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Table of Contents: fwd: Art and Money Online Symposium, Tate Britain, London honor <honor@va.com.au> Public Art and Streaming: Symphony of a City "manse jacobi" <jacobi@freespeech.org> giant.mov computer fine arts <doron@computerfinearts.com> C R I S I S W E B N E W S - New book length report on the "Sascha Pichler" <spichler@crisisweb.org>(by way of richard barbrook) Radical to Rational - and Back Again "geert lovink" <geert@xs4all.nl> those old cd's and cd-roms (corrected address) Bill Spornitz <spornitz@pangea.ca> webcast "k." <kasprzak@videokill.com> Neighbourhoods of the world "Dimos Dimitriou" <addfield@ath.forthnet.gr> cream 2 "geert lovink" <geert@xs4all.nl> net.ephemera Opening reception: Thursday, May 3, 6-9pm.@ Moving Image Gallery4 michele <michele@movingimagegallery.com> Conf > "Race in Digital Space" > Apr27 to Apr29 "Paul D. Miller" <anansi1@mail.earthlink.net> [ big bOXe ] Art Frankfurt 2001 - pavu.com - artcart.de "clement Thomas - pavu.com" <ctgr@free.fr> who wants to review vectorial elevation? "geert lovink" <geert@xs4all.nl> ------------------------------ Date: Thu, 26 Apr 2001 16:02:25 +0100 From: honor <honor@va.com.au> Subject: fwd: Art and Money Online Symposium, Tate Britain, London - -----Original Message----- From: Lorna Healy Sent: 25 April 2001 18:49 To: Honor Harger Subject: FW: programme Art and Money Online Symposium Tate Britain, London, UK Friday 4 May 2001 10.30 - 16.30 (British Summer Time) Curators of new media, net activists, writers and artists discuss the link between global capitalism and digital art "The war between expression and commerce is a very rich subject, of which the issues directly touching Art are just the tiniest tip of the iceberg" (Ray Thomas and Frank Guerrero, RTMark) This symposium responds to Tate Britain's Art and Money Online (6 March to 3 June) Art Now exhibition <http://www.tate.org.uk/britain/exhibitions/artnwnet.htm>, with a series of panel discussions and talks which critically question the links between capitalism and digital art. Representatives from RTMark deliver the keynote address. Other invited speakers include: - - Benjamin Weil - SFMOMA - - Josephine Berry of Mute Magazine - - Cutting Edge: The Women's Research Group - - John Tomlinson, Nottingham Trent University - - Jon Thomson and Alison Craighead, artists - - James Wallbank from Redundant Technology Initiative. This day asks whether net artists’ opposition to capitalism is plausible or desirable in the current economic condition. A fresh and interdisciplinary approach is taken to this visual politics debate as economists, geographers, and writers add their views. Parallel sessions on globalisation and gender, culture and technology, astrology, and web site construction are also included. Fee: £15 (£7 concessions) includes refreshments For tickets: (+ 44) 020 7887 8888 PROGRAMME 10.30 - 11.15 Opening Address Frank & Ray RTMark 11.15 - 12.00 Globalisation, Capitalsim and Cultural Imperialism John Tomlinson, Nottingham Trent University 12.00 - 12.50 Panel Discussion: Culture and Politics Josephine Berry, Mute Magazine Jon Thomson, Artist Alison Craighead, Artist Jackie Hatfield, Womens Research Group 12.50 - 13.45 Lunch 13.45 - 14.45 Option A: Guided Tour of 'Black Shoals Planetarium' in Art and Money Online Exhibition, with Financial Astrologers and Lise Autogena, Artist and Joshua Portway, Artist 13.45 - 14.45 Option B: Demonstration: How to Build Your Own Website, with James Wallbank Redundant Technology Initiative 14.50 - 15.35 Digital Art & the Museum Benjamin Weil, Curator SFMOMA 15.35 - 16.00 Break - Tea/Coffee 16.00- Finish Panel Discussion: Resistance, Capitalism and Art Online Julian Stallabrass, Curator and Writer James Wallbank, Redundant Technology Initiative ___________________ MORE INFORMATION: For more information contact: Jane Toussaint, Interpretation & Education, Tate Britain PH: (44) 020 7887 8758 email: jane.toussaint@tate.org.uk URL: http://www.tate.org.uk/britain/exhibitions/artnwnet.htm For more information about Tate or getting tickets for events: Tate Ticketing Email: boxoffice@tate.org.uk PH: (44) 020 7887 8888URL: <http://www.tate.org.uk> ------------------------------ Date: Thu, 26 Apr 2001 09:59:43 -0600 From: "manse jacobi" <jacobi@freespeech.org> Subject: Public Art and Streaming: Symphony of a City Public Art and Streaming Event ==================== Symphony of a City ==================== ttp://www.symphonyofacity.org Symphony of a City is a public art project by Liz Canner and John Ewing designed to create dialogue and reflection about community building and the housing crisis. It portrays a day in the life of Boston from many perspectives. Dynamic individuals, nominated by community groups from across Greater Boston, wear tiny video cameras and document their lives for an entire day. The video is juxtaposed so that at any given moment four stories, four lives, four perspectives are in view. Unfolding from dawn until midnight, Symphony of a City creates a democratic arena where people can gain a deeper understanding of neighbors with whom they may rarely have contact. Video Projection on Boston City Hall Date : April 27 (community building) and May 4 (housing) Location : on Boston City Hall directly across from Fanueil Hall overlooking Congress Street Hours : from dusk untiil the last wearcam participant goes to bed Video Streaming on symphonyofacity.org and freespeech.org Date : April 27 (community building) and May 4 (housing) Hours : from when the first wearcam participant wakes up until the last wearcam participant goes to bed ------------------------------ Date: Thu, 26 Apr 2001 12:45:56 -0500 From: computer fine arts <doron@computerfinearts.com> Subject: giant.mov ~~ http://www.computerfinearts.com/giant/ giant.mov data: 55 kb/s duration: loop 1:00:16 quicktime streaming media ~~ ------------------------------ Date: Thu, 26 Apr 2001 18:23:55 +0100 (BST) From: "Sascha Pichler" <spichler@crisisweb.org>(by way of richard barbrook) Subject: C R I S I S W E B N E W S - New book length report on the C R I S I S W E B N E W S - --------------------------- Thursday, 26 April 2001 BALKANS -------------- After Milosevic A Practical Agenda for Lasting Balkans Peace ICG Balkans Report No.108 Slobodan Milosevic is gone, but he has left in the Balkans a bitter legacy of death, destruction and distrust, and the potential for renewed conflict remains dangerously high. It is vital that there be forward-looking and comprehensive action by the international community to address the continuing sources of tension. ICG s new 350-page report is a comprehensive and up-to-date attempt to map a realistic agenda for achieving lasting peace in the Balkans. The focus is on accelerating political and institutional reform, and addressing sooner rather than later the difficult remaining issues of future and final status, and minority rights, that keep holding back stability and economic growth, especially in the troubled Yugoslav trio of Serbia, Montenegro and Kosovo, and in Bosnia and Macedonia. This report is built on five years of intensive field-based analysis throughout the western Balkans. The policy ideas contained in it grow out of the experience gleaned in the course of writing 140 earlier Balkans reports and briefing papers and discussing them with policy makers in the region and around the world. The complete text of the report may be downloaded in pdf format from the ICG website www.crisisweb.org. The report is also available at cost (US$ 15) in printed paperback book form. Click here: www.crisisweb.org/projects/book.cfm for ordering details. - ------------------------------------- CrisisWeb - http://www.crisisweb.org - ------------------------------------- To unsubscribe from this list, simply send an email to listcontrol@tmg.co.uk. In the body, write: leave[space]icgbalkans-news[space]<youremailaddress>. ------------------------------ Date: Fri, 27 Apr 2001 09:00:08 +1000 From: "geert lovink" <geert@xs4all.nl> Subject: Radical to Rational - and Back Again From: "Kendra Saunders" <Ksaunde1@utk.edu> Sent: Friday, April 27, 2001 2:54 AM Subject: Conference Information IAP2s Annual Conference and Workshops - May 4 - 9, 2001 The Coast Plaza Hotel at Stanley Park Vancouver, British Columbia, Canada Radical to Rational - and Back Again If you have any questions, please contact IAP2 Headquarters at 1-800-644-4273. The International Association for Public Participation (IAP2) was established in 1990 as a nonprofit corporation to advance the practice of public participation. IAP2 is an association of members who seek to promote and improve the practice of public participation in relation to individuals, governments, institutions and other entities that affect the public interest in nations throughout the world. Rediscovering Participation In the 1960s, citizens rediscovered the power of protest. Drawing on the example of Thoreau and Gandhi, in the streets and on university campuses, citizens demanded changes in government policy and injected their voices into the decisions affecting their lives. It is from these radical roots that modern public participation was born as large institutions searched for rational ways to engage the public. The end of the 20th century again witnessed large-scale protests and public outrage. Has public participation failed? Or have we simply moved to the next stage - from the domestic issues of the 20th century to the global issues of the 21st century -and the cycle of "radical to rational, and back again" is repeating itself? This question will be the focus of IAP2 's 2001 conference. With the intensification of public activism, what is the future of public anticipation in the 21st century? The conference will also consider the contribution of public participation in building and sustaining thriving human communities. Achieving healthy communities means attending to public health, justice, transportation, and environmental stewardship. The conference is organized by addressing the elements common to these issues: *activism *governance *technology *environment *globalism and our role in it *indigenous peoples =============================== Kendra L. Saunders Program Associate Participatory Research and Planning Program Community Partnership Center University of Tennessee 410 Aconda Court Knoxville, TN 37996-0645 ph: (865) 974-4562 fx: (865) 974-9035 ksaunde1@utk.edu ------------------------------ Date: Thu, 26 Apr 2001 11:22:51 -0500 From: Bill Spornitz <spornitz@pangea.ca> Subject: those old cd's and cd-roms (corrected address) Sorry - here's the correct postal code. Please destroy the previous message. Bill Dear Friends: Do you have a bunch of old promotional cd-roms lying around? Old shareware disks that won't run on your new computer? Operating systems that wont cut it any longer? Perhaps some old music cd's? Maybe something your mother-in law gave you for your birthday, or some Milli Vanilli? I'm using recovered cd's and cd-roms to shingle my little house in historic St. Boniface, Manitoba. If you want your refuse to be immortalized forever, (and help me protect my house from the savage Canadian climate) please send your old cd's to: Lumpy 223 Bertrand Street Winnipeg, Manitoba R2H 0N5 Canada I'm sorry - I can't afford to pay shipping. Please take a minute to include a note about yourself, or whatever. Thanks Bill ps - St. Boniface is Winnipeg's french