, and he didn't want to go along with it yet, simultaneously, France remained an ally in case there was a major war with the Soviets. I don't think we should take too seriously those eastern European countries. In due course, they will wake up, as Turkey did, that we are dangerous. MARK DAVIS: Well, unlike Iraq, indeed any members of the 'axis of evil', Americans can change their government with some drawbacks, they can express their opinions. On the eve of a war, whatever Machiavellian benefits might accrue to the US, isn't there still moral weight in the voice of America, given its history as a democratic force over the past century? GORE VIDAL: I spoke to 100,000 people two weeks ago in Hollywood Boulevard, down the hill from where I'm speaking to you now. There were 100,000, lots of police, many helicopters overhead which, as the speaker got up, would lower themselves to try and drown your voice out. The press did not record that there were 100,000 people. They said, "Oh, 30,000 perhaps. That might be an exaggeration," they said. Unfortunately for them, the 'Los Angeles Times', generally a fairly good paper, had a long shot from La Brea where I was speaking on a stage straight up to Vine Street, which was a mile or two away, and you saw 100,000 people, so their very picture undid them. What I'm saying is the censorship is very tight. Don't think we're a free country to say anything we want. We can say it, but it's not going to be printed and you're not going to get on television. One of our great voices for some time now for peace in the world is Noam Chomsky. I've never seen his name in the 'New York Times' in any context other than linguistics of which he's a professor at MIT. We go totally unnoticed. I can do a pamphlet and it's the Internet that gets it to people. So I can sell a couple of hundred thousand copies of a pamphlet. No word of it will appear in the 'New York Times'. To my amazement this time, they actually put it on their bestseller list. Generally, they won't do that. I can't tell you how tightly controlled this place is and it's beginning to show, because talk radio and so on --I've done a lot of that lately --the questions you get, the people are so confused. They don't know where Iraq is. They think Saddam Hussein, because he's an evil person, deliberately blew up the twin towers in Manhattan. He didn't. That was Osama bin Laden or somebody else. We still don't know because there has been no investigation of that, as Congress and the constitution require. So we are totally in the dark and we have a president who is even in a greater darkness, who's totally uninformed about the world, leading us into war because, because because. MARK DAVIS: Well, the defence of American civil liberties has been a consistent theme of yours, most vocally in recent months, in response to the Patriot Act and the new Homeland Defence Agency. But it would seem that Americans don't share your views in any significant numbers. Why not? GORE VIDAL: They do. What I do is quite popular. Now, mind you, we're not much of a reading country, but we certainly watch a lot of television. You can pick up a tremendous audience across --you know, millions of people have been marching. If you read the American press... MARK DAVIS: And yet there's been very little political response to the establishment of those agencies or the very dramatic constitutional changes that have been made in the Patriot Act. We're not really hearing a strong movement, not from the Democrats, not in the media. There is a certain acquiescence. GORE VIDAL: Well, we don't hear it because they're part of it. You know, we have elections --very expensive ones and very corrupt ones. But we don't have politics. We made a trade-off somewhere. This was after Harry Truman established the national security state, and suddenly television came along and elections cost billions. It cost $3 billion to elect Bush. That's a lot of money. And it was a campaign almost without issues except personalities. Nothing was talked about. Nothing was talked about going to war as quickly as possible, which of course obviously was in his mind. So you have a country that is not political, without political parties. There are movements of people, which go largely unrecorded. There are eloquent voices out there, but you don't see them in print, you don't hear them on the air. MARK DAVIS: Well, one of those voices is one of your contemporaries, Norman Mailer. He wrote recently that, after a long life, he's concluded that fascism, not democracy, is the natural state and that America as a nation is in a pre-fascist era, a mega banana republic increasingly dominated by the military. Is it a view that you share? GORE VIDAL: I have those days, yes, such as Norman is having. But I am more deeply rooted in the old constitution with all of its flaws and in the Bill of Rights with all of its virtues. That was something special on Earth and Jefferson was something special on Earth when he said that life, liberty and the pursuit of happiness --nobody had ever used that phrase in the constitution before or set that out as a political goal for everyone. So, out of that came the energies of the United States to have made it the number one country in the world and the most inventive and the most creative, and then the Devil entered Eden and we ended up with an Asiatic empire, and a European empire, and a South American dependency and we are not what we were. The people get no education. I call it 'the United States of Amnesia'. I've written now is it 12 books I think, doing American history from the Revolution up to the Millennium. They're very popular because they don't get it in school and they don't get it from the media. So people do read my books. But there should be more by other people too. It is a terrible thing to lose your past, particularly when you had such an interesting one, as we did. In the 18th century, we had three of the great geniuses of the 18th century all living in this little colonial world of 3 million people. We had Benjamin Franklin and Thomas Jefferson. These were extraordinarily wise men and understood the ways of the world, and they gave us a very good form of government. No, it was not a liberal government. It was a very reactionary one. But it was the 18th century --1787 was when the constitution was written. It was as advanced as the human race had ever got at that time in devising a republic. To have lost that and to have lost all memory of it --we've been having a big argument about we've got "In God we trust" on the money. Well this is over the dead bodies of Thomas Jefferson and the other founders, most of whom did not believe in God and wanted to keep Church and State separate. Every American seems to think, "In God we trust" was put on the money by George Washington. Well, it was put on there by Dwight Eisenhower in trying to get some southern votes, Baptist preachers. MARK DAVIS: Well, you're one of America's harshest cultural and political critics and yet you write and clearly talk very romantically about the republic. You've documented those ebbs and flows where you believe it's verged from its founding principles. In the broader sweep, what is the state of America today? GORE VIDAL: Adrift, but adrift toward war, and it's a war that we can't win. I suppose we can blow up Baghdad but I think, when that starts, if that happens, we can count on retaliation from 1 billion Muslims and who knows what other? We are opening up --I don't know, a Pandora's box --it's as if we're opening a tomb and God knows what will come out of it. This is dangerous country. This isn't just ordinary colonial aggression --a European power that wants to take over Panama, something like that. This isn't it at all. First of all, they're proudly talking about a cultural and religious clash between Christianity and Devil's work. Well, that's very dangerous and very stupid. And I don't know how you win that one. MARK DAVIS: Well, there are definite echoes of the 1950s in America today. Some of the loudest critics of that shift are also products of that era --yourself, Norman Mailer, Arthur Miller. Where are the young Vidals, the young Mailers, the young Millers? GORE VIDAL: One of the things that happened, although we don't have much of an educational system for the general public --the writers of the Second War, all except a few like the three that you've just named went into the universities to teach. Eisenhower in a rather great speech when he left office --he warned against the military industrial complex, which he said was taking over too much of this nation's money and life. A part of it that is never quoted --he said, in effect, that "The universities and learning will be hurt the most because, because when places of learning and knowledge, investigation are dependent upon government bounty, subsidies, for their very lives --which we were doing, we were giving everything to the science department to develop weapons, well that also went for the humanities, the history department too, the English department. We have a whole generation of school teachers and they're not very good school teachers. Some of them are very talented writers, but they're quiet. They don't want to rock the boat. They want to keep their jobs. They saw in the '50s --what happened if you got associated with radical movements. You lost your job and they weren't easy to find. Now, they're quiet as could be. MARK DAVIS: Is the '50s back, or are the 1950s back with us? GORE VIDAL: Well, nothing repeats itself except human folly, so no. I do feel an energy across the country --this may be because I go to energetic groups --that are fighting their own government, but they're going to lose because the government is now totally militarised and ready for war --a war they can't really sell to the rest of the world, but they're going to do it anyway. This is something new. We've never had a period like this and it was --to somebody like me, who is really hooked into constitutional America --this is incredible. We cannot trust the Supreme Court after their mysterious decisions on the election of 2000. We have no political parties. We've never had much of them --I mean the Democrats, the Republicans. We have one party --we have the party of essentially corporate America. It has two right wings, one called Democratic, one called Republican. So in the absence of politics, with a media that is easy to manipulate and, in the hands of very few people with interests in wars and oil and so on, I don't see how you get the word out, but one tries because there is nothing else to be done. MARK DAVIS: Gore Vidal, thanks for joining us on Dateline. GORE VIDAL: Thank you. Gore Vidal is the author of two excellent pamphlets on 9/11 and Bush's wars: Perpetual War for Perpetual Peace and, most recently, Dreaming War From nc-agricowi at netcologne.de Tue Mar 18 07:49:57 2003 From: nc-agricowi at netcologne.de (ViolenceOnlineFestival) Date: Tue Mar 18 07:52:40 2003 Subject: [spectre] Version 5.0 - now online! Message-ID: <00a901c2ed1a$97867820$0600a8c0@NMARTPROJECTNET> PRESS RELEASE Violence Online Festival v.5.0 www.newmediafest.org/violence/ *********************************** Now it is so far! Only a few hours and there will be definitely war in Iraq. But all the little Bushs in the world don't have to go so far, the new Violence Play Station offers all of them pure war fun and happiness. Just join Version 5.0 of Violence Online Festival www.newmediafest.org/violence/ which is launched on 18 March 2003 on occasion of the participation in "Videoformes - 18th International Video and Multi-media Festival Clermont-Ferrand (France) 19-22 March 2003" www.videoformes.com !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! *********************************** summary: Violence Online Festival is a New Media art project reflecting the phenomenon of "Violence", curated, organized and created in Flash by Agricola de Cologne, curator and media artist operating from Cologne/Germany. As an ongoing project Violence Online Festival is developed for being presented in future in the framework of physical and virtual media festivals and exhibitions. For each event a new project version will be created adjusted to the actual needs including additions of new artists/works and other changes. *********************************** Version 5.0 of Violence Online Festival includes works of following new artists: Restate, Francesca da Rimini, Tamara Lai, L.L. de Mars, Ryan Griffis, Isabel Saij, Ventsislav Zankov, re:combo, Agricola de Cologne, pedropez, Stephen Mead, Sergei Teterin, Mike Haskett, Joy Garnett, Team of Get Carted, Andy Deck, Bruce Ives Irene Marx, Guillaume Dimanche, jgjeux, Peter Jacobi, Giacomo PiccA, Stephane Tomora, Clemente Padin, Antonio Mendoza, Josh MacPhee, Judith Villamayor, jen Mara Infidelious, Markus Christian Koch, Michael Crane, John Burgermann Maria Papadimitriou, David Vegezzi, Home Team, Lorenzo Taiuti, Floe Florin, Scott Becker, Robert Labor, Miguel Carlos Labra, Cendres Lavy, Feargal O'Malley, Audrey Mantey, Per Pegelow, Tigran Tovmeysyan, Hughues Rochette, Daniel Hanequand, Timothy Bowen, Cezar Lazarescu, Caterina Davinio, ego, Marc Garrett, Mona Vatamanu, Jatom Joon , Ivan Abreu, Bill Berry , Isabel Aranda Yto Alan Sondheim, ED Mole, Katie Bush, David Crawford, Edward Marszewski Tolya Glaukos, Dyian Anguelov, Bluescreen, David Sansone, Noya Abdelaziz Fight, beat them, hit them! Join Violence Play Station!! *********************************** introduction: The human character contains both a light and a dark side, good and bad, individually manifested. Deeply rooted is a dark-sided element: Violence. In happy surroundings, it becomes hardly visible and in less happy surroundings - either of a physical, psychological, environmental, ideological, economic or political nature - nearly automatically a kind of survival strategy with all the known consequences we see manifested in conflicts on a small or large scale. Violence is present anywhere, hidden or sleeping, hesitating, waiting or in action, starting from simple mobbing via verbalor physical attacks, the bandwidth has no end. Nowadays, globalization, social injustice, unemployment, increasing wealth on one side and on the opposite increasing poverty (without mentioning some causes) produce a climate where violence has a fertile soil. From the attack on 9/11 in the USA, people from the Western civilization became painfully aware that security of any kind is a mere illusion; not only the internal, but also the external enemy is present anywhere. Artists are said to be the consciousness of a nation or society as they reflect the actual state of the psychological and physical environment. When this state is penetrated by violence, nobody is surprised that violence becomes a universal subject for artistic reflection, the difference may only be the view on it and its perception depending on the respective cultural background. 