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Table of Contents:
stats computerfinearts
doron <doron@computerfinearts.com>
batteriei 05 is out! >>> http://www.ladestation.net/
daniel koening <dan@chaosdorf.de>
fw:FW: ANNOUNCEMENT OF NANOFESTIVAL V.001
doron <doron@computerfinearts.com>
Webby Awards: net art nominees
doron <doron@computerfinearts.com>
deserting the art bunker
John Jordan <artactivism@gn.apc.org>
Abuse Your Illusions
"The Disinformation Company" <books@disinfo.com>
------------------------------
Date: Mon, 07 Apr 2003 13:48:39 -0400
From: doron <doron@computerfinearts.com>
Subject: stats computerfinearts
revelation 2.0
Feb 28 2003 >> 29508
http://www.computerfinearts.com/collection/tribe/revelation2/
rebranding
april 7 2003 >> 7434
http://www.computerfinearts.com/collection/cloninger/rebranding/cnn/
! NOWAR ! CNN !
------------------------------
Date: Wed, 9 Apr 2003 22:31:47 +0200
From: daniel koening <dan@chaosdorf.de>
Subject: batteriei 05 is out! >>> http://www.ladestation.net/
battrie 05 is out - a noncommerical digital design-magazin in pdf-format
with a huge and fresh look at the things going on.
this issue the theme is "repetation", but beware is coming from old
europe right to you!
checkitout at http://www.ladestation.net/
greetings, dan
- --
daniel koening
http://www.roninarts.de/
------------------------------
Date: Thu, 10 Apr 2003 18:06:22 -0400
From: doron <doron@computerfinearts.com>
Subject: fw:FW: ANNOUNCEMENT OF NANOFESTIVAL V.001
http://www.xs4all.nl/~are/nanofestival/01/index.html
Press Release
ANNOUNCEMENT OF NANOFESTIVAL V.001
10 April 2003, Rotterdam, Netherlands
ZEROGLAB is announcing the opening of the NANOFESTIVAL V.001. The event is
an open source, international art festival for extreme short (10 sec.!) web
movies and software art. The initiator and curator is ZEROGLAB, an
independent art-lab in Rotterdam/EU. The first Nanofestival presents over 70
works from 53 submissions from the following countries:
Argentina, Australia, Austria, Belgium, Canada, Estonia, France, Hungary,
Iran, Israel, Lithuania, Netherlands, Norway, Romania, Slovenia, Sweden,
Switzerland, United States and some nonexistent or not further specified
countries.
On request, there is a possibility to make off-line video screenings of the
submitted art works.
Festival web page with on-line festival catalogue:
http://www.xs4all.nl/~are/nanofestival/01/index.html
The video stream for online screening, with (almost) all submissions.
MS Windows Media: "mms://stream.v2.nl:554/hosting/nano//screening1.wmv"
Length: 23:42 min
Bit rate: multiple (max 305 kbps)
Video size: 320x240 pix/25fps.
Audio codec: Windows Media Audio 9
Video codec: Windows Media Video V7
Media for off-line screening:
On videotape: mini dv tape (PAL), VHS tape (PAL).
On CD-ROM: QuickTime, Real Media, Windows Media
The Nanofestival web streaming has been made possible with the kind support
of
the WORM Organization [www.wormweb.nl] in Rotterdam/EU.
Contact Nanofestival:
Name: Karoly Toth
Phone: +31 (0)10 24 003 90
Address: Gedempte Zalmhaven 923,
3011, BT, Rotterdam, Netherlands
Web: www.xs4all.nl/~are/nanofestival/index.html
Email: nanofestival@xs4all.nl
___________________________________________
zeroglab nanofestival
károly tóth
nanofestival@xs4all.nl
www.xs4all.nl/~are
__________________________________________
Zeroglab is an independent art-lab
based in Rotterdam.
The lab is in an evolving process of
exchange with initiatives of individuals
and institutions, based on mutual sympathy.