quarter. ------------------------------ Date: Fri, 27 Apr 2001 01:16:11 -0400 From: "k." <kasprzak@videokill.com> Subject: webcast - - badpacket - Live webcast on Year Zero One as part of Station Rose's "Webcast Lounge" at Art Frankfurt! http://www.year01.com/stream Streaming by TrickMedia. Saturday April 28, 2001 12 PM - 1 PM - US Eastern Standard Time 6 PM - 7 PM - Central European Time 4 PM - 5 PM - Universal Time Mike Steventon + Michelle Kasprzak = badpacket Live audio by P R O J E C T (Lewis & Prasad) badpacket use performance as a vehicle for the exploration of contemporary issues relating to the interfacing of humans and machines. In particular, they examine the changing role of human biology in the age of smart machines and genetic modification, and the evolution taking place within the architecture of human communication. badpacket use computer generated imagery, performance, live video mixing and projection, to create a unique layered environment that taps into our hopes and fears for the future of technology. Combining the use of digital, analogue, and live techniques allows badpacket to plunder the immediacy of the internet, the fluidity of live video mixing, and the responsive interactivity of performance. P R O J E C T is the work of Prasad Bidaye and Lewis Kaye exploring the possibilities of sound manipulation, improvised programming and live re-mixing. Their purpose is to transcend the barriers of contemporary electronic music while in pursuit of spontaneous frequencies and other sonic forces that ease the body and move the mind. Central to this philosophy is an openness towards collaboration across the entire spectrum of media. Check out the live webstream, hosted on Year Zero One: http://www.year01.com/stream Streaming services provided by: Trick Media/Idiosyntactix. Toronto performance location provided by Michelle Teran. More info: http://www.year01.com/stream http://www.badpacket.org http://www.stationrose.com Time Conversion calculator: http://www.w3.org/Protocols/Time/ Special thanks to: Dmytri Kleiner, TrickMedia, Idiosyntactix, Station Rose, Year Zero One, Michael Alstad, Michelle Teran. ------------------------------ Date: Fri, 27 Apr 2001 12:15:50 +0300 From: "Dimos Dimitriou" <addfield@ath.forthnet.gr> Subject: Neighbourhoods of the world Neighbourhoods of the world Concept "Neighbourhoods of the world" is a new international network that aims to create a new platform of different areas from all around their world. A number of neighbourhoods will be adjoined virtually and create a new community that wishes to build new strong and real relationships between areas and between people. While virtual communities expand more and more nowadays, at the same time they are accused that they tend to replace the real geographical ones becoming actually a substitute of them. This project wishes to readdress this subject starting off from the core of the geographical vicinities. We are looking back to the nostalgic concept of the neighbourhood that is being lost, aiming to recapture its sense and enliven it. The art centers, the organizations that will undertake the work for this project, need to reach out to the residents of the area and work with them so as to reflect their view of their place and transfer these images to the web site. Structure The neighbourhood can be a street and its surrounding area, a small territory a kid may walk through every day, a small world that encloses the residents' most familiar images and every day life. This project addresses to art centers, university departments, music places, libraries, or other associations of any place in the world that are interested to work on their neighbourhood. For the realization of the project these centers need to discover the distinctive character their area has and develop powerful relationships with the small surrounding community. They need to become the dynamic cells of their neighbourhood and form a team of people (residents, artists, professionals, students etc) that will work together on the project. Each team will need to start an ongoing research and gather material - videos, photographs, interviews, texts- where the specific features of the area will be documented. As this material is to be presented on line, the particular centers need to play a double role; acting as the coordinators of the workgroup of their area on one hand and as an intermediary between the area and the whole network on the other. The material of each neighbourhood, after its first procession by the project team will consist part of the site. The overall construction, coordination and supervision of the site will be undertaken by Fournos Center for Art and New Technologies, in Athens. Fournos, that is situated in the area of Neapoli in Athens, will develop a project on its surrounding neighbourhood. In brief, the workgroup of Fournos can be described as the following: Project Internal Team: - - Project "Wizard" (Person that acts as a supervisor for the whole project and plays a general overseeing role ensuring its development; is critical for its overall development and success; inspires the on going process of the work; negotiates with the external team) - - Project "Anima" (Person that enlivens the spirit and the concept of the project; is responsible for the ongoing process, defines the needs and the steps; contacts and communicates with the other participant art centers; cooperates with the artists and the other people who are working for the site) - - Project "Equilibrium Finder" (Person responsible to define the core functionality and the architecture of the site. He needs to address the needs of the audience visiting the site and to define the user experience. As the site aims