'Art and violence both seem to stem from the abstract: that place beyond logic, the realm of the emotion. When they intersect we are simultaneously repelled and attracted, frightened and excited. Historically this meeting has been wrought with complexity, and as cultural violence in every society increases, we are prevented by paranoia, censorship and ethical demands from asking, and sometimes even posing, some of the most important questions violence and art together and separately produce: how is violence represented, and what or how much of it do we need to resist the cultivation of fear and the encouragement of dependency? Is violence a tool, a process or a result? When are artistic portrayals of violence justifiable? As intellectual exercise, ritual, or spiritual enhancement? For other purposes? Or are they never justifiable? Is violence in art an action, reaction, or reflection? ' (quotation: festival statement). How different the results of an artistic reflection can be is shown through the Violence Online Festival, a New Media online exhibition project curated and organized as an individual event by Agricola de Cologne including more than 150 artists from 30 countries presenting their work. It forms a dynamic collaborative art work presenting very individual visions and use of media. The relevance of violence becomes visible also through the high quality standard of all the included works. Each of them represents another aspect of violence - caught in textual poetry, running as a video or embedded in an interactive environment of a net-based art work. In reaction to the key role (mass) media plays by displaying and even promoting violence, a new environment (interface) has been created for Violence Online Festival, which houses and hosts the art works within a virtual media company named "Violence Media Incorporated". By dividing the company into different departments (eg. "Violence for Happiness" , "Violence Marketing" or "Violence Broadcasting"), it becomes clear that their meaning has a rather ironic or sarcastic character, which gives the embedded art works a new meaning. While surfing through this environment, the visitor is forced to ask and give answers, and becomes slowly a part of this network of art through his reflections and changes of perception. ************************************** The list of all 270 participating artists from 40 countries can be found on www.newmediafest.org/violence ************************************** Visit this dynamic exciting show. There are optional following accesses: direct: www.newmediafest.org/violence but also www.newmediafest.org and www.a-virtual-memorial.org ************************************* Violence Online Festival on Rhizome Artbase: http://rhizome.org/object.rhiz?7503 Presentations: * Version 1.0 : Online part of Violens Festival Tábor (Czech Republic) 17 - 31 August 2002 * Version 1.1 : Featured Project in September 2002 on A Virtual Memorial www.a-virtual-memorial.org * Version 2.0: Computer Space Festival 2002 Sofia (Bulgaria) (18-21 Oct 2002) and Liberarti Festival /Liverpool Biennale 2002 (10 Oct - 01 Dec 2002) *Award: Special Prize of Computer Space Festival Sofia (Bg) *November 2002 feature/review on faf - Fine Art Forum http://www.fineartforum.org/Backissues/Vol_16/faf_v16_n11/reviews/reviews.ht ml *Version 3.0: "e-magic - New Media events" 43rd International Filmfestival Thessaloniki (Greece) 12-16 November 2002 http://www.filmfestival.gr/2002/emagic/uk/emagic.html *Version 4.0 - New Media Nation - Festival des Festivals Bratislava (Slowakia) 20-22. February 2003 www.nmn.sk *Version 4.1 - Spotlight on TURBULENCE www.turbulence.org/spotlight/agricola *Version 5.0 - Videoformes - 18th International Video und Multimedia Festival 20-23 March 2003 www.videoformes.com Preview: Version 6.0 will be launched on 4 April 2003 on occasion of the participation in 1st New Media Art Festival Chiang Mai (Thailand) 4-15 April 2003 Reviews on: Neural.it, Random, NOEMA, El Pais, FineArtForum etc. ************************************** technical requirements optimized for VGA resolution 1024x768 PC Pentium III 600 Mhz or better or comparable MAC Soundcard, recommended 56K or 64K modem or faster, browsers: MS Internet Explorer 5.5+ or Netscape Navigator 6.0+ Players/Plug-ins: essential the latest Flash 6, Shockwave, Real Player, Quicktime *************************************** copyright: Violence Online Festival www.newmediafest.org text, conception, programming, visalization curator, organizer = Agricola de Cologne - *copyright © 2002-2003 . All rights reserved. *copyright © of all art works of the participating artists hold the authors or owners. NewMediaArtProjectNetwork - the experimental platform for the arts in Intenet is founded and created by Agricola de Cologne. copyright © 2000-2002 by Agricola de Cologne. All rights reserved. **************************************** Special thanks to: Fatima Lasay - DMF2002 Festival/University of the Philippines http://digitalmedia.upd.edu.ph/ Nisar Keshvani editor-in-chief, fineArt forum = art + technology netnews http://www.fineartforum.org **************************************** contacts: Press press@newmediafest.org Violence Online Festival violence@newmediafest.org *********** From gabrown at axionet.com Tue Mar 18 11:12:07 2003 From: gabrown at axionet.com (graham a brown) Date: Tue Mar 18 20:12:38 2003 Subject: [spectre] International Call To Creative Action Message-ID: Hi I would like to bring to this list the International Call To Creative Action, creative competition. The theme is to explore your post 9?11 experience. All the winning and finalists entries will be published September 2003, on the 9?11 International Call to Creative Action, a digital storytelling interactive DVD, to be presented to the United Nations Library, and Canadian Parliamentary Library and the American Library of Congress. Categories: Writer, Visual Artist, Photography, Multimedia, and a separate family or school entry. Detailed information is on the web site or email info@netcomediainteractive.com. Entry fee: fifteen ($15) US money order with one (1) entry or twenty five dollars ($25) US money order for three (3) entries.1st Prize: $250, 2nd Prize: $150, all in US currency. Winners will receive a copy of the published DVD. Deadline post marked May 1, 2003 c/o netcoMedia Interactive 1027 Davie Street, Suite 532 Vancouver, BC, Canada V6E 4L2 http://www.netcomediainteractive.com Info@netcomediainteractive.com From abroeck at transmediale.de Wed Mar 19 11:10:22 2003 From: abroeck at transmediale.de (Andreas Broeckmann) Date: Wed Mar 19 11:10:25 2003 Subject: [spectre] Fwd: NEW MEDIA ART FESTIVAL Chiangmai Message-ID: <1048068622.3e78420ed6e87@webmail.in-berlin.de> New Media Art Festival CHIANGMAI (28 March - 15 April 2003) http://iceca.chiangmai.ac.th/events ...film, video and media art from GERMANY ...the two programs include works by: Maxi BADE, Frank BRETSCHNEIDER, Matthias FRITSCH, Annette HOLLYWOOD, Oliver HUSAIN, Jannicke LAKER, Bjoern MELHUS, Stanislaw MUCHA, Hanna NORDHOLT + Fritz STEINGROBE, Volker SCHREINER, Caspar STRACKE, Wayne YUNG ...and Michael BRYNNTRUP ...for details (texts and pictures) see: http://www.brynntrup.de/imafcm -------------- next part -------------- ------------------------------------------------------- rohrpost - deutschsprachige Liste zur Kultur digitaler Medien und Netze Archiv: http://www.nettime.org/rohrpost http://post.openoffice.de/pipermail/rohrpost/ Ent/Subskribieren: http://post.openoffice.de/cgi-bin/mailman/listinfo/rohrpost/ From Oliver.Grau at culture.hu-berlin.de Wed Mar 19 15:43:13 2003 From: Oliver.Grau at culture.hu-berlin.de (Oliver Grau) Date: Wed Mar 19 15:44:01 2003 Subject: [spectre] MEDIUM ARCHITECTURE - Transitions in Architectural Discorse Message-ID: <3.0.3.32.20030319154313.00ccdb50@popserv.rz.hu-berlin.de> MEDIUM ARCHITECTURE Transitions in Architectural Discorse 9thInternational Bauhaus-Colloquium Bauhaus-Universit?t Weimar April 24th?27th 2003 http://www.uni-weimar.de/architektur/atheo/bk The Bauhaus-Colloquium is an international conference held in Weimar in regular intervals since 1976. As an interdisciplinary forum, the colloquium sets out to discuss major issues relevant to the contemporary architectural debate. The aim of the conference Medium Architecture in 2003 is to ask if and how architecture functions under the present cultural, technological and economic conditions as a medium and as a language. In this context, we are interested in architecture as a medium, in architecture in the media and in the modern technologies and new media as they bear on architectural production. The conference will be held over four days. The afternoon sessions will showcase invited academics of international standing. In the morning sessions younger scholars around PhD level will deliver papers on related topics. Lectures by: Jean Baudrillard, Beatriz Colomina, Kurt W. Forster, Oliver Grau, Klaus Herding, Joseph Rykwert, Joan Ockman, Rupinder Singh, Beat Wyss, Petr Kratochvil, Antoine Picon, Gerd Zimmermann, Bernhard Siegert, Stanislaus von Moos, Lorenz Engell, Joseph Vogl, Adrian Forty, Maddalena Scimemi, Catherine de Smet, Kojin Karatani, Georges Teyssot, Mario Carpo, Arie Graafland, Joachim Krausse, Kari Juhani Jormakka, Anthony Vidler, George Baird, Organizer Prof. Dr. Gerd Zimmermann Chair in Theory of Architecture and Design Prof. Dr. Marco De Michelis Gropius-Professorship From abroeck at transmediale.de Wed Mar 19 17:18:25 2003 From: abroeck at transmediale.de (Andreas Broeckmann) Date: Wed Mar 19 17:20:27 2003 Subject: [spectre] Peruvian Video/Electronic/Art: The Leonardo Gallery Message-ID: From: ATA Cultural Date: Wed, 19 Mar 2003 02:58:03 +0100 Subject: Peruvian Video/Electronic/Art: The Leonardo Gallery Est? en linea una selecci?n de artistas peruanos publicados en The Leonardo Gallery (Leonardo Journal, MIT Press): A selection of Peruvian media artists published in The Leonardo Gallery (Leonardo Journal, MIT Press) is now online at: http://mitpress2.mit.edu/e-journals/Leonardo/gallery/index.html The Leonardo Gallery: Peruvian Video/Electronic/Art by Jos?-Carlos Mari?tegui If we may say that the viability of the species depends on, among other things, its variety, that is, in biological terms, on its variability, the same could be said of the recent development of electronic arts in Per?. This development has been hybrid and diverse. One of the main characteristics of the works done using electronic media in Per? is that they all differ one from the other. There are no trends definable. Possibly its recent "second age" (over the last 5 years) makes it a distinct case in comparison with other Latin American countries such as Brazil, M?xico or Argentina, in which the tradition of media arts has been much longer established. The significance of electronic art in Per? lies in its allowing a new means of broadening and extending the creative universe, of developing new, distinctly Peruvian ideas and thoughts in opposition to the traditional artistic proposals that had made Peruvian art a useless effort, considering its social context. For the artists selected here, video and electronic arts act as non-traditional media that provide a unique opportunity to express their thoughts and represent their very personal perceptions of reality. One of those creators who introduced the use of electronic media to Per? was Francesco Mariotti, a Peruvian of Swiss origin. In the last years of the 1960s, a time in which the fascination with technological resources in the arts was just beginning around the world, he began working on innovative projects. Mariotti's use, from the time he began his work, of what is currently described as mediated or interactive art presented a clear understanding of scientific theories in connection with artificial life, cognition, complex system theories and concepts about nature that are nowadays closely related to electronic arts. After this auspicious beginning, the traces of electronic arts in Per?, beyond some sporadic and isolated interventions, disappeared almost completely for about 2 decades. The harsh situation for creators, the minimal infrastructure for research and production, meant that only a few succeeded, through great professional sacrifices, to raise the needed funds to get access to expensive technical equipment. A pivotal event occurred in 1995 when the Italian artist Gianni Toti came to Per? to present a series of his video artworks. Toti, known as the "father of video poetics and video synthesis," can be described as an organic intellectual who confronts theoretical depth and cultural action in his untiring search for new languages in artistic and scientific creation. Toti's debate with artists and theoreticians helped to modify the solitude of electronic arts in Per?. In 1998, and taking as a historical reference a video-art show that took place in 1977 (presented by Alfonso Castrill?n and Jorge Glusberg), the Second International Video Art Festival took place in Lima. Fortunately, thanks to the help of international organizations as well as post-production and computer facilities, local creations had begun to be produced. Since then, this festival has occurred annually, with a massive response from the public, which demonstrates the great interest that these new manifestations of art and technology can produce. Many of the innovative artistic proposals in Per? in the last 5 years have been realized with or have been associated with the use of new technologies. While it is still possible to argue that electronic media can be considered elitist in some poor countries, the means for their use has been extended to the vast majority of Peruvians. A key to their further expansion has been the creation of media centers with the technical facilities and know-how to help develop creative ideas. The intent to document social action by various means is evident in the works of Roger Atasi, Jos? Carlos Martinat and Iv?n Lozano di Natale. In these cases, research on a project is presented as part of its process. A great number of the works presented here also confront the creative situation in an expository context or in a traditional artistic setting, for example, the works of Angie Bonino or Iv?n Esquivel, which tend to be conceptual and critical or even political. On the other hand are digital artists such as Ricardo Velarde, who applies his technical knowledge and aesthetics to develop his atypical 3D animations. These young artists find in media arts new ways of interpreting local contexts in the search for artistic, creative expression and resistance. Resistance is always possible; it provides the context of the works being developed in the electronic arts scene in Per?, which engages its resistance through ideas from art and science within the so-called technological/globalized culture. Peruvian creators analyze technology in relation to social changes in a digital evolution toward the development of a more humanizing world. Enviado por ATA Cultural a nettime-l@bbs.thing.net # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: nettime@bbs.thing.net From netwurker at hotkey.net.au Thu Mar 20 14:39:45 2003 From: netwurker at hotkey.net.au (a][nti][nglo.cubic) Date: Thu Mar 20 05:08:33 2003 Subject: [spectre] _Come_2_Data_ [Anglospherical Engineering] Message-ID: <3.0.6.32.20030320143945.0215d3f0@pop.hotkey.net.au> ===*: Target left PEACENet. Failed to deliver: [+ 33 other countires] ===*: Target left SANITYNet. Failed to deliver: [good] [x] Normal [-] Anglospherical Engineering 2:00 PM 19/03/03 +1100 4 Anglosphere Engineering $come_2_d[pro r]ata $come_2_datum $s.lick_reasoned = aug[D]mented $fo[b]ibles_engine.eared $slinking_in2_b[f]reak.down = edgy $should_i_stay_to_watch_the_beginning_of_the_war? affirmation, attestation, averment, cincher, clincher, clue, confirmation, corroboration, cue, data, declaration, demonstration, deposition, documentation, dope, goods, gospel, grabber, grounds, hold water, index, indication, indicia, info, manifestation, mark, sign, significant, smoking gun, substantiation, symptom, testament, testimonial, testimony, token, witness $schedule_file = "www.come.2.data"; ===reason: No such nick ===san[e]ity: No such nick ===*: Target left PEACENet. Failed to deliver: [+ 33 other countires] ===*: Target left SANITYNet. Failed to deliver: [good] From garrett.lynch at eudoramail.com Thu Mar 20 10:33:40 2003 From: garrett.lynch at eudoramail.com (- G a r r e t t -) Date: Thu Mar 20 11:31:49 2003 Subject: [spectre] "Banner-strike" contest Message-ID: +-----------------------------------------------------------+ Hello everyone The Banner Art Collective (http://bannerart.org/), in collaboration with Velvet-Strike (http://www.opensorcery.net/velvet-strike/), announces the Banner-Strike Contest. Banner-Strike is a contest for digital graffiti and net.art that is created under specific limitations and which critically examines the impending war in