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Table of Contents:
VARIANT, Issue 17, Spring 2003
"geert lovink" <geert@xs4all.nl>
MILITARY DOCUMENTATION PROJECT NEWS
rdom@thing.net
Planetary Disorder
twsherma@mailbox.syr.edu
V2_: new web portal for V2_Archive
marije <marije@v2.nl>
Fwd: Inside A U.S. Election Vote Counting Program
Peter Fogarty <oga@ihug.co.nz>
CTHEORY Multimedia: Issue 4: Net Noise
mez <netwurker@hotkey.net.au>
en) postructuralist-anarchist reader - Call For Papers: The Postanarchism Reader
"dr.woooo" <dr.woooo@nomasters.org>
Special issue of Noema on 10 year anniversary of "Net and Netizen" post
ronda@ais.org (Ronda Hauben)
new issue of springerin: TIME FOR ACTION - out now
springerin <springerin@springerin.at>
Net Art World 1.0
"Eduardo Navas" <eduardo@navasse.net>
Fwd: Q (english text) available for download
=?iso-8859-1?q?Monty=20Cantsin?= <xmontyxcantsinx@yahoo.com.br>
------------------------------
Date: Mon, 7 Jul 2003 08:11:18 +1000
From: "geert lovink" <geert@xs4all.nl>
Subject: VARIANT, Issue 17, Spring 2003
VARIANT, Issue 17, Spring 2003 http://www.variant.org.uk
..the free, independent, arts magazine. In-depth coverage in the
context of broader social, political & cultural issues.
[click on the links below to go to a text version (html) or pdf of the
full article]
Variant 17 Spring 2003
Complete text
http://www.variant.org.uk/17texts/issue17.html
Complete pdf
http://www.variant.org.uk/pdfs/issue17/Variant17.pdf
Stop the War: Stop the Killing
Edward Said
The internationally renowned Palestinian intellectual expresses his
views on the invasion of Iraq and the situation in Palestine, and
responds to questions from sites across the UK. Organised by Edinburgh's
Scottish Palestine Solidarity Campaign and Globalise Resistance.
text
http://www.variant.org.uk/17texts/17edwardsaid.html
pdf
http://www.variant.org.uk/pdfs/issue17/17esaid.pdf
Has the Gulf War taken place yet?
Daniel Jewesbury
Following September 11th 2001, when Ground Zero instituted an American
Year Zero, Jewesbury attempts to trace the background to current crises
in conceptions of 'democracy' and 'society'.
text
http://www.variant.org.uk/17texts/17danielj.html
pdf
http://www.variant.org.uk/pdfs/issue17/17danielj.pdf
Terminals and Frontiers: Art Practice, Campaigning and Progressive
Change
Lalchand Azad talks to video and digital artist Kooj Chuhan from the
group Virtual Migrants, about theory, practice and in particular their
set of works collectively titled 'Terminal Frontiers' which bears the
strap-line 'deportation, terror and murder by paper.'
text
http://www.variant.org.uk/17texts/17kooj.html
pdf
http://www.variant.org.uk/pdfs/issue17/17kooj.pdf
Climate Change: Prognosis And Courses Of Action
Phil England
A timely, indepth report on world climate change in the context of the
war for oil in Iraq.
Illustrations by Paul Bommer.
text
http://www.variant.org.uk/17texts/17philengland.html
pdf
http://www.variant.org.uk/pdfs/issue17/17pengland.pdf
Lunch with the Chairman: Why was Richard Perle meeting with Adnan
Khashoggi?
Seymour m. Hersh
In the 1970s, the Saudi-born businessman Khashoggi brokered billions of
dollars in arms and aircraft sales for the Saudi royal family. During
the Regan Administration, Khashoggi was a middleman in the Iran-Contra
scandal. Perle, until recently, chairman of the US Defense Policy Board
is one of the most outspoken and influential American advocates of war
with Iraq. So just why were these two 'having lunch' in Marseilles and
what has it to do with the venture capital company Trireme?
Art work by Pavel Büchler.
text
http://www.variant.org.uk/17texts/17seymorehersh.html
pdf
http://www.variant.org.uk/pdfs/issue17/17shersh.pdf
Invasion of the Kiddy-Fiddlers
Mick Wilson
A well researched study into 'media facilitated fear responses' to
perceived societal threats from paedophiles.
text
http://www.variant.org.uk/17texts/17mickwilson
pdf
http://www.variant.org.uk/pdfs/issue17/17mwilson.pdf
Solway's Silver Bullet
Mike Small
The politics of Depleted Uranium tipped shells: the contamination
resulting in abhorrent 'congenital
abnormalities' in Iraq; the successful fight against US Navy test firing
in Vieques, Puerto Rico; and their current test-firing in Scotland and
threat to public health.
text
http://www.variant.org.uk/17texts/17mikesmall.html
pdf
http://www.variant.org.uk/pdfs/issue17/17msmall.pdf
Istanbul September/October 2002: Death in Turkish prisons
David Green
A moving, personal account of a journey to understand why thousands of
political prisoners were prepared to starve themselves to death in
Turkish prisons in protest to forced solitary confinement in F-Type
cells.
text
http://www.variant.org.uk/17texts/17green.html
pdf
http://www.variant.org.uk/pdfs/issue17/17green.pdf
Internationalism revisited or In praise of Internationalism
Benita Parry
"Although proceeding from very particular theoretical premises, the
Hardt/Negri thesis on the epochal shift from imperialism to the
decentred and deterritorialized terrain of 'Empire' impinges on
contemporary debates about globalization."
text
http://www.variant.org.uk/17texts/17benitaparry.html
pdf
http://www.variant.org.uk/pdfs/issue17/17bparry.pdf
Br(other) Rabbit's Tale
Tom Jennings
8 Mile, Curtis Hanson's film about an aspiring hip hop performer, stars
controversial rapper Eminem. Hip hop, if not ignored altogether in
serious debate, is generally condemned and dismissed as one of the most
scandalous, degraded and degrading forms of contemporary popular
culture. What then does it mean for the main protagonist not only to be
white, but also to choose the alias of B. Rabbit?
text
http://www.variant.org.uk/17texts/17tom_jennings.html
pdf
http://www.variant.org.uk/pdfs/issue17/17tjennings.pdf
Letters
Response from Sarah Pierce, artist and former Artistic Director of
Arthouse, Dublin, and Variant's reply. Concludes with commentary on
Laganside's 'Cathedral Quarter' development in Belfast and appalling
treatment of Catalyst Arts.