to create a web community , his task is to oversee its development and keep the content of the site close both to its concept and the needs of its users) - - Project "Web Monster" (Equivalent to the Web Master but in a more extreme sense. Person that takes the material on the area and rebuilds it; creates the virtual neighbourhood that will be mostly based to the energy and the fantasy of a place; edits the pieces together and subtracts anything needless as trash, traffic signs or moody passengers.) Project External Team: - - Artists (Architect, Musician, Video Artist, Photographer,...)The participation of artists is essential. It is preferable if they live or work in the area. Their work inspired by the place can greatly influence the development and the content of the site. e.g. a musician can capture and record sounds from the vicinity. - - Residents (Texts, photos by current habitants and newcomers ) - - Old people (Testimonies and thoughts from the past generation creating a documentation on the internet of their view of the world, a world that fades away) - - Professionals (Reference to traditional professions that may be preserved in the area from the past till nowadays) - - Kids (Words, pictures, photographs taken by children will be included) The virual neighbourhoods will need to form a workgroup with a similar structure. Persons taking the positions of the Project Equilibrium Finder and the Project Web Monster may not be needed for the participant centers as the overall development of the site lies mainly to Fournos' responsibilities. The material gathered by the centers will be processed and edited within Fournos Lab. However, the process of the material by a site designer or an internal technical team can surely help before the data reaches our technical support team. It is important to notice that all work will take place within the center and that no external private company will undertake the designing, construction and maintenance of the site. This is to avoid any advertising interventions as well as possible alterations in the content and appearance of the site. As the ongoing administration, maintenance and modification of the site will be kept in-house, it becomes clear that a close and steady cooperation between the participant centers is necessary. A dynamic and creative network needs to be created that will present several and different images of the various neighborhoods. Features of the project The site will be the main feature of the project as it will represent the network of the neighbouhoods belonging to the new community. Each participant neighbourhood will be represented virtually on the net. All material gathered by the project team as images, texts and videos will be accessible to users entering the site. From the first page a photo-picture of the vicinity will offer links to all possible next steps. The user will be able to click on several spots such as buildings, roads and people and discover features related to the area. By clicking, for instance, on a person appearing on the screen a video or a small text will pop up where the particular resident will be saying his personal thoughts and memories, his favorite place on the area etc. The profile of the resident, his name, age and profession will be stated, giving the sense of a new acquaintance to the people visiting the area. (e.g. Alison Parker, artist // Nick Papadakis, student, 12 yrs old). Our aim is to give the info on the area mainly through its residents. This is to avoid forming a mere archive or a database on the area and to help creating a site that enlivens a particular space and brings it closer to people's eyes and mind. A variety of information can be provided. If a person names also his favorite food, a picture of it can be included and the recipe can also be given. Likewise, images and texts related to the buildings, the flowers and gardens, the small shops or other features will be presented on line. The network created will enable users to pass at any moment from one neighbourhood to another, as there will be a common general pattern for all vicinities. For example, from the pop up video for the foods of one area, links will be given for the foods of the other neighbourhoods as well. In the context of the site a forum will also be created where various subjects will be open for discussion. Through this new web community, we want to encourage the communication and the exchanging of experiences between people coming from different regions of the world. This community can give birth to a new platform of creation and dialogue for artists, residents, curators and all the visitors of the site. Users will be invited to join discussions, send mails to each other or even have an on line chat with other people. Each person entering the site will have to register, state his username, password and email. If they wish, they can also complete their own personal profile, adding their interests and other characteristics. This will help create an archive of profiles that will enable future communication. After logging in, the user can visit the several neighbourhoods he wishes and view what's on line. The travelling exhibition and the other events An exhibition focusing on the distinctive features of the participating neighbouhoods will be scheduled in the future time that will be hosted in succession by the participant art centers. Along with the exhibition, other events will be programmed each time; installations, performances, art events and happenings will take place in several spots of a neighbourhood and enliven it. These events will have a major contribution in the acquaintance and the cooperation of the different areas. Artists will be invited to