Iraq. All entries will be displayed in bannerart.org's ongoing banner art exhibition and also turned into a Velvet-Strike spray (to be installed in Counter-Strike). The winner of the contest will win the October 2003 release of Counter-Strike: Condition Zero and will be highlighted on the front page of both sites for one month. The deadline for submissions is 16 April, 2003. The winner will be announced on 18 April, 2003. - Technical Requirements - Submitted banners need to be in gif or jpeg/jpg format with no animation. All of the following sizes are acceptable: 234x60, 88x31, 120x60, 120x240, 125x125, 240x400, 300x250, 336x280 and 250x250. To submit, go to bannerart.org and use the submission form upload your work for review. Please mark in the "special requirements" field on the upload form that your submission is for the contest and not just for normal entry to the site's continuing banner art exhibition, submissions for which are continuing as usual. All entries will be shrunk proportionally and converted to a spray paint .wad file by the creators of Velvet-Strike. You can do this conversion yourself to test how your work might look, by downloading the freeware application "Wally 1.55b" on the "Counterspray" site (http://www.counterspray.com/makeyourown.htm). Below is the list of conversion sizes that will be used: 234x60 half-banner->192x48 88x31 microbar->96x32 (with a transparent border) 120x60 button->96x48 120x240 button->64x128 125x125 button->96x96 240x400 rect->48x80 300x250 rect->96x80 336x280 rect->96x80 250x250 popup->96x96 Any technical questions should be directed to Brandon Barr (brandon@bannerart.org), Garrett Lynch (garrett@almost.be), or Anne-Marie Schleiner (opensorcery@opensorcery.net). +-----------------------------------------------------------+ a+ Garrett Lynch / Brandon Barr -- +-----------------------------------------------------------+ -- +-----------------------------------------------------------+ Garrett@asquare.org http://www.asquare.org/ http://www.bannerart.org/ http://www.zendco.com/ http://rhizome.org/member.rhiz?user_id=1000113 +-----------------------------------------------------------+ From netwurker at hotkey.net.au Fri Mar 21 08:56:12 2003 From: netwurker at hotkey.net.au (a][nti][nglo.cubic) Date: Thu Mar 20 22:56:26 2003 Subject: [spectre] http://dear_raed.blogspot.com/ Message-ID: <3.0.6.32.20030321085612.02171b40@pop.hotkey.net.au> http://dear_raed.blogspot.com/ :: Thursday, March 20, 2003 :: the all clear siren just went on. The bombing aould come and go in waves, nothing too heavy and not yet comparable to what was going on in 91. all radio and TV stations are still on and while the air raid began the Iraqi TV was showing patriotic songs and didn't even bother to inform viewers that we are under attack. at the moment they are re-airing yesterday's interview with the minister of interior affairs. THe sounds of the anti-aircarft artillery is still louder than the booms and bangs which means that they are still far from where we live, but the images we saw on Al Arabia news channel showed a building burning near one of my aunts house, hotel pax was a good idea. we have two safe rooms one with "international media" and the other with the Iraqi TV on. every body is waitingwaitingwaiting. phones are still ok, we called around the city a moment ago to check on friends. Information is what they need. Iraqi TV says nothing, shows nothing. what good are patriotic songs when bombs are dropping around 6:30 my uncle went out to get bread, he said that all the streets going to the main arterial roads are controlled by Ba'ath people. not curfew but you have to have a reason to leave your neighborhood, and the bakeries are, by instruction of the Party, seeling only a limited amount of bread to each customer. he also says that near the main roads all the yet unfinished houses have been taken by party or army people. :: salam 10:33 PM [+] :: ... I watched al sahaf on al-jazeera. he said that the US has bombed the Iraqi sattelite channel, but while he was saying that the ISC was broadcasting and if it really did hit the ISC headquarters it would have been right in the middle of baghdad. what was probably hirt were transmiters or something. all TV stations are still working. :: salam 4:28 PM [+] :: ... ===*: Target left PEACENet. Failed to deliver: [+ 33 other coun.t.ires] ===*: Target left SANITYNet. Failed to deliver: [good] From Oliver.Grau at culture.hu-berlin.de Fri Mar 21 16:05:53 2003 From: Oliver.Grau at culture.hu-berlin.de (Oliver Grau) Date: Fri Mar 21 16:06:42 2003 Subject: [spectre] VIRTUAL ART new video documentation Message-ID: <3.0.3.32.20030321160553.016bf420@popserv.rz.hu-berlin.de> In cooperation with the European TV channel ARTE, the DATABASE OF VIRTUAL ART has documented a series on contemporary media artists at ZKM, which is now available at the ARTE website. A sample from the work of Robert Loessl and Oliver Grau can be found: http://www.arte-tv.com/emission/emission.jsp?node=-1970&lang=de Enjoy! More Extensive Publication (in english): OLIVER GRAU: VIRTUAL ART: From Illusion to Immersion, MIT Press January 2003. (ISBN 0-262-07241-6, 360 S., 89 Ill.) Production: DATABASE OF VIRTUAL ART / Dr. Oliver Grau Humboldt University of Berlin in cooperation with channel unit digitale mediengesellschaft mbh Scientific Chair: Dr. Oliver Grau Video Director: Robert Loessl with support from ZKM / especially: Dr. Andrea Buddensieg Recording / Editing: channel unit digitale mediengesellschaft mbh Titles: Sevrina Giard Joachim G?rtner ******************************** DR. OLIVER GRAU Kunsthistorisches Seminar Humboldt University Berlin Dorotheenstr. 28; 10117 Berlin fon: +49 (0)30 2093-4295 (direct) - 4288 (secr.) Fax: +49 (0)30 2093-4209 Oliver.Grau@culture.hu-berlin.de www.arthist.hu-berlin.de/arthistd/mitarbli/og/og.html www.diejungeakademie.de ********************************** From kaiser at zkm.de Fri Mar 21 16:40:32 2003 From: kaiser at zkm.de (Petra Kaiser) Date: Fri Mar 21 16:40:36 2003 Subject: [spectre] \\international\media\art\award 2003 : last call for entries Message-ID: <3E7B3271.74CAC7E7@zkm.de> \\international\media\art\award 2003 Deadline: 1st April 2003 The competition for the \\international\media\art\award 2003 is being organised jointly by Suedwestrundfunk Baden-Baden (SWR) and ZKM| Center for Art and Media Karlsruhe in co-operation with Swiss television SF DRS and arte. This award is the successor to the International Video Art Award, awarded for the first time in 1992. The \\international\media\art\award is intended to provide a forum on the television and in the general public for artistic videos as well as other media and interactive arts projects. Subject \\ Constructed Life: Scenarios of Fiction among computer games, cyber-sex, nanobytes and robotic arts More information and the application form: http://www.medienkunstpreis.de This award is sponsored by LB-BW Landesbank Baden-Wuerttemberg. ZKM| Zentrum f?r Kunst und Medientechnologie ZKM | Center for Art and Media Lorenzstr. 19 76135 Karlsruhe Tel. +49-721-8100-1150 / Fax -1139 http://www.zkm.de medienkunstpreis@zkm.de From drekdede at yahoo.com Fri Mar 21 08:40:50 2003 From: drekdede at yahoo.com (derek mang) Date: Fri Mar 21 17:40:54 2003 Subject: [spectre] Bomb Iraq Message-ID: <20030321164050.71379.qmail@web10306.mail.yahoo.com> If You're Happy And You Know It Bomb Iraq   by John Robbins   If you cannot find Osama, bomb Iraq. If the markets are a drama, bomb Iraq. If the terrorists are frisky, Pakistan is looking shifty, North Korea is too risky, Bomb Iraq.   If we have no allies with us, bomb Iraq. If we think that someone's dissed us, bomb Iraq. So to hell with the inspections, Let's look tough for the elections, Close your mind and take directions, Bomb Iraq.   It's pre-emptive non-aggression, bomb Iraq. To prevent this mass destruction, bomb Iraq. They've got weapons we can't see, And that's all the proof we need, If they're not there, they must be there, Bomb Iraq.   If you never were elected, bomb Iraq. If your mood is quite dejected, bomb Iraq. If you think Saddam's gone mad, With the weapons that he had, And he tried to kill your dad, Bomb Iraq.   If corporate fraud is growin', bomb Iraq. If your ties to it are showin', bomb Iraq. If your politics are sleazy, And hiding that ain't easy, And your manhood's getting queasy, Bomb Iraq.   Fall in line and follow orders, bomb Iraq. For our might knows not our borders, bomb Iraq. Disagree? We'll call it treason, Let's make war not love this season, Even if we have no reason, Bomb Iraq. __________________________________________________ Do you Yahoo!? Yahoo! Platinum - Watch CBS' NCAA March Madness, live on your desktop! http://platinum.yahoo.com From mpc at nmartproject.net Mon Mar 24 08:01:52 2003 From: mpc at nmartproject.net (Melody Parker Carter) Date: Mon Mar 24 08:01:57 2003 Subject: [spectre] Monday special on the net Message-ID: <00be01c2f1d3$4c6e84a0$0600a8c0@NMARTPROJECTNET> ........illusion?.... pipe dream?........... ...................what is peace? just the state of non-war?......... ...........Honestly, who can stand permanent.............. .....................harmony?............. ..............Don't we need war?....... ...................to survive?..... to fulfill our human destiny?.... ...........are just 138 seconds of...... peace?..left?....................................... 138 seconds of peace? www.nmartproject.net/agricola/mpc/volume6/138seconds.html .................... now streaming on the net! requires DSL! a super fast computer device! Flash 6! MPC mpc@nmartproject.net From vgrancher at nomemory.org Thu Mar 20 22:31:09 2003 From: vgrancher at nomemory.org (Valery Grancher) Date: Mon Mar 24 13:09:48 2003 Subject: [spectre] on war !!! Message-ID: <023601c2ef28$082f40c0$358f80d9@user> Who loves who ? who kills who ? http://www.nomemory.org/onwar Valery Grancher http://www.nomemory.org http://valery.grancher.free.fr -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/attachments/20030320/ea03af64/attachment.xhtml From mklayman at leonardo.info Sun Mar 23 21:29:34 2003 From: mklayman at leonardo.info (Melinda Klayman) Date: Mon Mar 24 13:09:55 2003 Subject: [spectre] LEONARDO CO-SPONSORS COMPOSING MESSAGES TO THE COSMOS: PARIS WORKSHOP Message-ID: PRESS RELEASE * * * FOR IMMEDIATE RELEASE March 23, 2003 Contact: Douglas Vakoch Diane Richards Workshop Chair Public Information Officer SETI Institute SETI Institute Cell: 06 32 80 13 30 (France) Phone: (650) 960-4514(USA) altruism@seti.org drichards@seti.org LEONARDO CO-SPONSORS COMPOSING MESSAGES TO THE COSMOS: PARIS WORKSHOP A group of twenty artists, scientists, and scholars from the humanities will gather in Paris, March 23 and 24 (Sunday and Monday), to understand how we might communicate the idea of altruism to any intelligent civilizations that could be circling other stars. The workshop??Encoding Altruism: The Art and Science of Interstellar Message Composition??will focus on messages that could be transmitted by radio waves or laser pulses. These communication techniques reflect the methods used in the Search for Extraterrestrial Intelligence (SETI), including the world's most comprehensive search, Project Phoenix, being conducted by the SETI Institute. ?As SETI programs become increasingly powerful, we need to think seriously about what to do if we succeed. Should we reply? If so, what should we say?? asked chair of the workshop, Dr. Douglas Vakoch. ?How could we convey concepts as seemingly abstract as altruism or our sense of beauty?? Participants from a dozen countries will ponder these questions and other topics, including - Creating interactive interstellar messages. - Preparing for interstellar contact by studying animal communication. - Explaining the logic of altruism. - Conveying religious views of altruism through artificial languages. - Composing interstellar "music" inspired by the structure of DNA. More information including complete biographies and abstracts is available online at http://publish.seti.org/art_science/2003/ The workshop is being sponsored by the SETI Institute; Leonardo/OLATS (Leonardo Observatory for the Arts and TechnoSciences); the John Templeton Foundation; the International Society for the Arts, Sciences and Technology (ISAST); and the International Academy of Astronautics (IAA) Permanent SETI Study Group. END NOTE TO EDITORS: Participation is by invitation only. Interested journalists should contact workshop chair Douglas Vakoch (altruism@seti.org), cell 06 32 80 13 30 (in France). -- From teterin at pisem.net Mon Mar 24 16:21:48 2003 From: teterin at pisem.net (Sergei Teterin) Date: Mon Mar 24 13:10:01 2003 Subject: [spectre] Machinista 2003 short-list 1: veejays vs visualizers Message-ID: <007301c2f208$8bc997e0$15f021d4@teterin> Hello friends here is the Machinista 2003 short-list 1: veejays vs visualizers "MACHINISTA 2003" is an international internet-based festival of contemporary media art, coordinated in Perm City, West Ural, Russia. Main subject of the festival is "Artificial Intelligence in Art: Faces of Machinic Ingenuity". The focus is on the new interaction of machinic and human in art and culture. http://www.machinista.ru/en CATEGORY: VJ'S VS. VISUALIZERS Category online curator - Vadim Epstein [RU] So, the battle of times: humans vj's versus visualising programs - WHO WINS, MAN OR MACHINE? BEST ARTWORKS - SHORT-LIST OF MACHINISTA: Andrius Ventslova - "1234" README: russian visual rap. http://www.machinista.ru/work.php?l=en&id=105 Stanza - "Amorphoscapes" README: audio visual experiences for the net. http://www.machinista.ru/work.php?l=en&id=65 Stuart Pound - "Plaza Continuum" README: Thirty years ago making experimental films, I used a technique which breaks footage into blocks of one second, divides each block into four, re-orders the segments and then re-assembles the footage. As with slowed down frames, the viewer sees how the impression of a moving image is created. But the sense of both movement and stillness, time and no-time, is even stronger. In this video I have reproduced this digitally with very different effects. http://www.machinista.ru/work.php?l=en&id=182 Arno Coenen - "Time To Bone" README: insert coin : select video : masturbate. http://www.machinista.ru/work.php?l=en&id=41 NomIg - "NomIg" README: Our premise is to forge a new form of cinematic experience by combining audio and visuals - live - in a way that has yet to be explored. We create an environment where one listens to an audio and visual environment and becomes enraptured and caught up in it, so much so that one casts off the binding preconceptions of time and enters into a state where the operatives of time are dictated by the piece. By taking media objects from disparate sources and putting them into one work of art, we strip sampled sound and imagery from its previous context, thereby liberating it from its previous meaning. http://www.machinista.ru/work.php?l=en&id=163 restate - "Restate/Rebelle" README: restate/rebelle - the thunderous transvormator. http://www.machinista.ru/work.php?l=en&id=72 Antoine Schmidt - Venus1 README: Venus 1 dances on music. It prefers jazz,classical, electro and slow techno. Insert a CD in your computer, or plug a line, Venus 1 will like it. In silence, or when Venus 1 does not hear any sound, she waits while wandering slowly, in her own way. Venus 1, through her very peculiar sound perception, gives us another lecture of the music and the sounds. http://www.machinista.ru/work.php?l=en&id=49 Simon Richardson - "VJ Vitascope" README: the material is challenging the idea that the vj follows the dj by eliminating the need for a dj. at present the works are fairly ambient, with some beats, but this is definitely an immersive audio/visual experience rather than the accompanyment for a party of dancers. betker, deissler - "Lleuchtmittell" README: lleuchtmittell are not simply mixing videotapes on their live-perfomances. when lleuchtmittell perform