Includes documentation of an art project by Ral Veroni
text
http://www.variant.org.uk/17texts/17letters
pdf
http://www.variant.org.uk/pdfs/issue17/17letters.pdf
Derry on its Hobby Horse
Colin Darke
Coverage of the day-long protest against the closure of Derry's Orchard
Gallery and Derry City Council's abysmal behaviour.
text
http://www.variant.org.uk/17texts/17colindarke.html
pdf
http://www.variant.org.uk/pdfs/issue17/17cdarke.pdf
Corporate Sponsorship of Art, BBC Radio Scotland, 6/6/03
text
http://www.variant.org.uk/17texts/17sponsorship.html
Cover by Colin Darke
pdf
http://www.variant.org.uk/pdfs/issue17/cover17.pdf
- -----------------------------
· CALL FOR SUBMISSIONS
'Document 1'
International Human Rights Documentary Film Festival
Spirit Aid / Variant collaboration
19th-21st of September 2003
the U.G.C, Renfrew Street, Glasgow, Scotland
Guidelines / Application PDF:
http://www.variant.org.uk/Doc1/Doc1_apply.pdf
Full info:
http://www.variant.org.uk/Doc1/Doc1.html
e-mail: document1_filmfest@hotmail.com
- -----------------------------
· ADVERTISING OPPORTUNITY
Variant issue 18 will cover the period Sept-Dec 2003 contact
Paula Larkin on +44(0)141 3339522 to advertise.
Full advertising details at:
http://www.variant.org.uk/ads.html
- -----------------------------
· A fully accessible archive of back issues is freely available
at the Variant web site
http://www.variant.org.uk
· Newsprint Magazine Subscription details can be found at:
http://www.variant.org.uk/subs.html
Variant, 1/2 189b Maryhill Road, Glasgow, G20 7XJ, Scotland, UK
t/f: +44(0)141 3339522
variant@ndirect.co.uk
http://www.variant.org.uk
- -----------------------------
------------------------------
Date: Mon, 7 Jul 2003 05:45:29 -0400
From: rdom@thing.net
Subject: MILITARY DOCUMENTATION PROJECT NEWS
MILITARY DOCUMENTATION PROJECT NEWS
July 5, 2003
IRAQ WAR PROFITEERS IN THE SPOTLIGHT, OTHERS OFF THE RADAR
The U.S. war on Iraq quickly shifted from an air war, to a ground war, and
now to the occupation. In occupied Iraq, some U.S. groups that organized
against the war are now organizing to monitor the corporations being awarded
contracts to rebuild that country. At the same time back in the U.S. other
lucrative defense contracts are underreported. On June 30, the Aerospace
Testing Alliance, a partnership among Jacobs Sverdrup, General Physics
Corp., and Computer Science Corp., was awarded a $2.9 billion contract for
work at Arnold Air Force Base in Tennessee.
http://www.iconmedia.org/articles/warprofiteers.html
WEAPONS CHECK: A WEEKEND WORKSHOP ON THE DEFENSE INDUSTRY, AUG. 1-3
Join others from the South for a weekend workshop on the weapons industry.
Be there for a perimeter tour of the Pantex Nuclear Weapons Plant.
http://www.iconmedia.org/mdp/weaponscheck/
VIDEO: THE MACHINIST STRIKE AT LOCKHEED MARTIN
Workers at Lockheed Martin in Fort Worth went on strike for 2 weeks in
April. The 27-minute documentary speaks to a trend of labor fighting back
against regressive contracts and the problem of healthcare coverage.
http://www.iconmedia.org/video/ANR019.html
-------------------------------
| Military Documentation Project
| Iconmedia
| P.O. Box 716
| Austin, TX 78767
| info@iconmedia.org
| http://www.iconmedia.org/mdp/
------------------------------
Date: Tue, 8 Jul 2003 19:24:02 -0400 (EDT)
From: twsherma@mailbox.syr.edu
Subject: Planetary Disorder
Nerve Theory has released a DVD (Planetary Disorder, 2003) featuring five
videosonic tracks (Half/Lives, Wind-Up Wolf, Sub/Extros, Talking to
Nature, America's Game). Planetary Disorder is a limited edition DVD,
initially formatted for PAL systems (it plays on PCs and Macs everywhere).
This DVD is available for purchase at:
http://www.mdos.at/labeldetail.php?id=710
>From the notes of Planetary Disorder:
The world has gone to hell in a hand basket. Horrid, unnecessary wars
rage. Double-speak reigns: Bombs for Peace! Millions in opposition are
ignored by the Media. Instead reports of violence and death deliver people
to advertisements for recreational vehicles and wireless phones. There
simply isn't enough love to go around. Loneliness prevails. People
everywhere seek distractions. In an effort to block the pain,
entertainment becomes more and more conservative and predictable.
Antidepressant cultures mask the symptoms of planetary disorders.