work in the venues of the different neighbourhoods and work on projects that will be co-curated by more than one art centers. The participation of the people of the areas will also be essential. An exchange program between residents can take place where people will be invited to visit neighbourhoods and meet the people they may have been in contact with via the net. Most of these events will be programmed to happen after the completion of the first year. During the first year, that the project will be going through an experimental phase smaller happenings or actions can be scheduled to bring the different areas closer. One idea is for the teams of the art centers to exchange gifts! Gifts to approach another community, like kids do in school classes before Christmas. To sum up, we hope that through the process of the project the participating art centers and the neighbourhoods will succeed in: bringing the residents closer to their area aknowledging its specific character; create a dynamic group of residents, artists, professionals and people working in art centers that will be able to work together and reach out to the community; create a network of neighbourhoods and people from the world that will share their views and experiences; offer a new territory for collaborations between artists and art centers from all around the world that will turn more to the neighbourhoods and will be inspired by them. If you are interested in participating, please read the conditions for participation that are attached and send us: - - the profile of your association - - the profile of the creative team that will undertake the work for the project - - a short text describing how you will develop the project on your neighbourhood. Also, please free to contact us for any queries you might have. Daphne Dragona General Coordination and Communication, Project "Anima" Manthos Santorineos Director of Fournos, Project "Wizard" Solon Sasson Project "Equilibrium Finder" Fournos, Center for Art and New Technologies Mavromichali 168, Athens, Greece Email: daphne@fournos-culture.gr Tel: +301 64 60 748 Fax: +301 64 70 069 Conditions of Participation for the "Neighbourhoods of the World Project" 1. The project shall be supported by an art center, a media lab, a university department, a library, music center or other non-profit association. 2. All the associations will conduct a research on the area and present the material in the form of videos, photos and images. 3. The work for each neighbourhood will be accomplished by a group of people from the center and the people living in the area. 4. Fournos, Center for Art and New Technologies of Athens undertakes the overall construction of the site as well as the supervision of the project. 5. Fournos as well as the participant centers accept to host the travelling exhibition that will take place in the future in their venue or other area in the neighbourhood. 6. Each center should be able to support financially the part of the project for its neighbourhood. 7. Fournos is responsible the financial support for the construction, modification and supervision of the site. 8. Deadline for the first call of participation is May the 31st , 2001. The material should be gathered and processed by the centers by the end of October 2001 and the site is scheduled to launch by the end of December 2001. ------------------------------ Date: Sat, 28 Apr 2001 16:54:54 +1000 From: "geert lovink" <geert@xs4all.nl> Subject: cream 2 via jesis@xs4all.nl (Josephine Bosma) **************************************************************** cream 2 **************************************************************** Bath in cream. cream is an experimental collaboration of writers and curators in the field of net art. cream will come to you as a (sometimes iregular) bi-weekly newsletter devoted to theory and criticism concerning art in network culture. All texts and reviews are kept as short as possible, they are not introductions to larger texts elsewhere on the net. The idea behind it is to provide a continuous injection of critical thought into the net art field, to provoke a more prominent critical and theoretical discourse around art in net culture and to do this in a way that asks for discussion rather then that it obstructs a flow of discourse. You can subscribe to cream, yet the first half year of its appearance cream will also go to the a few mailing lists: nettime, Rhizome, Syndicate. We invite you to forward this mail to anybody you feel might be interested in the content of cream who is not on any of those lists. Contributors to cream: Saul Albert, Inke Arns, Tilman Baumgaertel, Josephine Bosma, Sarah Cook, Steve Dietz, Frederic Madre, Tetsuo Kogawa and more to come. ::::::::: In this second issue::::::::::::::::::::::::::::::::::::::::: :reflection: Report: Tetsuo Kogawa - ketai Review: Sarah Cook - hard, soft and wet Review: Tilman Baumgaertel - notes on writing the history of the digital 0.1 :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Tetsuo Kogawa is currently Professor of Communication Studies at Tokyo Keizai University's Department of Communications. Kogawa introduced free radio to Japan, and is widely known for his blend of criticism, performance and activism. He has written over 30 books on media culture, film, city and urban space, and micro politics. Most recently he has combined the experimental and pirate aesthetics of the Mini-FM movement with internet streamed media. - ketai - One of the most idiosyncratic phenomena of Japanese media today is "ketai"[pronounced 'kay-tai'). Ketai means mobile telephone, a tool which is very popular all over the world. This same familiar technology, however, creates different cultures and social