on an event ...existing video-material becomes modified and new animations are produced... the creative work happens while the event and is influenced by the atmospere of the location and the kind of music... lleuchtmittell mainly use 2D-animationsoftware, genlocks, videotapes and analog videoeffects for their work but also videocameras, slides or unusual digital-photocameras every kind of lowtec device they own is used for realtime videomanipulation but the result is not "specialeffect show" http://www.machinista.ru/work.php?l=en&id=116 Videotone - "Somework" README: Somework by V I D E O T O N E (Barcelona, Spain) http://www.machinista.ru/work.php?l=en&id=197 Ryan Geiss & Rovastar - "Milkdrop" README: It creates detailed graphical images seamlessly blending 3D effects into one another this is coupled with intelligent beat detection. Time and effort hads been spent creating detailed sound detection using techineques that have only recently become available that it make the sound come alive. http://www.machinista.ru/work.php?l=en&id=158 = = = = = MACHINISTA 2003 Russia All necessary information can be found on the festival web site: http://www.machinista.ru/en Contact: Sergei Teterin -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/attachments/20030324/3227422a/attachment.xhtml From abroeck at transmediale.de Mon Mar 24 13:46:35 2003 From: abroeck at transmediale.de (Andreas Broeckmann) Date: Mon Mar 24 13:47:35 2003 Subject: [spectre] transmediale.salon: Polish Video Art, Berlin, 28. + 29.03. Message-ID: ENGLISH version below transmediale salon Vom Monument zum Markt - ?ffentlicher Raum und polnische Videokunst mit: Piotr Krajewski und Jozef Robakowski Podewil, Klosterstr.68-70, Berlin-Mitte Freitag 28.3. + Samstag 29.3.2003, jeweils 19.00 Uhr Eintritt: EUR 5 (in englischer Sprache) Die kulturelle Transformation Polens bringt neue Bilder des ?ffentlichen Raumes hervor, die auch in der polnischen Videokunst umfassend reflektiert werden. In einem Programm aus Kurzvortr?gen und Videopr?sentationen zeigen der Kurator, nicht nur Beispiele aus der jungen polnischen Medienkunstszene, sondern auch Beispiele, die die lange Tradition der Besch?ftigung mit dem aus der drei?igj?hrigen Geschichte der Videokunst in Polen stammen. Zu sehen sind Videoarbeiten u.a. von J?zef Robakowski, Zygmunt Rytka, Miroslaw E. Koch, Zuzanna Janin, Wladyslaw Kazmierczak, Wilhelm Sasnal, Piotr Wyrzykowski, Janek Koza, Monika Grzesiewska, Igor Krenz und der Lyying Community. Vorgestellt vom Kurator Piotr Krajewski, Leiter des WRO Medienkunstzentrums in Wroclaw, und von dem wohl bekanntesten polnischen Videok?nstler, J?zef Robakowski. In Kooperation mit dem Polnischen Institut Berlin http://wrocenter.pl http://www.robakowski.net http://www.polnischekultur.de Der urbanisierte, physische, funktionelle Raum wie auch der Bereich der sozialen und medialen Kommunikation erlebten in Polen in den letzten drei Jahrzehnten besonders tiefgreifende Ver?nderungen. Der kommunistische Staat (bis 1989) erhob den Alleinanspruch auf die Steuerung der Semantik dieser Kommunikation. Er gr?ndete eigene Einrichtungen mit den Auftr?gen der Zensur und der Ordnungsh?tung. Der ?ffentliche Raum wirkte armselig, grau und war voller Beschr?nkungen; es wurden zwar Denkm?ler aufgestellt, aber jeder authentische, kreative Ausdruck wurde stark begrenzt. Vor dem Hintergrund dieses dominierenden Grau wurden die wenigen m?glich gewordenen K?nstleraktivit?ten umso sichtbarer, sie erhielten ein k?nstlerisch und politisch gr??eres Gewicht. Ein unabh?ngiger - selbst ein neutraler und manchmal gar ungewollter - Akt wurde gewisserma?en zu einer k?nstlerischen Intervention. Dieser an hierarchisch geordneten Zeichen arme Raum steht in starkem Kontrast zum ?ffentlichen Raum von heute, der haupts?chlich durch die Lebendigkeit des Marktes geregelt wird - ein Raum, in dem Redefreiheit unter den Bedingungen einer l?rmenden Betriebsamkeit gesichert erscheint. +++++++++++++++++++++++++++++++++++++++++ UPCOMING: WRO 2003 Biennale, Wroclaw, Poland 30 April - 4 May 2003 http://wro03.wrocenter.pl/ +++++++++++++++++++++++++++++++++++++++++ ------------------------------------------------ transmediale salon From Monument to Market - Public Space in Polish Video Art with: Piotr Krajewski and Jozef Robakowski Podewil, Klosterstr.68-70, Berlin-Mitte Friday 28.3. + Saturday 29.3.2003, 19.00 hrs Entrance: EUR 5 (programme in English) The cultural transformation in Poland brings about new images of public space which are also reflected in Polish video art. In this programme of short talks and video screenings we present not only examples from the current Polish media art scene, but also works that come from the 30 year tradition of dealing with the public sphere in video art in Poland. On both days, the programme includes video works by Jozef Robakowski, Zygmunt Rytka, Miroslaw E. Koch, Zuzanna Janin, Wladyslaw Kazmierczak, Wilhelm Sasnal, Piotr Wyrzykowski, Janek Koza, Monika Grzesiewska, Igor Krenz and the Lyying Community. Presented by curator Piotr Krajewski, director of the WRO Media Art Centre in Wroclaw, and the most famous Polish conceptual and video artist, Jozef Robakowski. In cooperation with the Polish Institute Berlin. http://wrocenter.pl http://www.robakowski.net http://www.polnischekultur.de +++++++++++++++++++++++++++++++++++++++++ UPCOMING: WRO 2003 Biennale, Wroclaw, Poland 30 April - 4 May 2003 http://wro03.wrocenter.pl/ +++++++++++++++++++++++++++++++++++++++++ -- ------------------------------------------------ andreas broeckmann - artistic director transmediale - international media art festival berlin klosterstr. 68-70 - d-10179 berlin tel. +49-30-2472 1907 - fax +49-30-24721909 ab@transmediale.de - www.transmediale.de ----------------------------------------------- transmediale.03 - play global! - 1-5 february 2003 From Oliver.Grau at culture.hu-berlin.de Mon Mar 24 16:03:14 2003 From: Oliver.Grau at culture.hu-berlin.de (Oliver Grau) Date: Mon Mar 24 16:04:04 2003 Subject: [spectre] 101 Ways to Jam the War Message-ID: <3.0.3.32.20030324160314.00c69eb0@popserv.rz.hu-berlin.de> Check this out: http://www.adbusters.org best OG From info at furtherfield.org Mon Mar 24 15:22:38 2003 From: info at furtherfield.org (furtherfield) Date: Mon Mar 24 16:22:41 2003 Subject: [spectre] Skinstrip Online Message-ID: <03c101c2f219$345f4c00$0100a8c0@FURTHERFIELD> Skinstrip Online ++++++++++++ Declare your naked identity online - a collaboration between furtherfield.org & completely naked. Starting today 24th march. Everyone is welcome to play with the online facility & upload their bodies at will. http://www.skinstrip.net The global digital community are invited to anonymously express their naked identity using visual images of their bodies. Individual net users participate in a collective, live event, confronting social and cultural representations of the body within the net community, by revealing and viewing their previously unknown corporeality via net-based technology. The official starting date, linked from the BBC/Shooting live Artists site is from the 28th of march. http://www.bbc.co.uk/arts/shootinglive/ We are also exhibiting with a booth for physical particitpation on the 28th March at the Site Gallery, Sheffield. http://www.sitegallery.org Reviews & articles ++++++++++++++ Alan Sondheim "The Internet revolution isn't one of communications and technology alone - it touches the very social fabric of our world. Sexuality and desire are foregrounded everywhere..." http://www.skinstrip.net/docs/reviews_articles_sondheim.htm Lewis Lacook "The body looms large in post-modern and contemporary art practice. It's the symbol of all that's sensual and corporeal--including the artwork itself. Ever since Andy Warhol..." http://www.skinstrip.net/docs/reviews_articles_lacook.htm Charlotte L. Frost "Why when we own our bodies from the day we are born are we more likely to know the processes of our Intel Pentium than our pancreas? Why do we want to make our computers as personal as possible, and specific only to us, and yet we don't celebrate the specificities of our own bodies?" http://www.furtherfield.org/cfrost/review1.htm commissioned by Shooting Live Artists. http://www.furtherfield.org http://www.completelynaked.co.uk/ info@skinstrip.net If you have received this email & you are not supposed to be on furtherfield's mail list please just send unsubscribe in the header - thank you. From marc.garrett at furtherfield.org Mon Mar 24 15:06:27 2003 From: marc.garrett at furtherfield.org (marc.garrett) Date: Tue Mar 25 10:30:26 2003 Subject: [spectre] Skinstrip Online References: <20030324150411.6400CC9AE@mail.buug.de> Message-ID: <031c01c2f216$f1c4e410$0100a8c0@FURTHERFIELD> Skinstrip Online ++++++++++++ Declare your naked identity online - a collaboration between furtherfield.org & completely naked. Starting today 24th march. Everyone is welcome to play with the online facility & upload their bodies at will. http://www.skinstrip.net The global digital community are invited to anonymously express their naked identity using visual images of their bodies. Individual net users participate in a collective, live event, confronting social and cultural representations of the body within the net community, by revealing and viewing their previously unknown corporeality via net-based technology. The official starting date, linked from the BBC/Shooting live Artists site is from the 28th of march. http://www.bbc.co.uk/arts/shootinglive/ We are also exhibiting with a booth for physical particitpation on the 28th March at the Site Gallery, Sheffield. http://www.sitegallery.org Reviews & articles ++++++++++++++ Alan Sondheim "The Internet revolution isn't one of communications and technology alone - it touches the very social fabric of our world. Sexuality and desire are foregrounded everywhere..." http://www.skinstrip.net/docs/reviews_articles_sondheim.htm Lewis Lacook "The body looms large in post-modern and contemporary art practice. It's the symbol of all that's sensual and corporeal--including the artwork itself. Ever since Andy Warhol..." http://www.skinstrip.net/docs/reviews_articles_lacook.htm Charlotte L. Frost "Why when we own our bodies from the day we are born are we more likely to know the processes of our Intel Pentium than our pancreas? Why do we want to make our computers as personal as possible, and specific only to us, and yet we don't celebrate the specificities of our own bodies?" http://www.furtherfield.org/cfrost/review1.htm commissioned by Shooting Live Artists. http://www.furtherfield.org http://www.completelynaked.co.uk/ info@skinstrip.net From announce at aec.at Tue Mar 25 11:49:00 2003 From: announce at aec.at (Ars Electronica Center) Date: Tue Mar 25 11:50:13 2003 Subject: [spectre] Ars Electronica 2003 - 1st Announcement Message-ID: Ars Electronica 2003 CODE - The Language of Our Time September 6 - 11 Linz, Austria www.aec.at/code ----------------------------- Ars Electronica 2003 - 1st Announcement CONTENTS ............................. 1. General Theme Ars Electronica 2003 CODE - The Language of Our Time ............................. ............................. 2. Prix Ars Electronica 2003 - Jury Meeting ............................. ............................. 3. Ars Electronica 2003 - Organization & Contact ............................. You are reading the first issue of the Ars Electronica 2003 newsletter, focusing on a first statement by Gerfried Stocker on this year's Ars Electronica festival theme CODE - The Language of Our Time; and Prix Ars Electronica's jury meeting. .............................. 1. General Theme Ars Electronica 2003 CODE - The Language of Our Time .............................. "CODE - the Language of our Time" is the theme of Ars Electronica 2003, an encounter with digital code's role within and influence upon art and society. Three thematic domains-Code=Law, Code=Art, Code=Life-provide a framework for this artistic, political and scientific confrontation with core issues. - How strong is the regulative and normative power of the structures and rules that computer programs and their standards implement and enforce? What possibilities exist to get around them? - How do software and digital codes define the essence and identity of media art as "art created out of code"-that is, as a generative artform that has been derived and developed from computational processes? To what extent can this be captured and represented by means of art-immanent criteria? - What paradigms relevant to our future can be derived from artistic and scientific speculations about the emerging epoch of bio-information and genetic engineering? What answer can be voiced in opposition to the rhetoric of programmable life? Via interdisciplinary encounter and confrontation-the strategy Ars Electronica has been utilizing productively since 1979-a series of symposia as well as numerous exhibitions, performances and interventions will be presented not in an effort to establish purportedly conclusive answers but rather to bring out the enduring nature of the issues raised thereby. After all, art ultimately exists to pose questions. Is the language of the computers becoming the lingua franca of the global Information Society? Software is omnipresent; digital codes are the materia prima of our modern, global Information Society. And it is precisely its unlimited capacity to be programmed that turns the computing machine into the unique medium that has so successfully and so mightily pervaded all aspects of our life-one that can simultaneously function as an implement of war, economic tool and artistic instrument. CODE=LAW Software sets the standards and norms, and determines the rules by which we communicate in a networked world, do business, and gather and disseminate information. Upon closer examination, the global digital network consists not so much of computers and data transmission lines as of mutually compatible communication protocols. Cyberspace as a social sphere and a new type of public domain derives its uniqueness not as a result of the data that are stored or exchanged within it but rather from the specific possibilities and impossibilities of the program codes of TCP-IP, of the browsers and chat rooms, of the encryption programs. The Internet is no longer a lawless, chaotic, disorganized no-man's-land. It has long since become the target of substantial, systematic efforts aimed at rigorous regulation and control. Not so very long ago, it was above all the interests of the market economy that could function only under controlled conditions; since September 11, 2001, though, it is first and foremost the interests of homeland security that have set the tone. Copyright and privacy are leading slogans in the fight to achieve a knowledge-driven society. How strong is the socially regulative and normative power of the software monopoly actually? If code assumes the status of law, which court offers us a forum in which to challenge it? To whom do we go to demand our rights? Who authors the Codex of Cyberspace? What possibilities exist to evade it? CODE=ART For artistic work, software is a fantastic instrument. In digital simulation, there are no constraints placed upon the imagination and the creative urge. Nevertheless, it is not only the way in which artists work that has changed in the wake of computerization and the programmable model worlds to which it gives rise; far beyond these considerations, the result has been the emergence of a totally new form of art. Digital media art or cyberart-a hybrid term that has already taken root as a linguistic construction-has established itself as a distinct genre and diversified into a broad spectrum of highly varied artistic practices. Thus, digital technologies have finally instituted optimal preconditions for the implementation of the idea of art as an ongoing, dynamic process. Fostered by the public attention that has been focused on the so-called Digital Revolution, media