We suggest you pay attention to ordinary people. They are not afraid
to share their loneliness. Often they appear to be submissive extroverts
(Sub/Extros). Dislocation spreads us very thin. Webcams introduce an
existential twist to personal cinema. Half/Lives. Get outside, go for a
walk, take your camcorder and catalogue nature's wonders. How does your
wildlife compare with a Wind-Up Wolf? Go ahead, try Talking to Nature-no
matter how hard you try, nature doesn't talk back. But baseball, America's
Game, that's another matter. On September 19, 2002, in Chicago, Kansas
City Royal's first-base coach Tom Gamboa was attacked by Bill Ligue and
his 15-year-old son. Before the pair jumped Gamboa, they called their
family and said they'd be on television in a few minutes. The Kansas City
players responded with overwhelming force.
---Nerve Theory, 2003
Nerve Theory is Bernhard Loibner and Tom Sherman.
Bernhard Loibner <bernhard@allquiet.org> is a composer, musician and media
artist based in Vienna, Austria. Originally from the Austrian province of
Carinthia, he studied computer and sound engineering before co-founding
the band All Quiet on the Western Front in 1990. Since then Loibner has
been active as a performing musician, giving concerts throughout Europe
and North America, and collaborating with a number of performance artists.
He has released several CDs, including Horsturz, Kauf Kraft, Theory Music,
and Trans/Mute.
Tom Sherman <twsherma@mailbox.syr.edu> is a media artist and writer who
splits his time between Syracuse, New York (where he teaches at Syracuse
University's Department of Art Media Studies), and the South Shore of Nova
Scotia. Sherman studied visual art, and started out as a sculptor--but
over the years has worked in audio, radio, television, video, performance,
and text. He has represented Canada in the Venice Biennale, and his work
has been shown in hundreds of exhibitions in North America, Europe, and
Asia. In 2002 the Banff Centre Press published an anthology of his
writing: Before and After the I-Bomb: An Artist in the Information
Environment.
Loibner and Sherman began performing and recording together in 1993. They
were introduced by Heidi Grundmann for collaborations broadcast and
webcast by Kunstradio, a radio art program of the ORF's national radio
network. In 1998 they formed Nerve Theory, and have since collaborated on
numerous live performances, network appearances, and recordings. This DVD
release touches on "planetary disorders" identified in two of Nerve
Theory's performance works: Shades of Catatonia and The Disconnection
Machine.
For information on the Planetary Disorder DVD, contact:
Bernhard Loibner
Yppengasse 5/14
A-1160 Vienna, AustriaYppengasse 5/14
bernhard@allquiet.org
http://loibner.cc
[This project was supported by the arts section of the federal chancellery
of Austria]
------------------------------
Date: Wed, 09 Jul 2003 11:17:41 +0200
From: marije <marije@v2.nl>
Subject: V2_: new web portal for V2_Archive
V2_ is proud to present its new, publicly accessible archive portal. The
portal was created for research purposes and offers an experimental
interface to V2_'s archive database. It is a work in progress; design and
content will be enhanced and improved.
<http://archive.v2.nl/>
This archive portal contains information about V2_'s activities from 1993
till present. V2_'s archive team collects documentation about all people,
organizations, artworks and events that have played a role in V2_'s
history; this includes a collection of about 15,000 photographs and a
growing number of digitalized video fragments, in addition to a large
number of texts, images and links.
The new archive portal was built in continuation of the website for the
DEAF03 festival <http://deaf.v2.nl/>, which already offered a 'sneak peek'
at V2_'s archive content.
We hope this website will be useful for educational and research purposes
and as a source of information for the electronic art community at large.
Reactions and feedback can be sent to V2_'s archive team: <archive@v2.nl>.
------------------------------
Date: Tue, 08 Jul 2003 19:01:04 +1200
From: Peter Fogarty <oga@ihug.co.nz>
Subject: Fwd: Inside A U.S. Election Vote Counting Program
Subject: Inside A U.S. Election Vote Counting Program
X-url: http://www.scoop.co.nz/mason/stories/HL0307/S00065.htm
Posting to Headlines Wire of Scoop
Article: Bev Harris
Date: Tuesday, 8 July 2003
Time: 6:20 pm NZT
Inside A U.S. Election Vote Counting Program
Inside A U.S. Election Vote Counting Program
By Bev Harris*
* Bev Harris is the Author of the soon to be published book "
Black Box Voting: Ballot Tampering In The 21st Century "
http://www.blackboxvoting.com
A Diebold touchscreen voting machine
Makers of the walk right in, sit right down, replace ballot
tallies with your own GEMS vote counting program.
IMPORTANT NOTE: Publication of this story marks a watershed
in American political history. It is offered freely for publication
in full or part on any and all internet forums, blogs and noticeboards.
All other media are also encouraged to utilise material. Readers
are encouraged to forward this to friends and acquaintances in
the United States and elsewhere.
CONTENTS
Introduction
Part 1 - CAN THE VOTES BE CHANGED?
Part 2 - CAN THE PASSWORD BE BYPASSED?
Part 3 CAN THE AUDIT TRAIL BE ALTERED?
See Also Companion Article For Wider Background…
Sludge Report #154 Bigger Than Watergate!
http://www.scoop.co.nz/mason/stories/HL0307/S00064.htm
*************
Introduction
For both optical scans and touch screens operating using Diebold
election systems, the voting system works like this:
Voters vote at the precinct, running their ballot through an
optical scan, or entering their vote on a touch screen.
After the polls close, poll workers transmit the votes that have
been accumulated to the county office. They do this by modem.
At the county office, there is a "host computer" with a program
on it called GEMS.
GEMS receives the incoming votes and stores them in a vote ledger.