appearances. Individualism is unstable and vulnerable in Japanese society but it looks stable with the support of electronic media. I once called this circumstance "electronic individualism" referring to the "Walkman" phenomenon. People looked independent and selfish where they otherwise looked shy and hesitating. Ketai boosts this phenomenon and guarantees a consistent individualism. Ketai is a transcendental subject for Japanese young people. They are eager to add their favorite ringing sounds ("chakumero") into the machine. While these young people create the sounds on the computer by themselves, there are professionals who produce various ready-made "chakumeros". The variety and the number of them could create a collective music if they got together and sounded chakumeros. The first personal socialization starts with letting someone know your ketai number. Quite young people often have two or three ketais. One is for personal use: this number is told only to special people. This attachment to the most personal or intimate ketai can go quite far. Especially young women sometimes throw away their beloved ketai and this apparently means that there was a separation. When young people get together for their new project or to prepare for some other event, they exchange their ketai numbers (supposedly their second ketai's) with each other and memorize them into the machine. Name cards and business cards are history. Few people will borrow other person's ketai. In fact, ketai becomes more and more personalized: there is a plan to use it as a personal identification and password for shopping and banking. More and more personal data are stored in them. Ketai is the completion of the PERSONAL computer. I think it shows the computer becomes more and more personalized and miniaturized to become something like a package of artificial brain cells. But the forthcoming cyborg body with implanted electronics will need a new techno-otherness. Media art made interesting use of such an otherness. As long as the computer was not yet totally personalized (like when it was connected to a network) there was a shared space between physical bodies, a shared space that was activated by technology. Media art has ended with ketai, because media art so far has been pursuing a self-complete package without otherness even if it relates to the internet. Media art has considered the internet as if it were a global package of data. ::....____-> Sarah Cook is a PhD researcher at the University of Sunderland, England where she coedits a site called the Curatorial Resource for Upstart Media Bliss (www.newmedia.sunderland.ac.uk/crumb). Having worked in Canada and the US, she tracks the institutional shifts in curatorial practice brought on by the introduction of networked new media into the art world, and wonders how many of them are geographically and socially based. - Hard, Soft and Wet - Melanie McGrath's book "Hard, Soft & Wet: The Digital Generation Comes of Age" was published in 1997. Considering its topic, that's ages ago now. It chronicles her experiences discovering networked cultures - from her home in London, and her friend's house in San Francisco. The book - while old - is, however, not out-of-date; it testifies to a cycle of optimism and despair which is always current in the field of new media. "Hard, Soft & Wet" documents the early days of the online world in a manner that is equally applicable to the newfound interest on the part of the museum-institution in the new media art world. Midway through McGrath describes a scene at an Internet café in NY where she is discouraged about "the power of technology to change human relations for the better" because it all seems to be about how hip you are and what kind of kit you're using. If you change the words café latte for wine, and dollars, deal and dividend for interactivity, institution and interest she could just as easily be describing the scene in a gallery 'medialounge' (or, I dread to think, the current scene at the Whitney). She's subsequently encouraged by the thought that "back in England everything under the Internet sky will still be sunny. The backlash won't have happened there." As I left NY for England after a brief visit a few weeks ago, I was encouraged by two similar thoughts: one - the crash hasn't hit here yet (we're still optimistic about the social and cultural possibilities of the next generation of mobile WAP phones; artists in NY were wondering how they lost the net; artists in England still have a bit of it as far as institutions are concerned); two - Europe's museums haven't made as many new media art curatorial mistakes. yet. (Is it because they haven't had to?) Melanie's story bounces from her first e-mail romance to meeting hackers in Russia (history of technology in the making) and programmers in Iceland (face to face encounters in foreign towns). The book is in essence a narrative about the perils of being on to something you think could be huge and life-changing while others haven't picked up on it yet, or won't because they're looking elsewhere, or once did but have since been disillusioned (or nowadays, downsized). Its investigation of the intimacy of new media remains paramount throughout -- mostly through its deconstruction of the personal relationships which create the networks behind it. Institutionally-based curators new to the medium might find confidence in Melanie's trials as she tries to ascertain the context of the Internet age (is it to be found in the academic world? At a conference? In the commercial realm? In an activist demonstration?). Those who are continually working on the edge of the slippery bank where new media art becomes mainstream will no doubt just find her story an interesting deja-vu. ::............