art has assumed a fixed place in the art world. Parallel to this triumph, though, an essential discourse dealing with the processuality of media art and the accompanying valence shift from object to dynamic system has retreated into the background. At present, the dominant concept of data is one that registers a clear analogy to the objects of real space. Data are indeed virtual: they fluctuate in telematic networks, and they can be copied and (re)modeled at will; nevertheless, they ultimately remain entities that can be labeled and dealt with. On the other hand, a dynamic system as engendered by an interactive process reacts autonomously to the participants and their environment, whereby it is not merely made public but made publicly accessible. It is used and formed by all participants in their own individual temporal and experiential windows. Such an open dynamic structure can no longer be created in the sense of a work of art; instead, it can only be encoded as a framework. The enormous speed with which media art has developed and spread over the last 10 years makes it a matter of utmost urgency to take up again and expand this fundamental discourse aimed at producing a media art theory that is in keeping with these times. What, then, are the characteristics that define the essence of digital media art? Is it digital data's formability that carries on an updated version of the criteria of traditional arts, or is it instead the dynamics and openness of interactive, cybernetic processes and generative algorithms that suggest an extensive break with conventional attitudes and expectations with respect to the production and reception of art? How can we go about defining a contemporary digital media art that concentrates on these new practices but does not set aside its conceptual forerunners? Is art programmable? Can software itself be art, and according to which aesthetic criteria are we to assess this issue? CODE=LIFE In the parlance of the Computer Age, code stands for control and programmability. Bioinformatics and digital biology are the names of the "hot new fields" that, in the wake of Artificial Intelligence and neurobionics, are the expected sources of the key technologies of the 21st century. With this vocabulary, mankind is going about the task of working out the genetic foundations of life and propagating a mode of understanding that would have us believe that life is controllable and programmable like the digital code of the computer. Will we use this genetic alphabet to rewrite the Book of Life or to summon forth a biological Babylon? A media art that is coherently and consistently conceived will never be limited to the artistic use of technical media. Beyond this, it is always aesthetic research, critical analysis and social critique of our scientifically, technically conditioned view of the world. Media art is inseparable from the technological developments of the age, and that makes it into a laboratory for the future. As a festival for art, technology and society, Ars Electronica sees its mission as providing a platform for an encounter with the art of our time. Gerfried Stocker ............................. 2. Prix Ars Electronica 2003 - Jury Meeting ............................. International juries of experts meet from April 11 - 13, 2003 at ORF Linz. Over 3 days, 5 juries of experts will select the best works in a total of 6 categories (Digital Musics, Computer Animation / Visual Effects, Interactive Art, u19 freestyle computing and, as a double category, Net Vision / Net Excellence) at the ORF Upper Austrian Studio. In each category, all entries are judged by an international jury. Chairman of the jury as a whole (without a vote): Dr. Hannes Leopoldseder, whose original idea led to the initiation of the Prix Ars Electronica in 1987. The jury members: Computeranimation / Visual Effects // Rita Street (USA); Bob Sabiston (USA); Olivier Cauwet (F); Hiroshi Chida (J); N.N. Digital Musics // Alain Mongeau (CDN); Markus Schmickler (D); Antye Greie Fuchs (D); Naut Humon (USA); David Toop (GB) Interactive Art // Christinane Paul (USA); Tomoe Moriyama (J); Joe Paradiso (USA); Stahl Stenslie (N/D); Scott Fisher (USA) Net Vision / Net Excellence // Steve Rogers (GB); Ed Burton (GB); Joshua Davies (USA); Yukiko Shikata (J); N.N.; N.N. Cybergeneration - u19 freestyle computing // Sirikit Amann (A); Horst H?rtner (A), Tina Auer (A); Martin Pieber (A); Manfred N?rnberger (A) http://prixars.aec.at ............................. The next announcement update will appear at the end of May. The focus will be the results of Prix Ars Electronica's jury meeting 2003. ............................. Ars Electronica 2003 Organization: Ars Electronica Center Linz and ORF - Austrian Broadcasting Corporation, Upper Austrian Regional Studio Co-organizers: Brucknerhaus Linz, O.K - Center for Contemporary Art Concept & Artistic Direction: Gerfried Stocker, Christine Sch?pf Curatorial Team: Ingrid Fischer-Schreiber, ... Contact: Ars Electronica Center Hauptstrasse 2 A-4040 Linz Austria info@aec.at www.aec.at/code Sponsors of Ars Electronica 2003: SAP AG, Gericom, Telekom Austria Bank Austria Creditanstalt, Quelle AG, Hewlett Packard, Microsoft, Oesterreichische Brauunion, Sony DADC, Siemens AG Austrian Airlines, Lufthansa, Spring, Opel Guenther Sponsors of Prix Ars Electronica 2003: The Prix Ars Electronica 2003 is sponsored by Telekom Austria and supported by BAWAG/P.S.K. Group, voestalpine, SONY DADC, Gericom, the City of Linz and the Province of Upper Austria. Additional support by Austrian Airlines, Lufthansa, Casinos Austria, Poestlingberg Schloessl, Oesterreichischer Kulturservice -------------------------------------------------------------- Please do not reply to this message. If you want to remove yourself from this mailing list, you can send mail to with the following command in the body of your email message: unsubscribe announcement To remove an address other than the one from which you're sending the request, give that address in the command: unsubscribe announcement email@address.xyz -------------------------------------------------------------- From ll at detritus.net Tue Mar 25 14:31:20 2003 From: ll at detritus.net (Lloyd Dunn) Date: Tue Mar 25 14:31:37 2003 Subject: [spectre] [Psrf] Photostatic Retrograde Archive, no. 34 Message-ID: # If you no longer wish to recieve e-mail announcements from the # Photostatic Retrograde Archive, simply let us know and we will remove # your name from the mailing list. # - - - - - - - - - - - - - - - now available for download, retrograde release no. 17, april 2003: PhotoStatic 34 description: http://psrf.detritus.net/vi/p34/index.html direct download: http://psrf.detritus.net/pdf/p34.pdf (5.7 Mb) Description. "Detournement Issue." This issue explores the technique of detournement, where radical content is wed with mundane form. The idea (as espoused by Debord and others) was to bring truth to the masses in a manner that they would be willing to give attention to. This collection of works by turns hews closely, and veers wide of, the mark. And in so doing, it reflects the range of contributors and mindsets that the Photostatic project had amassed by this point, some six years into the series. Lang Thompson 's "funnies" hit some key notes for the issue. An early appearance of the concept of the "information virus" makes an appearance in the guise of a call for works put out by Jonathan Prince. In addition, the "Art Strike 1990-1993" meme, so ably spread by Stewart Home and others, also makes a prominent appearance. Thad Metz loaned us a collection of detourned adverts by anonymous creators, which appear in several places in the issue, and some fine moments appear in the form of works by Dadata, Joel Score, Paul Weinberg, John Stickney, and others. The usual inclusion of columns by Miekal And, Brad Goins, Thomas Wiloch, and others; and reviews of audio and print works, complete the selection. Contributors include. Joel Score, Ralph Johnson, Lang Thompson, Janet Janet, Infomeme Labs, Inc., Thad Metz, Bill DiMichele, The Pleasure Tendency, Dadata, Tim Coats, Thom Metzger, Pascal Uni, Mick Mather, Serse Luigetti, Musicmaster, Miekal And, Bob Grumman, John Heck, Alte Kinder, John Stickney, The Tape-beatles, Brad Goins, Jay Niemann, Jim Passin, Chris J. Mitchell, Neil K Henderson, Thomas Wiloch, Ge[of Huth], Arturo Giuseppe Fallico, Crag Hill, and David Powell. Project Overview: The Photostatic Retrograde Archive serves as an electronic repository for a complete collection of PhotoStatic Magazine, PhonoStatic Cassettes, Retrofuturism, and Psrf, (as well as related titles). Issues are posted as PDF files, at more or less regular intervals, in reverse chronological order to form a chronological mirror image of the original series. When the first issue, dating from 1983, is finally posted in several year's time, then this electronic archive will be complete. issue directory: http://psrf.detritus.net/issues.html project URL: http://psrf.detritus.net/ -- # Photostatic Magazine Retrograde Archive : http://psrf.detritus.net/ # - - - - - - - - - - - - - - - # E-mail | psrf@detritus.net -- # Lloyd Dunn : ll@detritus.net # The Tape-beatles and Public Works Productions : http://pwp.detritus.net/ # Photostatic Magazine Retrograde Archive : http://psrf.detritus.net/ # - - - - - - - - - - - # Address | c/o Heckovi, Veltrusk? 531/9, Prosek, 19000 Praha-9, CZ From abroeck at transmediale.de Tue Mar 25 15:23:45 2003 From: abroeck at transmediale.de (Andreas Broeckmann) Date: Tue Mar 25 15:24:48 2003 Subject: [spectre] WG: MIT is seeking a director of its Visual Arts Program Message-ID: Von: e-Flux [mailto:info@e-flux.com] Gesendet: Montag, 24. M?rz 2003 14:53 The Massachusetts Institute of Technology DIRECTOR, VISUAL ARTS PROGRAM Full or Associate Professor with Tenure Massachusetts Institute of Technology Department of Architecture DIRECTOR, VISUAL ARTS PROGRAM Full or Associate Professor with Tenure Massachusetts Institute of Technology Department of Architecture The Massachusetts Institute of Technology is seeking an individual of international standing and critical acclaim in the field of art to serve as director of its Visual Arts Program. His or her accomplishments may be in artistic production, design, or critical and theoretical works. The Visual Arts Program focuses on the development of critical visionary strategies in artistic practice within the context of the advanced technological community of MIT. The Visual Arts faculty is composed of outstanding artists with international reputations and with active careers in artistic production. Students in the Program include undergraduates and graduate students majoring in a variety of fields from engineering to media studies as well as a small, select group who make up the visual arts graduate program. The students are intellectually gifted and highly motivated. Under the aegis of the School of Architecture and Planning, the Program has the capacity to create links with Architectural Design, HTC (History, Theory and Criticism), the Media Lab, as well as other MIT research and teaching units. Important programs and centers at the Institute with history of interactions with the Visual Arts Program include: CAVS (Center for Advanced Visual Studies), CMS (Comparative Media Studies), EECS (Electrical Engineering and Computer Science), AI Lab (Artificial Intelligence Lab) and many other cross-disciplinary groups. Qualifications: The candidate should be inspirational and highly articulate in contemporary and historical issues of art and visual culture. The candidate will be expected to develop existing educational structures and methods that help bridge student skills and interests with the creative practice and broad knowledge of art. The position requires the administrative and leadership skills necessary to guide the evolution of the Visual Arts Program, and to represent the Program effectively within and outside the MIT community. A substantial record of teaching at the college, university, or art school level is desirable. The appointment can begin as early as September, 2003. Please submit letter of application, supportive material and the names of at least four references to Professor Joan Jonas, Director, MIT Visual Arts Program, Department of Architecture, 265 Massachusetts Ave., N51-315, Cambridge, MA 02139. Review of applications will begin March 15 and continue until the candidate has been selected. Materials will be returned if a self-addressed stamped envelope is enclosed with application. MIT is an Affirmative Action/Equal Opportunity Employer. Electronic Flux Corporation / www.e-flux.com From adrian.miles at uib.no Tue Mar 25 22:07:28 2003 From: adrian.miles at uib.no (Adrian Miles) Date: Tue Mar 25 17:04:05 2003 Subject: [spectre] MelbourneDAC registrations Message-ID: Hi apologies for the cross postings that inevitably occur, registrations for the 2003 Melbourne Digital Arts and Culture (melbourneDAC) conference are now open. may 19 - 23 Melbourne, Australia. http://hypertext.rmit.edu.au/dac/registratio.html a final list of papers and presenters will be available shortly. regards adrian miles conference chair From thomas_bloom at hotmail.com Tue Mar 25 10:47:04 2003 From: thomas_bloom at hotmail.com (Thomas Bloom) Date: Tue Mar 25 17:04:50 2003 Subject: [spectre] PDArts Press Release Message-ID: Free-fall Exhibition - 13th April to 12th June '03 Performances - 12th April Peterborough Digital Arts www.pdarts.org.uk a new lottery funded centre for digital arts in the eastern region of England opens with Free-fall Free-fall takes its title from the projection by Pernille Spence, in which we see a person in the sky free falling. Spence investigates notions of flying, falling and the human desire to escape gravitational pull. Similarly digital technologies have seemed to offer an escape from physical boundaries, whilst at the same time predicting a fall to earth. Empty promises of a networked real-time society have brought a culture apparently without boundaries. Yet boundaries remain in place for many people. The exhibition, curated by Mike Stubbs, shows work by a range of artists including Richard Brown, Heath Bunting, Gina Czarnecki, Bill Drummond, Ronald Fraser-Munroe, Zoe Irvine, Bob Levene, Michael Pinsky, Simon Poulter, Rtmark, Ahbin Shim, Pernille Spence, Thompson & Craighead, Simon Yuill, Dane Watkins, Ben Woodeson- with contributions from Hull Time Based Arts and New Media Scotland. Opening night performances by: Bill Drummond, Roney Fraser Munro, Dreams of Tall Buildings, Bob Levine. While many of us are addicted to consuming the latest technology, artists are pushing at what these technologies can be, subverting them and what can be done with them. Free-fall explores some of the issues, technologies and themes artists have been wrestling with since the 1990's. The show includes Bill Drummond's first media work, The Silent Protest, a protest against war: 'the one in your family, the one at work or the one in a far-flung land'. Zoe Irvine's' sound installation MMM uses material from her recording and collection trip to the Pas de Calais, France, the ferry and Eurotunnel terminal and site of the former camp at Sangatte for asylum seekers. As part of Free-fall Peterborough Digital Arts has commissioned Simon Poulter to work amongst shoppers in Peterborough's central Queensgate shopping centre (the largest in Europe when it was opened in the early 80's) making a physical and virtual miniature shopping centre. The sculpture, titled Rome Shopping Centre, made from card and mini LCD screens, will take sharp but humorous look at the way we live and shop in 2003. Simon Poulter will be working in Queensgate on the 8th, 9th, 10th, 11th, 12th, and 15th, 16th, 17th of April 2003. Peterborough Digital Arts and Free-fall have been Lottery Funded by Arts Council England. For more information please contact Maggie Warren, Arts Project Officer maggie.warren@peterborough.gov.uk _________________________________________________________________ Stay in touch with absent friends - get MSN Messenger http://messenger.msn.co.uk From alex at loudink.com Mon Mar 24 11:05:34 2003 From: alex at loudink.com (Alex Dragulescu) Date: Wed Mar 26 07:55:16 2003 Subject: [spectre] suspended gardens 2 Message-ID: http://www.suspendedgardens.net Suspended Gardens 2, an interactive project by Alex Dragulescu, is a metaphor that references history, borrows meanings from contemporary culture, and offers a political commentary in a subtle, playful way. It is a hybrid between an interactive Flash game, a messageboard and a simulation system rendered relevant by the current conflict in Iraq. Today's digital war makes the explosion of a ?precision-guided missile? appear like a mere bleep on a screen. Death is distant and often invisible. The audience is desensitized and apathetic. Virtual flowers planted in cyberspace will attempt to establish a symbolical link to a reality that is distant, remediated and reduced by the digital stream. How ironic that the technological platform that makes this project possible is an offspring of military research. Suspended Gardens users can chose from three types of flowers whose growth is influenced daily by various factors (climate, population, oil, war, other plants). The flowers also carry a user-assigned text message that can be easily read by the whole community. Additionally users are able to see in real time how the garden evolves. This site requires the latest Flash plug-in. Download it from: http://www.macromedia.com/go/getflashplayer From inke at snafu.de Wed Mar 26 10:05:10 2003 From: inke at snafu.de (Inke Arns) Date: Wed Mar 26 10:08:10 2003 Subject: [spectre] software art panel - transcript online Message-ID: <3E817B56.6552.1258FE@localhost> http://www.softwareart.net The transcript of the software art panel which took place during transmediale.03 is finally online! It was kindly supported by the Initiatief beeldende kunsten vzw / Digitaal Platform, Brussels. Here's the blurb again: "Software Art: A curatorial fiction or a new perspective?" Presentations - Statements - Discussion 4 February 2003, 3-7 pm A cooperation between the Media Arts Lab at K?nstlerhaus Bethanien and Transmediale.03 Panel: Amy Alexander (San Diego/USA, software and performance artist, member of the transmediale.03 software jury), Florian Cramer (lecturer in Comparative Literature, member of the transmediale.01 software jury),Olga Goriunova (Moscow/Helsinki, co-founder of the software art festivals Read_Me 1+2 and of the 'software repository' runme.org), Alex McLean (London, programmer/artist, founder of the generative art mailing list 'eu-gene', winner of the transmediale.02 software prize with "forkbomb.pl"), Antoine Schmitt (Paris, artist and programmer, received a honorary mention of transmediale.01 for his software "Vexation 1", member of the transmediale.02 software jury) Moderator: Inke Arns (cultural scientist and independent curator for media art, Berlin) 2003 marks the third anniversary of the transmediale software prize which, since its first installment, has instigated an ongoing debate about "software art" and its legitimacy. The idea that artists may not just use prefabricated software to produce something else, but engage with programming and software itself in playful, inventive and critical ways, has, one the one hand, caught on and spread over to other festivals, exhibitions and artistic projects. On the other hand, there is no common language, identity and network of software artists. Jury work for software art competitions often turns out to be difficult because of little and mixed- quality input and since much if not most artistically interesting software - hacker code, conceptual art, algorithmic musical composition for example - is written either outside the art system or is not being thought of as software art by its creators. So it appears as if the history of net art (and other process-oriented and conceptual art forms) could repeat itself with software art: That curators are interested in incorporating a new artistic practice more than the artists themselves. Or, in other words: Is it essential that software becomes art? Will it profit from the standards of a media art system that is always greedy for the next big thing? And how and by whom is software art being perceived...? Check out http://www.softwareart.net Inke Arns http://www.v2.nl/~arns Upcoming: "IRWIN: Rekapitulacija!", 25.9.-25.10.2003 http://www.v2.nl/~arns/Projects/Irwin/ From buddensieg at zkm.de Wed Mar 26 11:25:38 2003 From: buddensieg at zkm.de (Andrea Buddensieg) Date: Wed Mar 26 11:25:41 2003 Subject: [spectre] ZKM/Live Projection Performance Message-ID: <3E81801B.4E7352E4@zkm.de> ZKM | Zentrum f?r Kunst und Medientechnologie Karlsruhe ZKM | Center for Art and Media Karlsruhe 2003-03-26 Live Projection Performances At the last weekend of the exhitition FUTURE CINEMA the ZKM presents two Live Projection Performacnes P e r r y H o b e r m a n: Let?s Make a Monster (2001) Live Projection Performance Sat-Sun March 29-30, 2003 ZKM Media Theater, 3 p.m. on both days, entrance free L e t? s M a k e a M o n s t e r is partly cinematographic archaeology, a collage of parables, ironic stories and "fan cut". In his performance, Hoberman uses excerpts from countless sci-fi classics that deal with the creation of artificial life. Like an electronic alchemist, mad scientist, or Wizard of Oz he conducts these images in front of a collection of cameras, laptops and other instruments. Hoberman?s story contrasts the mad fantasies of a Dr. Frankenstein with the prophecies of the countless contemporary experts on artificial life and intelligence, and demonstrates in an ironic manner that there are indeed parallels. Frankenstein meets Brave New World, Golem meets Bladerunner, Coma meets The Invisible Man. J u l i e n M a i r e: Demi-Pas, 20 mins Projection Performance Sat.-Sun. March 29-30, 2003 ZKM Media Theater, 5 p.m. on both days, entrance free D e m i ? P a s is a short film and is projected using a 'reversed camera' technique. A projector has been converted to house micro-mechanisms that produce animated images using a principle similar to that of cinematography. "Demi-Pas" thus finds its own narrative methods, its own action and images, like a kind of projected theater. Real objects and photographic material are transposed within the projector. Based on this experimental form of projection, the film narrates a tale that has an extremely simple storyline: one man's daily routine. "Demi-Pas" is a short film that constructs an everyday reality, thus highlighting simultaneously both the simplicity and the complexity of this reality. -- Dr. Andrea Buddensieg ?ffentlichkeitsarbeit, Leitung Head of Public Relations ZKM /////// / |< ||| | Zentrum f?r Kunst und Medientechnologie Lorenzstr. 19 D-76135 Karlsruhe Tel +49-(0)721-8100-1201 Fax +49-(0)721-8100-1139 Email buddensieg@zkm.de www.zkm.de From are at xs4all.nl Thu Mar 27 02:21:44 2003 From: are at xs4all.nl (=?iso-8859-1?B?S+Fyb2x5IFTzdGg=?=) Date: Thu Mar 27 02:22:23 2003 Subject: [spectre] [zeroglab] CASA BLANCA (WHITE HOUSE) - 2:03 27-3-2003 Message-ID: <001001c2f3ff$3b25d3a0$4601010a@mumus> ZEROGLAB BULLETINE __________________________________________________ 2:03 27-3-2003 CASA BLANCA (WHITE HOUSE) BY ZEROGLAB http://www.xs4all.nl/~are/pub/casa_blanca.html copyleft by karoly toth 2003 enyoy & abuse -k ____________________________________ ZEROGLAB zeroglab.toth@xs4all.nl www.xs4all.nl/~are From nc-agricowi at netcologne.de Thu Mar 27 07:09:01 2003 From: nc-agricowi at netcologne.de (JavaMuseum) Date: Thu Mar 27 07:08:56 2003 Subject: [spectre] >I - Highway< - Netart from Canada Message-ID: <00e901c2f427$5d206060$0600a8c0@NMARTPROJECTNET> >I - Highway< - Netart from Canada - new show on - JavaMuseum - Forum for Internet Technologies in Contemporary Art www.javamuseum.org (JAVA= Joint Advanced Virtual Affairs) -------------------------------------- JavaMuseum is happy to launch >I - Highway< - Netart from Canada - the new show in the framework of - 2nd of Java series 2002/2003. Much more than any other art expression is net based art playing global. This new feature on JavaMuseum is focussing again on a geographical, but also cultural region: Canada!. A number of Canadian netartists are internationally well known, but they are not identified with the nation they belong to or live in, in so far is netart from Canada widely unknown, and only this aspect would be already a reason for making this feature. Netart from Canada is, however, not principally different from netart of other regions on the globe as the codes, software and hardware correspond to the global standard, the subjects and themes are mostly of global relevance. This focus means also taking a look on what kind of position New Media art has in this country. The link section of the feature has a reasonable volume and confirms the impression that New Media art in general, but also net based art working becomes increasingly relevant. A connected encouraging effect of this feature would be intentional. As an ongoing project, the show is based on an open call in Internet. It will accept also in future at any time submissions of new artists which are not yet presented in the exhibition, in order to stay always most updated. Currently following 22 artists form the basis of the show: Michael Alstad, saibot & ssiess, Isabel Hayeur Babel, David Clark, Myron Turner, Robert Kendall Gustave Morin, Karen Ostrom, Gregory Chatonsky Barry Smylie, Kate Armstrong, Alison Chung-Yan Marc Tuters, Tara Bethune-Leamen, Richard Barbeau Jillian McDonnald, Kelly McKinnon, Tomasz Konart Guerrera del Interfaz, Katie Bush, Oliver Dyens Visit the new show >I - Highway< - Netart from Canada www.javamuseum.org or www.javamuseum.org/2003/canadafeature/index.html realized and curated by Agricola de Cologne. Copyright © 2003. All rights reserved. ****************************************** technical requirements optimized for VGA resolution 1024x768 PC Pentium III 600 Mhz or better or comparable MAC Soundcard, recommended 56K or 64K modem or faster, browsers: MS Internet Explorer 5.5+ or Netscape Navigator 6.0+ Players/Plug-ins: essential the latest Flash 6,, Shockwave, Real Player, Quicktime ***************************************** JavaMuseum Forum for Internet Technologies in Contemporary Art (JAVA= Joint Advanced Virtual Affairs) www.javamuseum.org info@javamuseum.org Press press@javamuseum.org From Oliver.Grau at culture.hu-berlin.de Thu Mar 27 09:38:47 2003 From: Oliver.Grau at culture.hu-berlin.de (Oliver Grau) Date: Thu Mar 27 09:39:46 2003 Subject: [spectre] Secretary Rallies Artists Message-ID: <3.0.3.32.20030327093847.00c6b740@popserv.rz.hu-berlin.de> US Department of Art & Technology http://www.usdept-arttech.net press@usdept-arttech.net Washington, DC Press Secretary For Immediate Release: March 26, 2003 Secretary Rallies Artists 10:42 A.M. EST Washington, DC Randall M. Packer Secretary, US Department of Art & Technology THE SECRETARY: Thank you, all. (Applause.) Thank you, all, very much. I am really proud to be here with the good men and women of the USA Exquisite Corpse, the artist's call to service. (Applause.) We're also proud to be here today with our artist friends who have joined Operation Artistic Freedom. (Applause.) Over the last week the world has witnessed the skill and honor and resolve of the cultural community engaged in passionate dialogue and acts of artistic mediation. We have seen the character of a new generation of artists. Millions of Americans are proud of our artists, and so am I. I am honored to be the Secretary-in-Chief. (Applause.) Every artist in our coalition of the willing understands the terrible threat we face from our government-in-action. Every artist here refuses to live in a future of fear, at the mercy of politicians and the corporate oilgarchy. And every artist here today shares the same resolve: the only valid experimental approach is one based on the uncompromising critique of existing conditions and their conscious intervention. Our artists are making good progress; yet the war on war is far from over. We cannot predict the final day, but I can assure you, and I assure the long-suffering people of America, there will be a day of reckoning for the President, who has revealed the principles of arrogance, abuse of power, personal gain and a frightening lack of charisma, through his contempt for the opinion of the world. Day by day, George W. Bush is losing his grip on reality; out of fear of the unknown, pain, and death - the Gods, surfacing from the immemorial depths of time and space - he has used his lethal weapons to bring down fire from the heavens, death and destruction that devours us all. In the early stages of this war, the world is getting a clearer view of a terrible and deep anxiety resulting from self-created and deadly dangers that are growing beyond our control. Our enemy in this war on war is the existential darkness that has possessed our government, that grips its soul. (Applause.) The goal of artistic freedom unites our coalition. And this goal comes from the deepest convictions of the avant-garde. The artistic freedom we defend is the right of every artist and the future of our nation. The liberty we prize is not America's gift to the world, it is the artist's gift to humanity. That's what we do. That's our job. Thank you. (Applause.). ******* Contact: Press Secretary of the US Department of Art & Technology press@usdept-arttech.net The US Department of Art & Technology http://www.usdept-arttech.net The US Department of Art and Technology is the United States principal conduit for facilitating the artist's need to extend aesthetic inquiry into the broader culture where ideas become real action. It also serves the psychological and spiritual well-being of all Americans by supporting cultural efforts that provide immunity from the extension of new media technologies into the social sphere. The Experimental Party http://www.experimentalparty.org The Experimental Party - the "party of experimentation" - is an artist-based political party that has been formed to activate citizens across the country in an effort to bring the artists' message to center stage of the political process. This is a political awakening, 'representation through virtualization' is the major political thrust of the Experimental Party, it is the driving force. From abroeck at transmediale.de Thu Mar 27 11:03:09 2003 From: abroeck at transmediale.de (Andreas Broeckmann) Date: Thu Mar 27 11:08:47 2003 Subject: [spectre] job: Senior Lecturer - Media Arts, Singapore Message-ID: Senior Lecturer / Lecturer - Media Arts LASALLE-SIA College of the Arts, South-east Asia's foremost creative arts training institution, seeks suitable candidates for academic positions in Media Arts. The College is looking for dynamic and enterprising media arts practitioners with demonstrated expertise in new media art, technology and education. As a faculty member, you will be encouraged to continue your professional practice and research with staff benefits including professional practice leave. The dynamic nature of media arts offers exciting opportunities for artists who make art using new technologies. The media arts programme is an interdisciplinary studio-based programme that emphasises the development of creative, practical and conceptual skills, supported by related theoretical and historical studies. It is particularly focused on the exploring the relationship between art and technology with a fine art perspective. The programme seeks not only to remain relevant to industries and contemporary art practices but also to lead them into new directions by providing creative insights through its research initiatives. Requirements: ? Minimum Master of Fine Art degree or equivalent ? An ability to teach interdisciplinary courses in several of the following