But then, we found, it makes another set of books with a copy
of what is in vote ledger 1. And at the same time, it makes yet
a third vote ledger with another copy.
The Elections Supervisor never sees these three sets of books.
All she sees is the reports she can run: Election summary (totals,
county wide) or a detail report (totals for each precinct). She
has no way of knowing that her GEMS program is using multiple
sets of books, because the GEMS interface draws its data from
an Access database, which is hidden.
And here is what is quite odd: On the programs we tested, the
Election summary (totals, county wide) come from the vote ledger
2 instead of vote ledger 1.
Now, think of it like this: You want the report to add up ONLY
the ACTUAL votes. But, unbeknownst to the election supervisor,
votes can be added and subtracted from vote ledger 2, so that
it may or may not match vote ledger 1. Her official report comes
from vote ledger 2, which has been disengaged from vote ledger
1.
If she asks for a detailed report for some precincts, though,
her report comes from vote ledger 1. Therefore, if you keep the
correct votes in vote ledger 1, a spot check of detailed precincts
(even if you compare voter-verified paper ballots) will always
be correct.
And what is vote ledger 3 for? For now, we are calling it the
"Lord Only Knows" vote ledger.
From a programming standpoint, there might be reasons to have
a special vote ledger that disengages from the real one. From
an accounting standpoint, using multiple sets of books is NOT
OKAY. From an accounting standpoint, the ONLY thing the totals
report should add up is the original votes in vote ledger 1.
Proper bookkeeping NEVER allows an extra ledger that can be used
to just erase the original information and add your own. And
certainly, it is improper to have the official reports come from
the second ledger, the one which may or may not have information
erased or added.
*************
Detailed Examination Of Diebold GEMS Voting Machine Security
( Part 1)
CAN THE VOTES BE CHANGED?
Let's go into the GEMS program and run a report on the Max Cleland/Saxby
Chambliss race. (This is an example, and does not contain the
real data.) Here is what the Totals Report will look like in
GEMS:
http://www.scoop.co.nz/stories/images/gems/CLEL3.jpg
As it stands, Cleland is stomping Chambliss. Let's make it more
exciting.
The GEMS election file contains more than one "set of books."
They are hidden from the person running the GEMS program, but
you can see them if you go into Microsoft Access.
You might look at it like this: Suppose you have votes on paper
ballots, and you pile all the paper ballots in room one. Then,
you make a copy of all the ballots and put the stack of copies
in room 2.
You then leave the door open to room 2, so that people can come
in and out, replacing some of the votes in the stack with their
own.
You could have some sort of security device that would tell
you if any of the copies of votes in room 2 have been changed,
but you opt not to.
Now, suppose you want to count the votes. Should you count them
from room 1 (original votes)? Or should you count them from
room 2, where they may or may not be the same as room 1? What
Diebold chose to do in the files we examined was to count the
votes from "room2."
Illustration:
If an intruder opens the GEMS program in Microsoft Access, they
will find that each candidate has an assigned number:
http://www.scoop.co.nz/stories/images/gems/CANDNUM.jpg
One can then go see how many votes a candidate has by visiting
"room 1" which is called the CandidateCounter:
http://www.scoop.co.nz/stories/images/gems/ROOM1.jpg
In the above example, "454" represents Max Cleland and "455"
represents Saxby Chambliss.
Now let's visit Room2, which has copies of Room1. You can find
it in an Access table called SumCandidateCounter:
http://www.scoop.co.nz/stories/images/gems/ROOM2.jpg
Now let's put our own votes in Room2. We'll put Chambliss ahead
by a nose, by subtracting 100 from Cleland and adding 100 to
Chambliss. Always add and delete the same number of votes, so
the number of voters won't change.
Notice that we have only tampered with the votes in "Room 2."
In Room 1, they remain the same. Room 1, after tampering with
Room 2:
http://www.scoop.co.nz/stories/images/gems/ROOM1.jpg
Now let's run a report again. Go into GEMS and run the totals
report. Here's what it looks like now:
http://www.scoop.co.nz/stories/images/gems/CLEL4.jpg
Now, the above example is for a simple race using just one precinct.
If you run a detail report, you'll see that the precinct report
pulls the untampered data, while the totals report pulls the
tampered data. This would allow a precinct to pass a spot check.
*************
Detailed Examination Of Diebold GEMS Voting Machine Security
( Part 2)
CAN THE PASSWORD BE BYPASSED?
At least a dozen full installation versions of the GEMS program
were available on the Diebold ftp site. The manual, also available
on the ftp site, tells that the default password in a new installation
is "GEMSUSER." Anyone who downloaded and installed GEMS can
bypass the passwords in elections. In this examination, we installed
GEMS, clicked "new" and made a test election, then closed it
and opened the same file in Microsoft Access.
One finds where they store the passwords by clicking the "Operator"
table. Anyone can copy an encrypted password from there, go
to an election database, and paste it into that.
Example: Cobb County Election file
http://www.scoop.co.nz/stories/images/gems/PW-1.jpg
One can overwrite the "admin" password with another, copied from
another GEMS installation. It will appear encrypted; no worries,
just cut and paste. In this example, we saved the old "admin"
password so we could replace it later and delete the evidence
that we'd been there. An intruder can grant himself administrative
privileges by putting zeros in the other boxes, following the
example in "admin."
http://www.scoop.co.nz/stories/images/gems/PW-3.jpg
How many people can gain access? A sociable election hacker
can give all his friends access to the database too! In this
case, they were added in a test GEMS installation and copied
into the Cobb County Microsoft Access file. It encrypted each
password as a different character string, however, all the passwords
are the same word: "password." Password replacement can also
be done directly in Access. To assess how tightly controlled
the election files really are, we added 50 of our friends; so
far, we haven't found a limit to how many people can be granted
access to the election database.
http://www.scoop.co.nz/stories/images/gems/PW-FRND.JPG
Using this simple way to bypass password security, an intruder,
or an insider, can enter GEMS programs and play with election
databases to their heart's content.