__________________________________________
------------------------------
Date: Wed, 09 Apr 2003 16:09:22 -0400
From: doron <doron@computerfinearts.com>
Subject: Webby Awards: net art nominees
http://www.webbyawards.com/main/webby_awards/nominees.html#net_art
Andy Deck-Art Context
http://artcontext.org/
BlinkenLights
http://www.blinkenlights.de
Listening Post
http://www.earstudio.com/projects/listeningPost.html
NYC Surveillance Camera Players
http://www.notbored.org/the-scp.html
PuppetTool
http://www.lecielestbleu.com/puppettool
------------------------------
Date: Mon, 7 Apr 2003 15:50:45 -0300
From: John Jordan <artactivism@gn.apc.org>
Subject: deserting the art bunker
hi friends and fellow deserters - here is the talk i gave in the
culture bunker - the tate modern in london last week... during an
event entitled - Live cultures: performance and the contemporary.....
an attempt at a smart bomb aimed at the heart of the bunker -
you can either see the web cast - below ( scroll down to the last day )
http://www.tate.org.uk/audiovideo/live_culture_conference.htm
or you can read the notes - below
enjoy and critical feedback would be great..as its going to be
published in a catalogue later on..
heres to walking away
love JJXX
Presentation at LIVE CULTURE - Live Art at the Tate Modern - London 30th March
The art of desertion
"Life is so horrible that one can only bear it by avoiding it. And
that can be done by living in the world of art." Wrote gustave
Flaubert a little over hundred and fifty years ago..
And what has changed ? What has really changed?
Here we are today, safe in the art bunker.
Protected from the mess of the world outside, by thick white walls,
and the cosy comfortable frame of culture.
I imagine that most of us didn't wake up this morning thinking the
world is a wonderful place and that the future has everything to
offer us and our children.
NO -
I imagine most of us woke up and switched on the TV or the radio, or
opened our newspapers and found ourselves numbed, angered or saddened
by the words and the fictions, the images and the lies of war.
But deep down, at the root of our sadness perhaps we realised
something else, something that was there before, a feeling that the
real war began a long time ago. And that today and tonight's war in
Iraq played out for us in the spaces between reality TV and Hollywood
is just one small part of a permanent war, a total war.
A war waged everywhere, against everyone, everyday.
A war whose collateral damage is the collapse of the world's
ecosystem, the spread of hunger, the paralysis of poverty and
exclusion, and the erosion of human dignity. "We don't do body
counts, " said general franks referring to the Iraq campaign, nobody
could ever keep count of the bodies that pile up in the war that
never stopped.
This permanent war has many command centres-one of them is not so far
away from here. It's in other bunkers on the other side of the river
Thames. Bunkers where battles are fought with computer mice and
wires, desks and screens, spread sheets and numbers. Battles planned
in the war rooms of capital - the trading floors, the banks, the
exchanges, the corporate head quarters.
This is the war of money against life.
Waged by market fundamentalists whose only god is economic growth.
Whose only laws are profit and competition?
It's the most normal, familiar war there could beŠ.
Another command centres of this war is even nearer to us - it's
right here ---- it's inside our heads, its in our muscles and our
skin, its in every action, every gesture, every whisper and thought,
caress and choice we makeŠ
Its a command centre called complianceŠ. and its us.
Against the backdrop of the war of money against life, we performŠwe
actŠand most crucially we complyŠ
Therein lies the greatest secret of the powerful, who want us to
believe that they wield their power over us with their awe inflicting
violence, their weapons and armies their police forces and
psychological operations. But the threat of violence is not where
their power really lies. It lies within us; it comes from those of us
who acquiesce from below not those who command from above.
We uphold their power, and their wars, through our cooperation with
their orders and our obedience to their systems.
This is why their greatest fear is that we disobey and desert.
"We have never seen such ugly times" my friend Brian Holmes wrote to
me late last night.
It's a time of great crisis, unprecedented instability and simple choices..
We have entered the swansong of our present world system. Over the
last decade a crisis of legitimacy has swept across the institutions
of governments, systems of democratic representation, and corporate
capitalism - combined with an economic decline unseen since the
1930's.
Last time capital was in such crisis it took war and the death of 30
million people to get it back on track. This latest war in Iraq is
just another attempt to forcefully realign a society out of kilter,
to distract us from focusing on a failed global system and to fill us
with so much fear that we forget to imagine any other way of living.
"We have never seen such ugly times" and we have a choice. Obedience
or desertion
I think its time to desert - time to step away - time to escape the
bunker mentality.
We have to stop pretending that taking risks in the space of art,
pushing boundaries of form, and disobeying the conventions of
culture. . Making art about politics.. makes any differenceŠ we have
to stop pretending that art is a free space, autonomous from webs of
capital and power. We have to stop pretending that the popularity of
politically engaged art within the museums, magazines and markets
over the last few years has anything to do with really changing the
world.
But change the world we must.
And I make a plea for the artists to desert, to turn our backs on the
system Š walk away from the museums which have simply become
outsourced corporate PR agencies, abandon the draw of glamour and
fame, move out of the spotlight that assumes a monopoly of creativity
and discard the notion of us being the experts of the imagination.