__________-> Tilman Baumgaertel is a journalist and writer. He studied art history and wrote a book about Harun Farocki as his thesis. He published a book with interviews in 1999 called [net.art], and is working on its successor. Tilman Baumgaertel has written extensively about net art, and his work can be found in for example the catalogue of Net_Condition and the online archive of Telepolis. He now works for the Berliner Zeitung. - notes on writing the history of the digital 0.1 - They used to say that journalism was the first draft of history. With digital culture it seems that journalism has the last saying (the final word?) too. These was the a thought that came to my mind, when reading the book "The rebel code" by Glyn Moody. "Rebel Code" is a fine book on the history of Linux and the Open Source Movement. And Glyn Moody is a fine journlist, who does what journalists do best: he gives a timely account of important and/or interesting events that he reports to the best of his knowledge in a readable fashion. "Rebel Code" manages to do all of these things. In fact, it does even more: Moody doesn't limit his study to Linux and the other usual Open-Source-suspects such as Apache, Perl, GIMP and the Internet and Web standards, but he also covers the many theoretical and philosophical implications that the Free-Software-Movement has on other aspects of social life. He adresses questions of ownership and copyright, originality and collaboration, and chronicles the efforts of people such as Richard Stallmann, Linus Torvalds or Eric Raymond to not only produce Open-Source-Software, but also to come up with theoretical underpinnings for the phenomenon. So far, so good. So what is wrong with his approach in terms of writing digital history? Nothing. What's wong is rather that the people whose job it is to write history, the academics and scholars, at this point leave the task of recording the development of a digital culture completely up to journalists and critics. Not that there is generally anything wrong with these people - I am a journalist and critic myself, after all. And as such I know that my job is not necessarily to do long and time-consuming academic research, but rather to produce - as pointed out earlier - timely results that are both factual and in a readable fashion. That doesn't mean that people like Moody and myself don't get their facts straight, but rather that we don't invest the time to do the research that would lead to completely new or original findings or approaches towards a topic such as Open Source. "Rebel Code" tells the story of Open Source in a thorough and well-researched fashion, but it basically tells the story of Open Source that has become canonical in the last couple of years (even though his chapter on Netscapes Mozilla project contains sources and documents that to my knowledge nobody has published before). If there is any "other", "alternative", "untold" "story-behind-the-story", we wouldn't get it from "Rebel Code" - or, I assume, from the handful of other books that have come out on the topic of Open Source in the last 12 months. And they don't have to do this job, because after all they are journalistic endeavours, that were never meant for eternity or as final historic accounts of this phenomenon. So, that would all be good and well, if academics in the many departments that suppossedly do digital studies, "media archaeology", screen studies and whatever the trendy term might be, would back this journalistic efforts up with more academic research into the same topics. Strangely enough, in the academic amateur's hour that is called media studies etc, there is virtually nobody doing any research, but an almost exclusive focus on analysis. If that analysis ever bothers to deal with R.L.-subjects such as Open Source, it relies exclusively on journalistic material, as if this material has the quality to be final and, well, true. Post-modernism has tought us that all history writing produces "narratives", not final truths. In the field of digital history books like "Rebel code" will be the final "narratives", because most original sources will disappear soon, if they haven't done so already. For example, the first discussion on Linux in the newsgroup comp.os.minix in the early 90ies are already erased from any server in the world. So future historians will not be able to access the original source, but only the edited versions that appear in Moodys book and a number of other publications. If anybody would want to write another story of Linux, he won't have any other material than the canocial quotes that have made it into books. In journalistic books, that seem to be the final word on this topic. <-_________________________::::::::::::::::::::::::::::::::::::::::::::: Subscriptions to cream via cream-info@laudanum.net :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: cream would not be possible without the work and hospitality of the House of Laudanum, http://www.laudanum.net . :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------ Date: Fri, 01 Jan 1904 01:13:06 -0500 From: michele <michele@movingimagegallery.com> Subject: net.ephemera Opening reception: Thursday, May 3, 6-9pm.