*************
Detailed Examination Of Diebold GEMS Voting Machine Security
( Part 3)
CAN THE AUDIT TRAIL BE ALTERED?
Britain J. Williams, Ph.D., is the official voting machine certifier
for the state of Georgia, and he sits on the committee that decides
how voting machines will be tested and evaluated. Here's what
he had to say about the security of Diebold voting machines,
in a letter dated April 23, 2003:
"Computer System Security Features: The computer portion of the
election system contains features that facilitate overall security
of the election system. Primary among these features is a comprehensive
set of audit data. For transactions that occur on the system,
a record is made of the nature of the transaction, the time of
the transaction, and the person that initiated the transaction.
This record is written to the audit log. If an incident occurs
on the system, this audit log allows an investigator to reconstruct
the sequence of events that occurred surrounding the incident.
In addition, passwords are used to limit access to the system
to authorized personnel."
Since Dr. Williams listed the audit data as the primary security
feature, we decided to find out how hard it is to alter the audit
log.
Here is a copy of a GEMS audit report.
http://www.scoop.co.nz/stories/images/gems/AUDIT-1.JPG
Note that a user by the name of "Evildoer" was added. Evildoer
performed various functions, including running reports to check
his vote-rigging work, but only some of his activities showed
up on the audit log.
It was a simple matter to eliminate Evildoer. First, we opened
the election database in Access, where we opened the audit table:
http://www.scoop.co.nz/stories/images/gems/AUDIT-2.JPG
Then, we deleted all the references to Evildoer and, because
we noticed that the audit log never noticed when the admin closed
the GEMS program before, we tidily added an entry for that.
http://www.scoop.co.nz/stories/images/gems/AUDIT-3.JPG
Access encourages those who create audit logs to use auto-numbering,
so that every logged entry has an uneditable log number. Then,
if one deletes audit entries, a gap in the numbering sequence
will appear. However, we found that this feature was disabled,
allowing us to write in our own log numbers. We were able to
add and delete from the audit without leaving a trace.
Going back into GEMS, we ran another audit log to see if Evildoer
had been purged:
http://www.scoop.co.nz/stories/images/gems/AUDIT-4.JPG
As you can see, the audit log appears pristine.
In fact, when using Access to adjust the vote tallies we found
that tampering never made it to the audit log at all.
A curious plug-in was found in the GEMS program, called PE Explorer.
Presumably, this is used to do security checks. Another function,
though, is to change the date and time stamp:
http://www.scoop.co.nz/stories/images/gems/datetime.JPG
Although we interviewed election officials and also the technicians
who set up the Diebold system in Georgia, and they confirmed
that the GEMS system does use Microsoft Access, is designed for
remote access, and does receive "data corrections" from time
to time from support personnel, we have not yet had the opportunity
to test the above tampering methods in the County Election Supervisor's
office.
We used an actual data file, labeled "Cobb County" for much of
our testing.
*** ENDS ***
- -----------------------------------------------------------------
The Scoop website is at http://www.scoop.co.nz/
This Story is at http://www.scoop.co.nz/mason/stories/HL0307/S00065.htm
------------------------------
Date: Mon, 14 Jul 2003 10:01:18 +1000
From: mez <netwurker@hotkey.net.au>
Subject: CTHEORY Multimedia: Issue 4: Net Noise
- --=====================_481906554==.ALT
Content-Type: text/plain; charset="iso-8859-1"; format=flowed
Content-Transfer-Encoding: quoted-printable
CTHEORY Multimedia
Curated by Arthur and Marilouise Kroker & Timothy Murray
Issue 4: Net Noise
On Line, July 2003: http://ctheorymultimedia.cornell.edu
The Curators of CTHEORY Multimedia, Arthur and Marilouise Kroker & Timothy=
=20
Murray, announce the release of Issue 4, NET NOISE, 11 net art pieces,=20
published in conjunction with the Cornell University Library=92s Electronic=
=20
Publishing Program.
Imagine the manifold soundings of art on the Net. Listen to what's=20
happening when CTHEORY morphs into CSOUND. Then enter the zone of CTHEORY=20
MULTIMEDIA coming of age on the horizon of NET NOISE. A sound of wireless=20
motion and dark noise. The surging sound of coding,
network streaming and file-surfing. The almost undetectable whispers of=20
splicing, mixing and mutating noise into a brilliant tattoo on the skin of=
=20
the digital. What happens when sound resonates images with such intensity=20
that art shudders, finds itself wandering in a spectral space not of its=20
own making?
What happens when the net hears murmurs of strange new codes and suddenly=20
opens up into a new electronic universe, speaking the vernacular of sounds=
=20
recombinant fit for speed travel across the crystal palaces of the image=20
matrix? What happens when the pitch and sigh of digital noise envelopes and=
=20
expresses the complexity of decaying material culture and corporeal=
politics?
Tracking and coding the currents of sound in digital culture, NET NOISE=20
presents works by Akuvido, Simon Biggs, YOUNG-HAE CHANG HEAVY INDUSTRIES,=20
Shu Lea Cheang, Takuji Kogo (Candy Factory), Christina McPhee, MEZ, Plasma=
=20
Studii, Micha=EBl Sellam, Zvonka Simcic, Tanja Vujinovic, Jody Zellen.