I plea for us to refuse the spaces that make us separate from
society, give up our privilege, renounce the cult of the individual
and recognise the powerful "we" which comes out of the many separate
"Is".
Its time for the artist to become invisible
To dissolve back into life.
Its not a plea to take art to the streets or bring life into the
gallery, theatre and museum - both those things have taken place
continuously over the last century.. It's a plea for the artists to
abandon our identities ŠŠ but not our creativity,
It's a plea to value our creativity more, to understand its
transformatory power and apply it directly to social change, to
social movements, to acts of disobedience and strategies of survival.
It's not a plea to lay down arms, to give up the weapons of
imagination, far from it. We should never abandon beauty; never
forget the joy of creativity, the strength of our visions.
What Marcuse calls arts ability to challenge the monopoly of accepted
reality is perhaps our most powerful weapon and one that all
rebellions desperately need if they are to create e new ways of
living.
Its time to recognise that art should never have existed as a
category separate from life.
Its time to re write Flaubert and to perhaps say.." Life is so
horrible that we can only bear it if we know we are changing it. And
that can be only done by leaving the world of art."
- ----------------------------------------------
"But where's the art" she asked? I tried to convince the Arts council
of England's Live art officer that developing an interdisciplinary
project involving performances, media campaigns, a web sites and the
creation of the worlds first therapy group for men addicted to
pornography, was art.
It didn't work.
I tried to explain that they way I evaluated the aesthetic of my
practice was through its social function. That I saw art as creative
problem-solving mechanism, which could be applied to all walks of
life,
But I couldn't convince her and I walked out of that institution with
tears in my eyes, feeling tongue-tied and misunderstood.
For some reason I decided to take a roundabout way home and walk up
Whitehall - as I reached downing street I saw a sea of hundreds of
bodies lying on the ground, many were being dragged away by the
police, and there I met Jason who I subsequently learnt was one of
the founders of the radical direct action movement in the UK - we
chatted - I told him I was an artists.
I explained that I had spent most of my life trying to find a space,
which contained both the social engagement of politics and the
irresistible imagination of art -That I was constantly striving to
develop a creative practise that was engaged directly in social
change rather than creating representations of issues and strugglesŠ.
I didn't want to illustrate political change I wanted to make it.
"Do you paint paintings of protest" he asked me Š I sighedŠ. the
tears returned to my eyes and I walked awayŠ.
For years I tried to bring down the walls built around definitions of
what art could do. In the early nineties many projects I was involved
in simply made the art invisibleŠ a strategy for public involvement -
A spoof development agency to uncover a buried river in south London,
a spoof sex shop in a high street to discuss the relationship between
men and pornographyŠ facades that brought people into the work
without the baggage of art anywhere to be seen.
But something still didn't feel rightŠ
Then on an early morning in 1994 I climbed over a wall topped with
shards of broken glass and everything changed. For the first time I
threw my body in the way of a bulldozer to stop the construction of a
road, the m11link road which was due to destroy 350 houses and
several ancient woodlands in east London.
Suddenly live art meant something completely different - the
pragmatic collided with the poetic, the performative with the
political. . Placing my body directly in the cogs of the machine, as
a point of resistance in the flow of power, was not just playful but
felt deeply effective.
It was costing the road builders thousands of pounds in delays, it
was generating images that catalysed debate in the mainstream media,
and within the chambers of government, and it was radically changing
the lives of people who were doing it.
This I found out was direct actionŠDirect, un-mediated im-mediate
action to change something.
At its simplest, direct action is about taking direct control of our
own lives, and refusing to accept the authority of bureaucrats or
politicians, 'leaders' or 'experts' to act on our behalf. It shies
away from the dangers and betrayals of representation, and it's
taking matters into our own hands and acting collectively to address
the issues that concern us.
If we see someone who is hungry, we cook them a meal, if we think a
mega damn should be stopped we put our bodies in the way of the
rising water. It's not about asking others to do things for us, it's
doing things for ourselves - its homeless Canadians squatting empty
buildings; US Hacktivists blockading the World Trade Organisations
website, Indian farmers burning fields of Genetically Modified crops,
landless Brazilian peasants rebuilding their lives on occupied land.
It is not a tactic of last resort, something that we turn to when
all other forms of campaigning; such as letter writing and lobbying
have been exhausted. Quite the opposite: it is the preferred way of
doing things and It is both a way of working and a model for how we
see a future society run.