areas: digital imaging; multimedia authoring and publishing; video production (including pre- and post-production); graphics and/or sound programming; virtual environments; artificial life; net art; computer based installations; electronics and robotics; bio-arts; history and theory of new media arts. ? Minimum 6 years of working experience in a teaching and/or research capacity for the Senior Lecturer position and 4 years for the Lecturer position ? Demonstrated experience in generating pedagogical strategies and curricula to respond to developments in new media art and technology ? Active exhibition record, both nationally and internationally ? Capacity to teach and supervise at undergraduate and graduate levels ? Commitment to develop strong links between the College and relevant industries ? Strong research portfolio in new media art and technology If you have the expertise and experience for the above position, please write in with a detailed resume indicating current employment and salary, contact number(s) and enclosing a recent passport-sized photograph to: The Human Resource Manager LASALLE-SIA College of the Arts 90 Goodman Road Singapore 439053 or e-mail your application to: hr_manager@lasallesia.edu.sg. Applications should arrive no later than 18 April 2003. We regret that only shortlisted candidates will be notified. From galerie at chromosome.de Thu Mar 27 20:27:37 2003 From: galerie at chromosome.de (chromosome Berlin) Date: Fri Mar 28 10:03:17 2003 Subject: [spectre] HC Gilje, Mattias Haerenstam and Oyvind Torseter Message-ID: <3E8350A7.C0D8A3E5@chromosome.de> Exhibition of video, stills and phantasy worlds from Norway in Berlin HC Gilje, Mattias Haerenstam and Oyvind Torseter by chromosome berlin gallery and center for international contemporary art April 11th - Mai 31th 2003 Invalidenstrasse 123-124 10115 Berlin chromosome is a young gallery platform for international contemporary art. In 2001 the art researcher Johanna Rieseneder founded chromosome as meeting point with the focus on media art, installation and young painting. The upcoming exhibition shows three different art positions which observe everyday life in different ways. HC Gilje [NO], video artist from Oslo, presents h.k. mark, a three minutes study of the city of Hongkong. Come along at http://www.nervousvision.com Mattias Haerenstam [SE/NO] who lives and works in Berlin shows recent videoviews from the city and his installation "everyday life in the postutopean welfare society". Visit his website on www.mharenstam.cjb.net. Oyvind Torseter lives and works as illustrator in Oslo. In decent drawings he shows phantasy moments and superheros. See more at http://www.comotiv.no/IconOyvind.html c h r o m o s o m e Invalidenstrasse 123-124 10115 Berlin-Mitte tel.: +49-30-443579-62 fax: +49-30-443579-63 galerie@chromosome.de www.chromosome.de Tue - Sa, 14:00 - 19:00 From honor at va.com.au Fri Mar 28 12:00:55 2003 From: honor at va.com.au (honor) Date: Fri Mar 28 13:01:21 2003 Subject: [spectre] live culture - webcasts at tate modern, now on In-Reply-To: Message-ID: <5.0.2.1.0.20030328115851.02d9b938@va.com.au> hi spectres, many of you may be interested in the programme of live art / performance art we have on at tate modern at the moment. please find here an outline of the lectures and symposia we are webcasting. best wishes honor ANNOUNCING A SERIES OF LIVE CULTURE WEBCASTS FROM TATE MODERN - ON NOW http://www.tate.org.uk/audiovideo/ [ sincere apologies to anyone who receives this more than once, or receives this in error ] [ if you no longer wish to receive email about Tate Webcasting, please email ] - Friday 28 March: Live Culture Talk: Yu Yeon Kim, Talk, 13:00 - 15:00, Tate Modern - Saturday 29 March: Live Culture Talk: Marina Abramovic, Talk, 19:30 - 21:30, Tate Modern - Saturday and Sunday 29 and 30 March: Live Culture: Performance And The Contemporary, Conference, 10:30-18:30, Tate Modern _______________________________________________________________ The webcasts in the last week of March are dedicated to the Live Culture programme of Live Art performances, debates and presentations: http://www.tate.org.uk/modern/eventseducation/livecultureseries.htm Live Culture includes a series of illustrated talks looking at the history of Live Art practices, their archiving, documentation and rendition within personal, critical and institutional frames. It provides a timely opportunity to engage with the shifting nature of Live Art practice in relation to the visual arts. It brings together distinguished artists, theorists and curators to examine the expansion of performance art across broader artistic and social arenas, and its role in cultural change. _______________________________________________________________________ * LIVE CULTURE TALK: ROSELEE GOLDBERG * http://www.tate.org.uk/audiovideo/live_culture/live_goldberg.htm Thursday 27 March 1830 - 2000 [ GMT ] Now archived and available for viewing RoseLee Goldberg is a distinguished historian of Live Art. She presented a personal overview of key developments in the field, its cultural status, its relation to visual art movements and practices and the recording and archiving of its histories. The critic and curator RoseLee Goldberg pioneered the study of performance art with Performance Art: from Futurism to the Present. She has been Director of the Royal College of Art Gallery in London and the curator of the Kitchen in New York City. She is a regular contributor to Artforum and her books include Performance: Live Art Since 1960 (1998) and Laurie Anderson (2000). She recently originated and produced the multimedia performance Logic of the Birds (2001). _______________________________________________________________________ * LIVE CULTURE TALK: YU YEON KIM * - Live today http://www.tate.org.uk/audiovideo/live_culture/live_kim.htm Friday 28 March 1300 - 1500 [ GMT ] 1500 - 1600 [ Central European Time ] 0800 - 1000 [ US Eastern Time ] 1830 - 2230 [ Indian Time ] 2200 - 2300 [ Australian Eastern Summer Time ] 0000 - 0100 [ New Zealand Summer Time - 29 March ] Starr Auditorium, Tate Modern Yu Yeon Kim, curator of the celebrated Translated Acts exhibition, looks at contemporary performance and body art from East Asia and the representation of non-Western practices and cultures. _______________________________________________________________________ * LIVE CULTURE: PERFORMANCE AND THE CONTEMPORARY * http://www.tate.org.uk/audiovideo/live_culture/live_culture/live_conference.htm Saturday 29 March 1100 - 1800 [ GMT ] 1200 - 1900 [ Central European Time ] 0600 - 1300 [ US Eastern Time ] 1630 - 2330 [ Indian Time ] 2000 - 0300 [ Australian Eastern Summer Time] 2200 - 0500 [ New Zealand Summer Time ] Sunday 30 March 1030 - 1830 [ GMT ] 1130 - 1930 [ Central European Time ] 0530 - 1330 [ US Eastern Time ] 1600 - 0000 [ Indian Time ] 1930 - 0330 [ Australian Eastern Summer Time] 2130 - 0530 [ New Zealand Summer Time ] Starr Auditorium, Tate Modern This two day international symposium looks at the vibrant culture of Live Art and its relation to the politics of the contemporary. In our society of high technology and spectacle, the 'live' and the 'immediate' have become prime values. But what does Live Art have to say about our culture-wide lust for the live? An array of renowned artists and theorists will give presentations on the status and resonances of live practice, its histories and futures. Discussions will explore performance and place, the body in extremity, activism and global culture. Speakers include: Peggy Phelan, Andrew Quick, Lin Hixson, Keith Khan, Henry M Sayre, Tim Etchells, Carol Becker, Jean Fisher, William Pope.L, Ricardo Dominguez, Guillermo G?mez-Pe?a, Alan Read, John Jordan, Alastair MacLennan, Catherine David, Matthew Goulish, Ron Athey, Oron Catts, Amelia Jones, Adrian Heathfield, Leslie Hill, and Andre Lepecki. Full programme and additional details at: http://www.tate.org.uk/audiovideo/live_culture/live_culture/live_conference.htm _______________________________________________________________________ * LIVE CULTURE TALK: MARINA ABRAMOVIC * http://www.tate.org.uk/audiovideo/live_culture/live_abramovic.htm Saturday 29 March 1930 - 2130 [ GMT ] 2030 - 2230 [ Central European Time ] 1430 - 1600 [ US Eastern Time ] 0000 - 0200 [ Indian Time ] 0730 - 0930 [ Australian Eastern Summer Time - 30 March] 0830 - 1030 [ New Zealand Summer Time - 30 March ] Starr Auditorium, Tate Modern Marina Abramovic, distinguished performance artist, winds through a personal visual archive of performance-related materials on the performing body, its mental and physical limits _______________________________________________________________________ Forthcoming webcasts include: - Wednesday 2 April: Figuring It Out: Cornelia Parker and Colin Renfrew, 18:30 - 20:30, Tate Britain - Tuesday 29 April: Painting Present: Monique Prieto, 18:30 - 20:30, Tate Modern See our online timetable for more information: http://www.tate.org.uk/audiovideo/timetable.htm ________________________________________________________________ ABOUT THE WEBCASTS These webcasts are taking place as part of Tate's Webcasting Programme and are presented live on the Tate website. You can experience the events live online in audio and video using the Real Player. To find out more, visit: . To book tickets to attend events in person, please ring Tate Ticketing on: 020 78878888 or email . TECHNICAL DETAILS If you haven't experienced Tate's webcasts before, please visit our technical help page: . Until the events commence there will be no live audio or video available. FEEDBACK If you would like to ask the speakers questions during an event, please email the Webcasting Curator , who will endevour to deliver questions to speakers. Qualitative feedback that will help shape the character of live webcasts from Tate in the future is always appreciated. MORE INFORMATION: For more on webcasting, and a programme of future webcasts contact: Honor Harger, Webcasting Curator, Interpretation & Education, Tate Modern Email: honor.harger@tate.org.uk PH: (44) 020 7401 5066 URL: For more information about Tate or getting tickets for events: Tate Ticketing Email: ticketing@tate.org.uk PH: (44) 020 7887 8888 URL: From bswofford at snet.net Fri Mar 28 12:44:33 2003 From: bswofford at snet.net (bswofford@snet.net) Date: Fri Mar 28 18:44:36 2003 Subject: [spectre] [MUevent] Audicon March 29th Message-ID: <410-220033528174433180@M2W030.mail2web.com> Subject: SAT [MUevent] Audicon March 29th Mix & Match Music Manipulations Audicon Plantar: Listen With the Soles of the Feet http://newhavenadvocate.com/gbase/Music/content?oid=oid:7568 http://www.ghaymaneinblitz.org/ Performances on March 29, from 3-8 p.m. at Birdland North Madison (546 Summer Hill Rd., Madison, CT 421-9399) !SAT-SUN March 28th-29th, 2003! calling all "post-punk" barbarian media scavengers and kamikaze mass kulture connoseiurs! ---------------------------------------- SAT-SUN MARCH 29th-30th, 2003, 12 - 8 pm "honoring the works of artists no longer with us" Homer Pheifer Ingrid Russell Jurgen Geith Margaret McCurdy Antone G. Pimental John Risley ---------------------------------------- *****SAT MARCH 29th, 2003, 3-8PM!******* AUDICON PLANTAR "to listen with the soles of the feet" ---------------------------------------- (((SAT AFTER/POST-RITE DANCEPARTY))) "where the wild things are" a rumpus room spectacular featuring lord lewis serious sweaty monkey time shakedown spinning mighty Funk, Soul, GoGo beat, boogaloo, and other tasties ---------------------------------------- Directions: http://www.mapquest.com/directions/main.adp?2l=VRr%252b83Zf%252fpA%253d&2g=C gajDSD7gBE%253d&2pn=&2ic=31&2ex=1&src=maps&2a=546%20Summer%20Hill%20Rd&2c=Ma dison&2s=CT&2z=06443%2d1607&2y=US 95N EXIT 61 > L off ramp, RT 79 N > traffic circle 1st exit, RT 80 E > L on Summer Hill Rd ----------------------------------------------------- SAT 29th AUDICON PLANTAR! Live electroacoustic performances by: Ghayman Einblitz with video by Robert Le Blanc, Oroborus (Klark, Lewis, Clyde, Jim & guests rock it) DVNT (Doug Van Nort) Mbuotye (Patrick Murphy) Vixen & Tomcat's enpsychedelique imaginary Los lucadores (klark kent and ramesh) any subsequent metamutant breeds Description: hybrid improvisatory sound collabortations electronic and acoustic sound improvised freely intermedia performances spaces/borderzones of contemporary musical practice a stew of musics myths and meanderings SHOUT-OUTS TO Y'ALL M. Dickhoff & Mr. Fabulous the nyc beast boys Kevin Jeton Daniel & John! doug e fresh and his golden trumpet SAMIT Pauline & Ione Dr. George Omara & friends SHIVASTAN IN KATHMANDU deep listeners of the noosphere Laoud, Chris "Mr. Sauve" Burchell, Sarah Weaver REAL ART WAYS Al Margolis Meaghan sheehan au francais IRA COHEN wynder k frog planet hammer NYC! sock and his eyeballz of mega bass boom Craig Gilbert & NEW HAVEN ADVOCATE all art coolies, tragic hipsters G. "Wolfman" Maciolek all RPI nomads (you know who you are!) Jason Martin Stephan Moore Scott Smallwood Marna Schwartz Sarah Warren Blythege (all the "boys who make noise ...") -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . From melinda at subtle.net Sat Mar 29 17:36:46 2003 From: melinda at subtle.net (Melinda Rackham) Date: Sat Mar 29 07:40:32 2003 Subject: [spectre] say "no war" directly Message-ID: <013901c2f5bd$a478a7f0$260c083d@fluffy> i have been wanting to make my no war site with some hideous video footage i have of us military predator spy plane techology being used to kill people but i havent had time to teach to myself the soft ware i need to do it.. then i rememberd the old "meta refresh tag.". and the protest on the internet about 7 years ago re censorship.. where everyone turned thier index pages black to spread the message. and i thought ..why not use our index pages .. its really really simple..