Notes: Required Flash Player can be downloaded on the CTHEORY Multimedia=20
"Tech Support" Page. New mailing address: CTHEORY Multimedia=
<ctheorym@uvic.ca>
URLS: CTHEORY Multimedia: http://ctheorymultimedia.cornell.edu
: CTHEORY: www.ctheory.net
Arthur and Marilouise Kroker, Timothy Murray
Curators CTHEORY MULTIMEDIA
- - pro][rating][.lucid.txt
- -
- -
http://www.hotkey.net.au/~netwurker
http://www.livejournal.com/users/netwurker/
_
_cr[xxx]oss ova.ring.
- --=====================_481906554==.ALT
------------------------------
Date: Sat, 12 Jul 2003 12:22:40 +1000
From: "dr.woooo" <dr.woooo@nomasters.org>
Subject: en) postructuralist-anarchist reader - Call For Papers: The Postanarchism Reader
Date: Fri, 11 Jul 2003 19:15:49 -0700 (PDT)
From: "J.M. Adams" <ringfingers@yahoo.com>
Call For Papers: The Postanarchism Reader
***PLEASE FORWARD TO POTENTIALLY INTERESTED PARTIES***
Call For Papers:
"The Postanarchism Reader: Writings at the
Intersection of Anarchism and Poststructuralism"
edited by Jason Adams
Deadline for Paper Proposals: November 2003
This callout is for a book proposal that I am putting
together for a publisher in NYC on the intersections
between poststructuralism and anarchism; the proposal
is for it to be a sort of anthology of writings by
various radical theorists who have looked at this
issue either directly in terms of articulating or
critiquing the idea of a "poststructuralist anarchism"
(Todd May, Saul Newman, Lewis Call, etc.) or by using
both poststructuralist and anarchist theorists
together in the same essay in a way that might be
thought of as a "postructuralist anarchist critique"
of some aspect of politics, history, society or
culture. So far I have secured contributions from Saul
Newman, Jesse Cohn, Shawn Wilbur, Ian Angus and
Ashanti Alston amongst others - if you or someone you
know would be interested in contributing an essay for
this, please contact Jason Adams at
ringfingers@yahoo.com From the information I have at
this point it seems that this proposal will be put in
the "serious consideration" pile as soon as it is
received. So what I need right now is an idea of who
would be interested, what they would write about and
what title they might tentatively give to the essay
they would contribute. For further information either
email me at the contact listed above or visit the
postanarchism listserv and homepage which is linked at
http://www.spooncollective.org
Thanks,
Jason Adams
Vancouver BC
=====
"The world is the natural setting of and field for all my thoughts and all my
explicit perceptions. Truth does not 'inhabit' only 'the inner man' or more
accurately, there is no inner man, man is in the world and only in the world
does he know himself."
Merleau-Ponty, Phenomenology of Perception, 1945
- --
sig/
http://www.infoshop.org
http://www.reclaimthestreets.org
http://www.ainfos.ca
http://slash.autonomedia.org
http://www.agp.org
------------------------------
Date: Mon, 7 Jul 2003 00:59:51 -0400 (EDT)
From: ronda@ais.org (Ronda Hauben)
Subject: Special issue of Noema on 10 year anniversary of "Net and Netizen" post
Pier Luigi Capucci, Noema director, and his students have published a special
issue of their online journal Noema in celebration of the 10 year anniversary
of the posting on Usenet of The Net and Netizens by Michael Hauben
http://www.noemalab.com/sections/specials/netizen/main.html
- -------------------
"This is a draft, originally in text format, which would have led to the
book Netizens: On the History and Impact of Usenet and the Internet,
by Michael and Ronda Hauben, published by the IEEE Computer Society in 1997
and which also appears in an online edition. "Netizen" is today a common
and widespread term. We can find it on many occasions, debates, articles,
essays, art exhibits, political acts (like the Netizens Protection Act
introduced by the U.S. Congress against online spamming in 1997)...
search engines can show about 100.000 instances of this word. The "Netizen"
concept involves a new and extended vision of our society, which we are
hardly shaping and redefining with many social, ethical, political,
cultural issues to be aware of.
Michael Hauben, who coined the term "Netizen" and
gave it a meaning, posting his research on Usenet just ten years ago,
died suddenly in New York on June 27, 2001, at 28. His research, starting
from the origins and development of Usenet to the diffusion of the Net
(he participated in online communities since the early 1980s), is
fundamental for understanding the current information society, from sharing
information to online communication and participation, from the rising and
diffusion of the Internet communities to the net policies. He is one of
the pioneers who can envisage the future and help us to find the way.
With Michael we believe in a vision of the online world as a powerful and
positive place.....
Pier Luigi Capucci, Noema director"
------------------------------
Date: Mon, 7 Jul 2003 14:30:04 +0200
From: springerin <springerin@springerin.at>
Subject: new issue of springerin: TIME FOR ACTION - out now
springerin 2/03: TIME FOR ACTION
For some time now, this catchcry has been heard in the field of the
arts and culture with a new insistence. Whether it is a matter of the
emergence of politicised approaches in the artistic field or of the
transition from art to concrete forms of protest, these days the urge
to take politically or socially motivated action is mingled in many
places with issues of artistic representation and articulation.
springerin 2/2003 takes its readers to the locations where such
intermingling takes place, as well as examining the conditions under
which the new interest in global injustices can be coupled with
critical forms.
Contributions from Christa Benzer, Boris Buden, Martin Conrads, Jeff
Derksen, Christian Höller, Herwig H. Höller, Gregor Jansen, Christian
Kravagna, Alessandro Ludovico, Dorothee Richter, Hedwig Saxenhuber,
Jens Emil Sennewald, Georg Schöllhammer, Hito Steyerl, Krystian
Woznicky, Hias Wrba et al.