Discovering Direct Action was my moment of desertion, I slowly melted
into a social movement, gave up the label of artists, but kept the
weapons of creativity by my side and I soon realised that this was
the most powerful, inspiring and socially efficacious context that I
could use those weapons in.
I immersed myself into direct action politics, eventually working
with Reclaim the Streets, a group I stayed with for 7 years until the
end of 2000.
For the first time in my life I felt art merging with the everyday,
I experienced the return of pleasure and play into politics, I felt
extraordinary levels of collective creativity being applied to mass
actions that were changing people, changing the world and changing
the way radical politics was perceive.
Reclaim the streets tactics and ideas spread across the world in the
mid nineties and were to be a key component to rise of the global
anticapitalist movement which erupted on new years day in 1994 with
the indigenous Zapatista uprising and had its coming out party in
Seattle at the World Trade Organisation shut down in November 1999.
(Slides sequence here - describe basic rts tactics etc
Explain street party/tripod
M41- Carnival -DressesŠ
J18 - masks and choreography - global - Anticapitalists besiege city
of London..
GLOBAL Š)
June 18 inspired activists in Seattle to believe that they could do
the impossible and really shut down the WTO summit, which is exactly
what they did. The struggles against capitalism had now spread from
the global south to the global north.. Diverse movements were
converging and building an entirely new way of seeing revolution
which was not about taking power, not about taking seats in
government, but breaking power into little pieces and sharing it
between us, about creative alternatives to the capital that
celebrated diversity and based on local desires.
It was about taking risks and inventing a new forms of radical
politicsŠ. forms that respond to particular contexts and places.
There's a big difference between taking risks in the world of art and
in the world outside..
In the art world when you provoke, disobey the rules, push the
boundaries, questions the cannons you get discovered, rewarded,
acclaimed.
In the real world you are, marginalized, surveilled, beaten and imprisoned.
There have been many times I have wanted to return to the safety and
comfort of the art bunker - when plain clothes police officers spent
a week following me everyday as I took my son to school, when special
branch raided my flat, when I was framed for something I never did,
when the group I worked in couldn't recover from the vicious campaign
of crimanalisation by the British media and the state.
But I stayed outside, I knew where I was most effective and I paid
the price for deserting the art system, the price for applying
radical creativity to places which are out of bounds, real places,
places where it made a real social difference,
I couldn't pretend anymore.
Listening to the screams of people as they were beaten to a pulp
while they slept in their sleeping bags in the Diaz School, during
the night of revenge by the Italian state in Genoa after the massive
G8 protests. Witnessing broken teeth, ribs and jaws, punctured lungs
and 66 people carried out of the raid on stretchers. Seeing the long
streaks of blood smeared across a white marble floor, smelling fear
and terror in the empty school building.
It felt real to me - more Powerful than any drop of blood or pain or
violence of I've seen in live art.
Hearing about a middle aged woman breaking into an RAF base last week
and causing 25 million pounds of damage to a Tornado bomber with a
hammer and calmly waiting for the police to arrest her, thus risking
many years in prison.
It felt real to me - More courageous and more useful than any
durational performance
Witnessing a large medieval catapult firing teddy bears and soft toys
over the fence erected around the summit of the Free Trade of the
Americas in Quebec. Pulling the fence down and dancing on its back as
bends and buckles. Seeing the clouds of tear gas rise above the city,
fired at the rate of one minute for 3 days and nights, laughing as
someone expertly hits the gas canisters back towards the police with
an ice hockey stickŠ
It felt real to me. More absurd, more adventurous and often more
dramatic than any theatre.
Observing an entire society creatively dealing with complete
economic collapse in Argentina. Hearing about the government being
deposed by the sound of millions of clashing pots and pans. Watching
bankrupt factories being occupied and run by the employers
themselves, witnessing those who have nothing experimenting with ways
to grow food and work autonomously from capitalist systems, Listening
to neighbourhood assemblies debate the future of their communities,
practising direct democracy without leaders or representative, while
standing in a circle on a Buenos Aires street corner.
It felt real to me - More sustainable, more participatory and on a
much larger scale than any Socially engaged site specific art
practise.
I could speak for hours of the extraordinary creativity I've seen
displayed by the anticapitalist movements across the worldŠ.
But I must end nowŠ
I just want to say - There's an unprecedented global social movement out there.
A movement of movements which is the living embodiment of the slogan
"one no and many yesses."
The "no" is a clear rejection of the single economic blueprint where
the rule of capital is absolute, while the "many yesses" refer to the
multitude of diverse, people-centered alternatives.