@ Moving Image Gallery414 Broadway, 3rd Floor > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. net.ephemera May 3-31, 2001 Moving Image Gallery 414 Broadway, 3rd Floor New York, NY 10013 Curated by Mark Tribe of Rhizome.org Opening reception: Thursday, May 3, 6-9pm. Net art is made to be experienced online. How then should museums and galleries best exhibit net art in their physical spaces? net.ephemera takes an innovative approach to this problem by focusing on drawings, diagrams, notes, receipts and other physical artifacts related to the making of virtual work. net.ephemera includes one ephemeron by each the following New York-based net artists/groups: John Cabral, Andy Deck, Ricardo Dominguez of Electronic Disturbance Theater, Angie Eng, Alex Galloway, Jeff Gompertz, GH Hovagimyan, Keith Frank & Jon Ippolito, Yael Kanarek, John Klima, Tina LaPorta, Golan Levin, Diane Ludin, Michael Mandiberg, Jennifer & Kevin McCoy, Brian McGrath & Mark Watkins with Akiko Hattori & Lucy Lai Wong, Sally Minker, Prema Murthy, Mark Napier, Cary Peppermint, Wolfgang Staehle, Beth Stryker & Sawad Brooks, Marek Walczak & Martin Wattenberg, MTAA. Press preview Wednesday, May 2, 1-5pm by appointment. A web site with statements, bios and links to the related net art projects will launch on Thursday, May 3 at http://www.movingimagegallery.com For more information, please contact: Michele Thursz, Moving Image Gallery, +1.212.966.4741, michele@movingimagegallery.com Mark Tribe, Rhizome.org, +1.212.625.3191, mark@rhizome.org - -- ------------------------------ Date: Thu, 26 Apr 2001 11:44:36 -0400 From: "Paul D. Miller" <anansi1@mail.earthlink.net> Subject: Conf > "Race in Digital Space" > Apr27 to Apr29 > >|||<>|||///\\\///\\\|||O|||///\\\///\\\|||<>||| > >Conf > "Race in Digital Space" > Apr27 to Apr29 > >http://cms.mit.edu/race/ > >A national conference on race and new media technologies >Friday, April 27, through Sunday, April 29, 2001 speakers include: Vivek Bald, Alondra Nelson, Beth Coleman, Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid, Alex Rivera, Coco Fusco, Kalamu Ya Salaam, Elizabeth Nunez, and others >MIT campus, Cambridge, Mass. in conjunction with University of >California Santa Barbara, and the Yerba Buena Center, and New York >University performance by Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid Dj Singe (Beth Coleman) Vivek Bald and others > >The conference will serve as a touchstone for thinking critically >about race in digital environments and focusing conversation not >only on where we have been and are, but where we need to go and how >we might get there. > >|||<>|||///\\\///\\\|||O|||///\\\///\\\|||<>||| ------------------------------ Date: Fri, 27 Apr 2001 18:07:11 +0200 From: "clement Thomas - pavu.com" <ctgr@free.fr> Subject: [ big bOXe ] Art Frankfurt 2001 - pavu.com - artcart.de ART FRANKFURT 2001 April 28th - May 1st 2001 pavu.com by artcart.de special invitation presents : Beef It or Salad Solo ? Pick & Prepare your artcart.de Cuts of Beef http://www.pavu.com/bigboxe/beef.htm Swing skirting or Maracas scaloping ? pavu.com Champion's régime and Master's behavior http://www.pavu.com/bigboxe/boxeStoreRing.htm big bOXe ! BEEF IT or sWINg IT ! media streaming and Beaming ! http://pavu.com - get ready for the En-Garde ! http://artcart.de - Be Avantgarde - Buy Net.Art ! - ---------------- ++ full programme : http://www.pavu.com/bigboxe/artcart-programme.htm artcart presents: pavu.com and Takuji Kogo ( Mo. 30.4.01 ) ==================================================================== MONDAY, 30.04.2001 FROM 6 - 8 p.m. location: Webcast-Lounge 1.1 F71 Messe Frankfurt !!!The show will be streamed onto the Internet ( http://www.stationrose.com )!!! art frankfurt promotional offer: FREE 10 Bull-DgH title ==================================================================== the artcart.de special PROMOTIONAL OFFER at art frankfurt: buy on artcart.de and get a FREE 10 Bull-DgH title to invest on pavu.com NELia market ! http://www.pavu.com/bigboxe/Bull-DgH/index.html http://www.GNouFL.com artcart art frankfurt edition ======================================== Have a glance on recent net.art published by artcart. http://www.artcart.de/edition artcart at art frankfurt ============================================= 13th Art Frankfurt - the European Fair for Young Art - in Frankfurt from 28th April to 1st May 2001. NOW for the first time a NET.ART Gallery will be displaying an exciting range of net.art at an ART FAIR!! Lew Baldwin, Blank/Jeron, Heath Bunting, Valery Grancher, Yael Kanarek, Takuji Kogo, Antonio Mendoza, Mouchette, Tina LaPorta, J. R.Leegte, Peter Luining/LFOUNDATION, mi_ga, pavu.com, Melinda Rackham, Erwin Redl, Teo Spiller and ZDEN artcart (http://www.artcart.de) the net.art gallery with online shop founded and curated by mario hergueta *********************************************** special thanx to Station Rose - http://www.stationrose.com and the "Webcast Lounge" [ In cooperation with Station Rose (Elisa Rose and Garry Danner), Art Frankfurt is the first art fair to give the subject of net.art its own forum. ] 13th Art Frankfurt - the European Fair for Young Art - in Frankfurt from 28th April to 1st May 2001. ------------------------------ Date: Sat, 28 Apr 2001 10:16:20 +1000 From: "geert lovink" <geert@xs4all.nl> Subject: who wants to review vectorial elevation? Recently, a book appeared dealing with the work of the (interactive) media artist Rafael Lozano-Hemmer. It is bilingual (English/Spanish) and contains, besides description of his works, a collection of essays by a variety of media theorists. Complimentary review copies of the book "Vectorial Elevation" are now available. To receive one please send your name, address and media affiliation to Jacinta Laurent at <jacintalaurent@yahoo.com>. Contributors include Andreas Broeckmann, Daniel Canogar, Erik Davis, María Fernández, Erkki Huhtamo, Geert Lovink, Rafael Lozano-Hemmer, Brian Massumi, Mónica Mayer, José Luis Paredes "Pacho" and Axel Roch. http://www.alzado.net/book.html ------------------------------ # distributed via <nettime>: no commercial use without permission # <nettime> 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