- --
redaktion springerin
museumsplatz 1, A-1070 wien / vienna, t +43 1 5229124, f +43 1
5229125, isdn (Leonardo) +43 1 5229124-1959, http://www.springerin.at
For the English version of the magazine see: http://www.springerin.at/en/
------------------------------
Date: Tue, 8 Jul 2003 23:39:20 -0600
From: "Eduardo Navas" <eduardo@navasse.net>
Subject: Net Art World 1.0
This is a multi-part message in MIME format.
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hello Nettimers,=20
I am officially releasing a new net project dealing with globalization:
http://www.navasse.net/netartreview.net
Net Art World 1.0 is part of the upcoming InteractivA New Media Biennale =
at MACAY
For convenience, below I provide the project's contextualization which =
is also an integral part of the website. The text can also be found =
under the "context" link.
Best,
Eduardo Navas
http://www.navasse.net
- ----------------------------------------------
The Global Context of Net-Art.
The online project Net Art World 1.0 was developed for The InteractivA =
2003 New Media Biennale taking place at MACAY in Merida, Yucatan. The =
piece deliberately focuses on globalization because InteractivA features =
international artists with bilingual and/or multicultural backgrounds. =
As I did research for the project, it became reasonable to create a net =
piece which provided access to a large number of net-artist websites =
that were not necessarily part of the exhibition and juxtapose these =
with all the flags, countries and territories of the World. The result =
is an art work aiming to expose the complexities that the term =
globalization imposes on diverse cultures.=20
All of the information comes from popular websites. The country maps =
were accessed at The 2002 World Factbook, the country flags were taken =
from The World Flag Database, and the artist links were accessed at the =
2003 Net Art Links website. This approach seemed to be the most =
reasonable because it uses pre-existing resources that hold a certain =
cultural authority. This also enabled me to take on the role of =
compiler, choosing the online resources based on their reliability and =
popularity, which is not different from how the average person may surf =
the web. The approach as a compiler also exposes the many roles =
net-practitioners take when functioning in the community, which are of =
artists, curators, writers, and administrators.
This project consists of four framesets, functioning as follows:
=E1 The main area presents a net-artist selected at random from =
a list created by Dr. Reinhold Grether.
=E1 The top-right frame presents a country flag selected at =
random from a database. This flag links to a series of images on Google =
related to the country the flag represents.
=E1 The middle-right frame presents a country map at random. =
This map links to statistical information about a country. Please note =
that the country map does not correspond with the flag. This is done to =
present the complexity of nationalism, patriotism and colonialism that =
has developed due to globalization.=20
=E1 The bottom-right frame presents an image selected at random =
from a series of images that were accessed on Google when searching the =
term "Globalization."
Net Art World 1.0 was created to examine the state of net-art in 2003, =
which is why the links throughout the project are not dynamically =
updated as the information changes on the net. This approach was chosen =
in order to point to the period in new media history from June to =
September of 2003. After this time, the links may become broken and/or =
the actual resources become updated with new information; this way, the =
piece becomes time specific. Anyone interested in accessing the latest =
information can always go to the resource page and choose particular =
links for the latest updates.
In order to better understand Net Art World 1.0, it is important to note =
some events in the recent and not so recent past. An important event =
that points to a transition in new media is Rhizome's decision to become =
a resource with an annual membership; which could be taken as a sign of =
a more institutionalized and perhaps even commercialized state of =
net-art; around this time many alternative resources developed around =
the web as well. [1] Also, reconsidering the efficiency of mailing =
lists, along with the rapid growth of weblogs, are definite signs that =
the net community is entering a new stage of development.[2] Another =
sign of change that has been developing for sometime now is net-art =
being part of major museum exhibitions; some examples are the Whitney =
and Venice Biennales which have included net-art in their surveys--as =
well as Documenta 11 which had a major emphasis on new media.[3] =
Ironically, all of the above developments are followed by a currently =
slow economy around the world. This is also the time when a new =
generation of net-artists is coming on board with hopes of becoming =
successful practitioners, similar to previous generations in the art =
world at large. This may be, in part, due to the fact that new media is =
now taught in universities around the world; and this has led early =
net-artists like Vuc Cosic to call what the students produce "net-art =
mannerisms." This is a far cry from the mid-nineties when only a few =
artists were working online and strategically displacing the labeling of =
their practice.[4] Net-art developed after a late postmodern period when =
art practices were influenced by poststructural theories. It is =
impossible to give a decent account in this short contextualization of =
what the term "postmodern" means, but two particular thinkers associated =
with postmodernism are worth noting for their extreme positions. While =
the philosopher Jean-Fran=E7ois Lyotard came to entertain grand =
narratives as problematic and considered the world to be reaching a high =
pluralist state,[5] Jurgen Habermas claimed that the project of =
modernity had not been completed because such a project is split into =
three separate cultural areas: science, morality and art. [6] Also, =
Post-Colonialism can be considered part of the postmodern discourse as =
well, as it has been questioned along with poststructural writings--most =
recently by writers Michael Hardt and Antonio Negri, who have revisited =
Marx with an interdisciplinary approach to better understand =
globalization.[7] These among other theories are now affecting the =
contextualization of net-art.
In spite of all the events noted, and the multi-faceted theories =
affecting the current state of cultural production, what is clear is =
that people have always strived to progress. This has never stopped =
being true, even during postmodern times. And with all of the above in =
mind, Net Art World 1.0 was developed to expose the many layers that run =
behind net-art practice. In a way, the project brings together two =
aspects in art making that have been in conflict since Kant wrote his =
Critique of Judgment.[8] Net Art World 1.0 presents the object of =
contemplation, which according to Kant should be considered with =
disinterest, functioning in a political context that, if acknowledged, =
would question the principles supporting the ability to pass a true =
judgment of taste. With this, two extreme positions in art practice are =
challenged: the privileged position of disinterest and the position =
aiming to develop a more democratic state of production by questioning =
the privileged position. This is done in order to push both ideological =
camps into a productive state of education, while knowing that the two =
areas crossover in multiple ways--which is why art practice has become =
extremely slippery. Net Art World 1.0 was designed to create global =
awareness, as I believe that only by deconstructing such tensions, only =
by placing them next to each other, can culture move on to a new state =
of development. Global awareness is not a luxury but a necessity, and =
Net Art World 1.0 was developed as a resource where people can enjoy =
net-art and learn something about the world simultaneously.
- -------------------------------------------------------------------------=
- -------
[1] This transition happened between November and January of 2003. =
Rhizome received heavy criticism from the net-art community at large. =
Some of this criticism can be found at http://www.nettime.org. Threads =
worth reading to better understand the complexity of the matter are: =
http://amsterdam.nettime.org/Lists-Archives/nettime-l-0301/msg00059.html,=
=
http://amsterdam.nettime.org/Lists-Archives/nettime-l-0301/msg00089.html,=
and =
http://amsterdam.nettime.org/Lists-Archives/nettime-l-0301/msg00131.html =
[2] Google buying Blogger is perhaps the most noted event bringing mass =
popularity to blogging: =
http://blogger.com/about/blogger_google_faq.pyra. Since this merge, =
several blogs have been launched.=20
[3] Documenta 11: http://www.documenta.de/documenta_blau.html, Venice =
Biennale: http://www.documenta.de/documenta_blau.html, Whitney Biennale: =
http://artport.whitney.org/exhibitions/past-exhibitions.shtml.=20
[4] Josephine Bosma, "The Dot on a Velvet Pillow -- Net.Art Nostalgia =
and Net Art Today" June 20, 2003 (March 03, 2003). =
http://www.student.uib.no/~stud2081/utstilling/bosma.htm.=20
[5] Jean-Fran=E7ois Lyotard, "The Nature of the Social Bond," The =
Postmodern Condition, (Minneapolis: Minnesota, 1984), 11-14. In these =
particular pages Jean-Francois Lyotard dismisses grand-narratives =
including Marxism, and claims the way for little narratives. Lyotard is =
used as an example of postmodernism because of his extreme =
position--especially against Jurgen Habermas. The two philosophers have =
been compared by scholars in order to better understand what the term =
postmodern might mean. See: Emilia Steuerman, "Habermas vs. Lyotard? =
Modernity vs. Postmodernity," Judging Lyotard, ed. Andrew Benjamin (New =
York: Routledge, 1992) 99-118.=20
[6] Jurgen Habermas, "An Incomplete Project," The Anti-Aesthetic, ed. =
Hal Foster (New York: The New Press, 1983), 3-15. In this short essay, =
which is an acceptance speech for the Theodor Adorno Prize from the city =
of Frankfurt, Habermas focuses on three cultural areas; which, when =
stepping away from art and looking at culture at large, form the project =
of modernity; these areas are science, morality, and art. Habermas =
proposes that the project of modernity has not been reached because the =
three particular areas need to work together, but due to the development =
of specialized fields of practice brought by the 20th Century, the =
project was split into the three aforementioned areas. In this way, =
Habermas is still holding on to the narratives of emancipation and =
speculation that Lyotard overtly dismissed as mentioned in footnote 5.
[7] Michael Hardt & Antonio Negri, "Symptoms of Passage," Empire, =
(Cambridge, Massachusetts: 2000) 137-156. These particular pages are the =
most relevant to the idea of the postmodern as discussed in terms of =
Habermas and Lyotard.
[8] Immanuel Kant, "Part One, Critique of the Aesthetical Judgment," =
Critique of Judgment, (New York: Hafner, 1951) 37-82. The approach taken =
to develop Net Art World 1.0 is influenced by the work of Marcel =
Duchamp. Like Duchamp, I have taken everyday objects, in my case sources =
from the internet, and recontextualized these as art. This creates a =
slippery bridge between the space of aesthetics and the everyday world. =
See: Thierry de Duve, "Kant after Duchamp," Kant after Duchamp, =
(Cambridge, Massachusetts: 1996) 283-325.
------------------------------
Date: Sat, 12 Jul 2003 13:56:36 -0300 (ART)
From: =?iso-8859-1?q?Monty=20Cantsin?= <xmontyxcantsinx@yahoo.com.br>
Subject: Fwd: Q (english text) available for download
giap@wumingfoundation.com wrote:From giap@wumingfoundation.com Fri Jul 11 03:23:05 2003
X-Apparently-To: xmontyxcantsinx@yahoo.com.br via 66.218.93.125; 11 Jul 2003 03:23:08 -0700 (PDT)
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De: giap@wumingfoundation.com
Para: giap@wumingfoundation.com
Assunto: Q (english text) available for download
X-Mailer: AMLC v2.8
*Q* (English translation) is available for download at:
http://www.wumingfoundation.com/italiano/downloads.shtml
rtf + zip - 489 kb
txt + zip - 445 kb
As usual, it is free of any charge.
Grab it, read it, spread it (*), talk about it and, if you want to give us a reward for all our work, why not buy the book and present your friends with it?
Many thanks to Shaun Whiteside, who accepted to waive the copyright of his translation.
(*) As long as its circulation is not in contrast with the book's copyleft notice:
"The partial or total reproduction of this book, in electronic form or
otherwise, is consented to for non-commercial purposes, provided that the original copyright notice and this notice are included and the publisher and source are clearly acknowledged."
# 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