The act of desertion is not just saying no - in fact its saying yes,
yes to other ways of running our society,
yes to a future without war,
yes to a culture of life.
- --
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
"Be realistic and do the impossible, because if we don't do the
impossible, we face the unthinkable." Murray Bookchin
WE ARE EVERYWHERE - a radical publishing project is out this summer....
http://www.WeAreEverywhere.org
"The role of the revolutionary artist is to make revolution
irresistible." Toni Cade Bambara
------------------------------
Date: Thu, 10 Apr 2003 13:16:52 -0400
From: "The Disinformation Company" <books@disinfo.com>
Subject: Abuse Your Illusions
Abuse Your Illusions!
New York, NY – The Disinformation Company announces the third of its
Disinformation Guide series of books edited by Russ Kick, 'Abuse Your
Illusions: The Disinformation Guide to Media Mirages and Establishment
Lies'. Due for publication in May 2003, a limited number of advance copies
are now available for review.
What do CNN, your history teacher, and the White House have in common?
All of them have kept some important facts from you:
• The US military faces a huge a rape crisis.
• The most popular kind of antidepressants can cause suicide.
• The nation of Panama was created as a get-rich scheme by Wall Street.
• The Atlanta child-killer was convicted of only two murders—of adults.
• Islamic groups are censoring critical material in America.
• Corporations have claimed the “right” to lie.
• The US and other Allies massacred German POWs and civilians during and
after WWII.
• The food drops in Afghanistan were a complete fiasco.
In the pages of 'AYI', a stunning line-up of investigative reporters,
media critics, independent researchers, academics, ex-government agents,
and others blow away the smoke and smash the mirrors that keep us confused
and misinformed.
You’ll learn the hidden facts about the diamond trade, child protective
services, government-sponsored anti-drug ads, the Orwellian PATRIOT Act,
fluoridation, the Resurrection story, Mormon racism, the CIA’s nuclear
dreams, the malleable definition of “terrorism,” the forgotten personal
lives of great scientists, the murky death of a leading microbiologist,
and more. After reading these articles, you’ll be ready to
Abuse Your Illusions
• Daniel Ellsberg talks about turning himself in for leaking the Pentagon
Papers, and he reveals what rehabilitated Nazi Albert Speer can teach
government officials about accepting responsibility
• Investigative reporter Greg Palast catches the news media telling
blatant lies
• The Sunshine Project exposes the United States’ illegal, treaty-busting
bioweapons programs (the New York Times knows about this but refuses to
report it)
• Pulitzer-winner Gary Webb details the racial profiling of Operation
Pipeline, a program that pulls over minorities on the pretext of minor
traffic violations
• Howard Zinn unearths the stories of civilians killed during the attacks
on Afghanistan
• April Oliver lays out the facts behind her hugely controversial CNN
report on Operation Tailwind
• Jim Hougan looks at the surprising recent trials concerning Watergate
(it might have been about a Democratic call-girl ring after all)
• Stephen Schlesinger, director of the World Policy Institute, breaks the
real story about the founding of United Nations—the US spied on its
allies, using this knowledge to shape the UN to its liking
• Former federal agent Michael Levine describes first-hand how the Drug
War is designed to fail
• Stephanie Nolen tells the story of America’s forgotten female astronauts
• Danish artist Jakob S. Boeskov crashes a Chinese arms bazaar with a
rifle that doesn’t exist
• Editor Russ Kick digs up neglected information regarding the September
11 attacks, including:
o Some of America’s highest officials have admitted that the attacks
could’ve been prevented
o A Senator has said that at least one foreign country actively aided the
9/11 terrorists
o Even more hijackings were planned for that day
o A Taliban emissary warned the US and the UN about the attacks
o Four cameras filmed the plane hitting the Pentagon, but none of these
videos has been released
The first two books in the series, 'You Are Being Lied To' and 'Everything
You Know Is Wrong', are bona fide bestsellers and have garnered widespread
critical acclaim. If you would like more information or want to interview
'Abuse Your Illusions' editor Russ Kick, please contact Ina Howard at
(212) 691 1605 (tel.), (212) 473 8096 (fax) or books@disinfo.com.
'Abuse Your Illusions: The Disinformation Guide To Media Mirages and
Establishment Lies'
Edited by Russ Kick
Published by The Disinformation Company
Oversized softcover (8.5”x11”) * 352 pp * US$24.95 * ISBN 0-9713942-4-5
Release date: May 15, 2003
Distributed to the Trade in the US & Canada by Consortium Book Sales &
Distribution; in the UK & Europe by Turnaround Publisher Services
------------------------------
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