(instructions below) and my page is simple too! i get load s of visitors each day - what better platform to have an opinion.. users see the "no war "screen for 5 seconds then they get the art work page they want.. http://www.subtle.net http://www.subtle.net/carrier http://www.subtle.net/aland http://www.subtle.net/line http://www.subtle.net/empyrean maybe it means i miss out on a show some where, or a grant, or something cause i live in australia, a country like the us and the uk and where fredoom of speech and the democratic process are under attack from our own governments.. but thats irrelavent compared to the misery, disease, maimings and death this war is causeing. melinda how to do it. first: make your war page and name it identically to the first page of your existing site eg.. index.html and rename your existing first page. eg new_name.html just put the code below into the tags of your no war page .. if you can't edit html by hand use the code inspector window in dreamweaver, find the top tag and just cut and paste the line below changing the www.yoursite/new_name.html to your details, change CONTENT to be how ever long you want before the page changes. for example my subtle.net index page looks like this.. * No War on Iraq * content ... From alexei at easylife.org Sun Mar 30 17:40:58 2003 From: alexei at easylife.org (Alexei Shulgin) Date: Sun Mar 30 15:39:16 2003 Subject: [spectre] E Narrative 2003 round table. Boston, May 10/11 In-Reply-To: <3E817B56.6552.1258FE@localhost> References: <3E817B56.6552.1258FE@localhost> Message-ID: <1735232843.20030330164058@easylife.org> Eastgate Systems presents their fifth conference in a series: eNarrative 2003, an eclectic and engaging roundtable being held in Boston - May 10/11. www.enarrative.org Eastgate Systems builds hypertext tools and publishes original hypertexts. For twenty years we've believed that the future of serious writing lies on the screen. http://www.eastgate.com ---------------------------- E Narrative 2003 While under the rubric of narrative, the conference is hardly confined to it; eNarrative is a small gathering of active creators - software designers, new media artists, filmmakers, writers, critics and scholars - assembling to explore and advance the art of interaction. It is not the typical long slate of lectures and sales presentations, but a dynamic discussion among a small group of dedicated and deeply engaged experts. eNarrative 2003 promises a weekend of intellectual and aesthetic stimulation, investigating new developments in the electronic arts and their applications to business, personal growth and the work-in-progress known as culture. People will include: .Dave Winer, weblog pioneer and creator of Radio Userland .Meg Hourihan, co-author of We Blog .George Fifield, founder/director of Boston Cyberarts Festival .Mark Bernstein, creator of Tinderbox .George P. Landow, author of Hypertext 2.0 Topics will include: .Better weblogs - the electronic world as performance space .Serial art and literary hypertext .Interaction design, information architecture, "information farming" The weekend will be colorful, as the conference is being held amidst and in conjunction with the Boston Cyberarts Festival, an international biennial celebration featuring exhibitions and performances by cutting-edge artists working with new technologies in all media. http://www.bostoncyberarts.org eNarrative 2003 takes place at the Hotel@MIT. The Saturday afternoon session of the conference will be open to the public, convening at the Boston Public Library. In contemporary culture the most exciting work often emerges from the fuzzy edges of genres, where narrative meets the visual and the sonic; where performance goes virtual; where theory looks like art; where code transcends itself and spawns new reality. eNarrative 2003 will probe the frontiers of self-expression, scholarship, digital 'content' and communal connectivity, looking for new models with which culture can reinvent itself. I hope you will consider joining us, and perhaps even disseminating news of this event to your members. I will try to contact you in the coming weeks to see what is possible on that front. Thanks, Ellary Eddy ellary@enarrative.org http://www.enarrative.org Further info: (800) 562-1638 toll free in US and Canada; +1 (617) 924-9044 worldwide IA> http://www.softwareart.net IA> The transcript of the software art panel which took place during IA> transmediale.03 is finally online! It was kindly supported by the Initiatief IA> beeldende kunsten vzw / Digitaal Platform, Brussels. IA> Here's the blurb again: IA> "Software Art: A curatorial fiction or a new perspective?" IA> Presentations - Statements - Discussion IA> 4 February 2003, 3-7 pm IA> A cooperation between the Media Arts Lab at K?nstlerhaus Bethanien IA> and Transmediale.03 IA> Panel: Amy Alexander (San Diego/USA, software and performance artist, IA> member of the transmediale.03 software jury), Florian Cramer (lecturer in IA> Comparative Literature, member of the transmediale.01 software IA> jury),Olga Goriunova (Moscow/Helsinki, co-founder of the software art IA> festivals Read_Me 1+2 and of the 'software repository' runme.org), Alex IA> McLean (London, programmer/artist, founder of the generative art mailing IA> list 'eu-gene', winner of the transmediale.02 software prize with IA> "forkbomb.pl"), Antoine Schmitt (Paris, artist and programmer, received a IA> honorary mention of transmediale.01 for his software "Vexation 1", IA> member of the transmediale.02 software jury) IA> Moderator: Inke Arns (cultural scientist and independent curator for IA> media art, Berlin) IA> 2003 marks the third anniversary of the transmediale software prize IA> which, since its first installment, has instigated an ongoing debate about IA> "software art" and its legitimacy. The idea that artists may not just use IA> prefabricated software to produce something else, but engage with IA> programming and software itself in playful, inventive and critical ways, has, IA> one the one hand, caught on and spread over to other festivals, exhibitions IA> and artistic projects. On the other hand, there is no common language, IA> identity and network of software artists. Jury work for software art IA> competitions often turns out to be difficult because of little and mixed- IA> quality input and since much if not most artistically interesting software - IA> hacker code, conceptual art, algorithmic musical composition for example IA> - is written either outside the art system or is not being thought of as IA> software art by its creators. IA> So it appears as if the history of net art (and other process-oriented and IA> conceptual art forms) could repeat itself with software art: That curators IA> are interested in incorporating a new artistic practice more than the artists IA> themselves. Or, in other words: Is it essential that software becomes art? IA> Will it profit from the standards of a media art system that is always IA> greedy for the next big thing? And how and by whom is software art being IA> perceived...? IA> Check out IA> http://www.softwareart.net IA> Inke Arns IA> http://www.v2.nl/~arns IA> Upcoming: IA> "IRWIN: Rekapitulacija!", 25.9.-25.10.2003 IA> http://www.v2.nl/~arns/Projects/Irwin/ IA> ______________________________________________ IA> SPECTRE list for media culture in Deep Europe IA> Info, archive and help: IA> http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre From abroeck at transmediale.de Mon Mar 31 10:56:43 2003 From: abroeck at transmediale.de (Andreas Broeckmann) Date: Mon Mar 31 09:58:49 2003 Subject: [spectre] Conf. Nomadic Transitions, Zuerich 10-12 April Message-ID: Conference Nomadic Transitions - Thinking about Art HGKZ, 10 - 12 April 2003 Info, programme, abstracts: http://www.nomadic-transitions.ch From nc-agricowi at netcologne.de Mon Mar 31 11:33:00 2003 From: nc-agricowi at netcologne.de (ViolenceOnlineFestival) Date: Mon Mar 31 10:33:44 2003 Subject: [spectre] Violence in Chiang Mai Message-ID: <002401c2f760$242f5cc0$0600a8c0@NMARTPROJECTNET> PRESS RELEASE Violence Online Festival v.6.0 www.newmediafest.org/violence/ *********************************** It is true. You see it. Violence can be is really successfull. Whether in Irak or simply sitting before your home PC. Just join Version 6.0 of Violence Online Festival www.newmediafest.org/violence/ which is launched on 31 March 2003 on occasion of the participation in "1st New Media Art Festival Chiang Mai (Thailand) 4-15 April 2003 http://iceca.chiangmai.ac.th/events !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! *********************************** summary: Violence Online Festival is a New Media art project reflecting the phenomenon of "Violence", curated, organized and created in Flash by Agricola de Cologne, curator and media artist operating from Cologne/Germany. As an ongoing project Violence Online Festival is developed for being presented in future in the framework of physical and virtual media festivals and exhibitions. For each event a new project version will be created adjusted to the actual needs including additions of new artists/works and other changes. *********************************** Version 6.0 of Violence Online Festival includes some major changes and works of following new artists: Jo-Anne Green and Helen Thorington (USA), Maria Tjader Knight (Finland/Belgium) *********************************** introduction: The human character contains both a light and a dark side, good and bad, individually manifested. Deeply rooted is a dark-sided element: Violence. In happy surroundings, it becomes hardly visible and in less happy surroundings - either of a physical, psychological, environmental, ideological, economic or political nature - nearly automatically a kind of survival strategy with all the known consequences we see manifested in conflicts on a small or large scale. Violence is present anywhere, hidden or sleeping, hesitating, waiting or in action, starting from simple mobbing via verbalor physical attacks, the bandwidth has no end. Nowadays, globalization, social injustice, unemployment, increasing wealth on one side and on the opposite increasing poverty (without mentioning some causes) produce a climate where violence has a fertile soil. From the attack on 9/11 in the USA, people from the Western civilization became painfully aware that security of any kind is a mere illusion; not only the internal, but also the external enemy is present anywhere. Artists are said to be the consciousness of a nation or society as they reflect the actual state of the psychological and physical environment. When this state is penetrated by violence, nobody is surprised that violence becomes a universal subject for artistic reflection, the difference may only be the view on it and its perception depending on the respective cultural background. 'Art and violence both seem to stem from the abstract: that place beyond logic, the realm of the emotion. When they intersect we are simultaneously repelled and attracted, frightened and excited. Historically this meeting has been wrought with complexity, and as cultural violence in every society increases, we are prevented by paranoia, censorship and ethical demands from asking, and sometimes even posing, some of the most important questions violence and art together and separately produce: how is violence represented, and what or how much of it do we need to resist the cultivation of fear and the encouragement of dependency? Is violence a tool, a process or a result? When are artistic portrayals of violence justifiable? As intellectual exercise, ritual, or spiritual enhancement? For other purposes? Or are they never justifiable? Is violence in art an action, reaction, or reflection? ' (quotation: festival statement). How different the results of an artistic reflection can be is shown through the Violence Online Festival, a New Media online exhibition project curated and organized as an individual event by Agricola de Cologne including more than 150 artists from 30 countries presenting their work. It forms a dynamic collaborative art work presenting very individual visions and use of media. The relevance of violence becomes visible also through the high quality standard of all the included works. Each of them represents another aspect of violence - caught in textual poetry, running as a video or embedded in an interactive environment of a net-based art work. In reaction to the key role (mass) media plays by displaying and even promoting violence, a new environment (interface) has been created for Violence Online Festival, which houses and hosts the art works within a virtual media company named "Violence Media Incorporated". By dividing the company into different departments (eg. "Violence for Happiness" , "Violence Marketing" or "Violence Broadcasting"), it becomes clear that their meaning has a rather ironic or sarcastic character, which gives the embedded art works a new meaning. While surfing through this environment, the visitor is forced to ask and give answers, and becomes slowly a part of this network of art through his reflections and changes of perception. ************************************** The list of all 270 participating artists from 40 countries and all past and present presentations can be found on www.newmediafest.org/violence ************************************** Visit this dynamic exciting show. There are optional following accesses: direct: www.newmediafest.org/violence but also www.newmediafest.org and www.a-virtual-memorial.org ************************************** technical requirements optimized for VGA resolution 1024x768 PC Pentium III 600 Mhz or better or comparable MAC Soundcard, recommended 56K or 64K modem or faster, browsers: MS Internet Explorer 5.5+ or Netscape Navigator 6.0+ Players/Plug-ins: essential the latest Flash 6, Shockwave, Real Player, Quicktime, Cortona *************************************** copyright: Violence Online Festival www.newmediafest.org text, conception, programming, visalization curator, organizer = Agricola de Cologne - *copyright © 2002-2003 . All rights reserved. *copyright © of all art works of the participating artists hold the authors or owners. NewMediaArtProjectNetwork - the experimental platform for the arts in Intenet is founded and created by Agricola de Cologne. copyright © 2000-2002 by Agricola de Cologne. All rights reserved. **************************************** Special thanks to: Fatima Lasay - DMF2002 Festival/University of the Philippines http://digitalmedia.upd.edu.ph/ Nisar Keshvani editor-in-chief, fineArt forum = art + technology netnews http://www.fineartforum.org **************************************** contacts: Press press@newmediafest.org Violence Online Festival violence@newmediafest.org *********** From line at calarts.edu Mon Mar 31 13:13:20 2003 From: line at calarts.edu (line) Date: Mon Mar 31 22:13:20 2003 Subject: [spectre] beta testers Message-ID: Hi all, I am launching version 1 of my game Metapet in a month with new features and improvements and am looking for some beta testers. If you are interested, please write me privately and I'll send you more info thanks, natalie bookchin From bswofford at snet.net Fri Mar 28 12:41:37 2003 From: bswofford at snet.net (bswofford@snet.net) Date: Mon Apr 7 11:06:09 2003 Subject: [spectre] SAT [MUevent] Audicon March 29th Message-ID: <224410-220033528174137452@M2W071.mail2web.com> Mix & Match Music Manipulations Audicon Plantar: Listen With the Soles of the Feet http://newhavenadvocate.com/gbase/Music/content?oid=oid:7568 http://www.ghaymaneinblitz.org/ Performances on March 29, from 3-8 p.m. at Birdland North Madison (546 Summer Hill Rd., Madison, CT 421-9399) !SAT-SUN March 28th-29th, 2003! calling all "post-punk" barbarian media scavengers and kamikaze mass kulture connoseiurs! ---------------------------------------- SAT-SUN MARCH 29th-30th, 2003, 12 - 8 pm "honoring the works of artists no longer with us" Homer Pheifer Ingrid Russell Jurgen Geith Margaret McCurdy Antone G. Pimental John Risley ---------------------------------------- *****SAT MARCH 29th, 2003, 3-8PM!******* AUDICON PLANTAR "to listen with the soles of the feet" ---------------------------------------- (((SAT AFTER/POST-RITE DANCEPARTY))) "where the wild things are" a rumpus room spectacular featuring lord lewis serious sweaty monkey time shakedown spinning mighty Funk, Soul, GoGo beat, boogaloo, and other tasties ---------------------------------------- Directions: http://www.mapquest.com/directions/main.adp?2l=VRr%252b83Zf%252fpA%253d&2g=C gajDSD7gBE%253d&2pn=&2ic=31&2ex=1&src=maps&2a=546%20Summer%20Hill%20Rd&2c=Ma dison&2s=CT&2z=06443%2d1607&2y=US 95N EXIT 61 > L off ramp, RT 79 N > traffic circle 1st exit, RT 80 E > L on Summer Hill Rd ----------------------------------------------------- SAT 29th AUDICON PLANTAR! Live electroacoustic performances by: Ghayman Einblitz with video by Robert Le Blanc, Oroborus (Klark, Lewis, Clyde, Jim & guests rock it) DVNT (Doug Van Nort) Mbuotye (Patrick Murphy) Vixen & Tomcat's enpsychedelique imaginary Los lucadores (klark kent and ramesh) any subsequent metamutant breeds Description: hybrid improvisatory sound collabortations electronic and acoustic sound improvised freely intermedia performances spaces/borderzones of contemporary musical practice a stew of musics myths and meanderings SHOUT-OUTS TO Y'ALL M. Dickhoff & Mr. Fabulous the nyc beast boys Kevin Jeton Daniel & John! doug e fresh and his golden trumpet SAMIT Pauline & Ione Dr. George Omara & friends SHIVASTAN IN KATHMANDU deep listeners of the noosphere Laoud, Chris "Mr. Sauve" Burchell, Sarah Weaver REAL ART WAYS Al Margolis Meaghan sheehan au francais IRA COHEN wynder k frog planet hammer NYC! sock and his eyeballz of mega bass boom Craig Gilbert & NEW HAVEN ADVOCATE all art coolies, tragic hipsters G. "Wolfman" Maciolek all RPI nomads (you know who you are!) Jason Martin Stephan Moore Scott Smallwood Marna Schwartz Sarah Warren Blythege (all the "boys who make noise ...") -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ .