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1. ISSC/COCTA CFP: Rhetorics and Politics of the Information Society
2. Casa das Rosas Web Art Contest
3. Julia Lazarus Berlin Nightlife/viscon.info
4. Dirk De Wit 1000 plateaux
________________________________________________________________________
1.
International Social Science Council,
Standing Committee on Conceptual and Terminolocical Analysis
(ISSC/COCTA)
------------------------------------------------------------
First call for papers
RHETORICS AND POLITICS OF THE INFORMATION SOCIETY:
Behind the Theories, Visions, Texts, and Programs
----------------------------------------------------------
Information Society is one of the most popular catch words
of our time. For many of us Information Society is the
slogan for technological paradise, the Brave New World of
the turn of the Century. Thus Information Society is the
promise, the salvation and the ultimate solution for many
of our current economic, social and political problems:
Information Society is the Way out of the Darkness into
the Light.
International Social Science Council, Standing Committee
on Conceptual and Terminological Analysis (ISSC/COCTA)
is organizing a set of sessions on the topic of
RHETORICS AND POLITICS OF THE INFORMATION SOCIETY.
Papers which take a deeper look to and beyond this topic
are invited to these sessions. The expression "Rhetorics
and Politics" should be understood broadly, to cover a
wide variety of approaches analysing
* basic underlying assumptions, motives, strategies and
goals
* cognitive categories, concepts and conceptualizations
* argumentative structures and reasoning
* discoursive styles, patterns and contexts
of the recent texts, visions and programs for and against
Information Society, or theories about Information Society.
The main target is to scrutinize how the topic "information
society" is socially constructed or conceptualised and
how these conceptualizations are related to different
theoretical, practical or political contexts.
The organizers are planning to compile a book based on a
selection of papers presented at these sessions.
During 1998 sessions are organized at the occasion of two
international conferences. The first part of these sessions
will be organized at conference "Crossroads in Cultural
Studies: 2nd International Conference", to be held at
Tampere, Finland, June 28th - July 1st, 1998. For general
information on this conference see
http://www.uta.fi/laitokset/sosio/culture/index.html
The second part of the sessions will be organized at the
International Sociological Association's 14th World
Congress of Sociology, to be held at Montreal, Canada, July
26th - August 1st, 1998. The ISA sessions (2 sessions) will
be part of the program of the Research Committee 35,
Committee on Conceptual and Terminological Analysis
(ISA/COCTA). For more information concerning the ISA World
Congress see http://www.BCOC.UMontreal.CA/socio98/ or
http://www.ucm.es/OTROS/isa/cong.htm
PARTICIPATION
Persons interested in participating these sessions should
offer their papers, including a provisional title and
short abstract (about 150 words), to the gonvenor (address
below) as soon as possible.
More information on the sessions, including final deadlines
and the provisional programs will be emailed or sent to the
participants and to the persons expressing their interest
to participate.
ADDITIONAL INFORMATION
For further information, please contact
Matti M=E4lki=E4
University of Tampere
Department of Administrative Science
P.O. Box 607
FIN-33101 Tampere,
Finland
Tel. +358-40-5042498 (cellular);
+358-3-2156362 (office)
Fax: +358-3-215 6020
Email: malkia@uta.fi
WWW-Information page: http://www.uta.fi/~malkia
Additional information on International Social Science
Council and its Standing Committee on Conceptual and
Terminological Analysis (ISSC/COCTA) can be found from:
http://www.uta.fi/laitokset/hallinto/issc.htm/
________________________________________________________________________
2.
REALESE
WEBART CONTEST
Casa das Rosas launches in the network the WebArt Contest, an event which
follows the activities of Arte Suporte Computador Exhibition. Its main
purpose is to incentivate and promote works and their creators who take the
advantages of Internet to elaborate their artistic works.
The entry form and rules of participation are avalable in the site of Casa
das Rosas (http://www.dialdata.com.br/casadasrosas/net-art).
The pre-selection will be coordinated by Casa das Rosas' staff in
collaboration with invited artists such as Artur Lara, Artur Lescher and
André Cymbalista. The pre-selected sites will be part of Casa das Rosas
digital collection and will also integrate the Arte Suporte Computador
Exhibition.
After the openning of the Exhibition, a Pannel of Judges will choose three
sites. The members of the Pannel are: Rachel Greene (USA - critic and editor
of the electronic publication Rhizome), Maria Ercília (Brazil - journalist
of Universo On-Line/Folha de São Paulo, specialized in matters related to
Internet), Rejane Spitz (Brazil - professor and coordinator of the
multimudia laboratory of PUC/Rio de Janeiro and the representative of
Siggraph and ISEA, associations which promote two of the worldwide most
important events in electronic art), and representatives of the magazines
Mondo 2000 and Wired, yet to be confirmed. The prizes will be awarded as
follows:
US$ 6,000 (six thousand american dollars) for the first prize,
US$ 4,000 (four thousand american dollars) for the second prize,
US$ 2,000 (two thousand american dollars) for the third prize.
All prizes will be granted in cash.
Event: WebArt Contest, part of the activities of Arte Suporte
Computador Exhibition.
Inscription: We would like to receive your entry for our Web Art Contest. It
was postned specially for yor web site to November 7th.
Site: http://www.dialdata.com.br/casadasrosas/net-art
Information: http://www.dialdata.com.br/casadasrosas/net-art
Phone/Fax: (011) 251 5271 or 288 9447, with Ilo
e-mail: rosas37@dialdata.com.br
Awarding Date: to be confirmed.
________________________________________________________________________
3.
[ ]
[ ]
[ ]
[ ]
[ ]
[ ]
[ ]
[ viscon ] viscon.visual.conception
[ ] infom@il ver.005.11.1997
____________________________________________________________________
[ ]
[ ]
[ ]
.>>>>> [date ] mo 10.11.97...0:30
VC* [ ]
fn| [space ] so.36
VC* [ ]
*<=B8 [event ] interactive.ballroom@electric.ballroom
YUV [ ]
=B1=C2* [sound ] shuffle master (a.k.a. tatsuya kanamori tokyo)
=A7=C2# [ ] DJoker daan (resident)
YUV [ ]
XxA [visuals ] viscon
!3* [ ] der electric.interactor ist eine transvisuelle
D/V [ ] installation im electric.ballroom.
=ABAP [ ]
=B1=C2* [ ] projektionen und licht werden von den
=BFmX [ ] partygaesten beeinflusst. diese werden in
=FAHR [ ] den electric.interactor integriert. der
=F35? [ ] electric.interactor waechst mit der party.
*/V
=B1**3N=CA=AFm:]%?=BB^CLnVC*l*`=F8.=3D?=C2=EE1[~=F2?1?=BF*?=DF?BV*a=D2=F2In=
/c?+cbD=EE?*=D6(q579""
]x*=B4J*IS=D4y&=CF=CB$*=D1i=D4?'g*=CCz/v??=EE=CC=C2[9kOk*/t:=C1=B5=CBim>=EC=
G*B=F4?7nc/7d?=AB####@@@
/=DFm
=FAHR [ ]
.>>>>>> [++++++++] viscon sind inez litterst und timm ringewaldt
/=DFm=D9 [ ] visuals und interaktive instalationen
=E2d*=EE*? [ ]
/=DFm=D9 [ ] fon: 030.44 135 66 oder 030.44 34 10 40
=C2)*^]=D9{ [ ] mailto:timm@hdk-berlin.de
=E2d*=EE*? [ ] http://www.hdk-berlin.de/~timm/viscon
*^]=D9{[ [ ]
____________________________________________________________________
[ ]
/=DFm [ ]
[ ]
[ ]
[ ]
[ ]
________________________________________________________________________
4.
20 / 11 - 20.00u/h
Cybertheatre Brussels (Gulden Vlieslaan 4 / 4, Av. de la Toison dOr)
A live event including sounds, film, video, spoken word, websites,
cd-roms,software programs and snacks demonstrating and encouraging the
use of Gilles Deleuze's & Felix Guattari's visionary book of
anti-philosophy, Mille Plateaux.
program
7.30u/h: doors
from 7.30u/h till end of program:
- Oval workstation:
sounds through rizomatic loudspeakersystem by Bart Van Dessel
- monitors:
continuing videoprogram on different monitors (min. 4) with works by:
1/ interviews with Deleuze
2/ Sans Soleil by Chris Marker
3/ Der Riese by Michael Klier
4/ compilation with Vidiovoid by David Larcher, The Rumour of True
Things by Paul Bush, video by Claire Parnet, e.a.
- software by Brian Eno
- selected websites
- snacks sans organes by Peter De Bie
8.00u/h start
word (live) +music live: Rosi Braidotti on becoming nomad (+live music
by Soundlab) (15 min.)
film: Stadt in Flammen by Schmelzdahin (super 8, 5min.)
concert (live): Soundlab ( 50 min.)
film: Found Porno by Dietmar Brehm (super 8, 5 min.)
word (on tape) + music (live): Arthur and Louise Kroker on The
Recombinant Body (+ live music by Scanner) (30 min.)
concert (live): Scanner & DJ Spooky recombinanat music a DJ set (30
min.)
word (viseo conf): Brian Massumi
etc.
music: DJ Spooky, Soundlab, Oval, Scanner
from 00h30: party: La Machine ` danser
1000 PLATEAUX: MODE(S) DEMPLOI
Recent tribute-cds such as In Memoriam Gilles Deleuze and Folds and
Rhizomes prove that the philosophy of Gilles Deleuze & Felix Guattari
does not exclusively belong to unworldly academics. On the contrary,
composers, musicians & djs in the margins of contemporary dance music
use nomadology at will. Theyre part of a new international guard of
experimental composers moving trough the spheres of the
electro-acoustique, the musique concrhte, the serial and post-serial
music, the techno, ambient, jungle & other micro genres of nowadays
electronic music. They comfortably navigate between dance floor &
concert hall, between (post-)rave youth culture & the avant-garde of
contemporary classical.
The conceptual overlap between philosophy as a writing practice (of
musical nature, dixit Deleuze & Guattari in their introduction to
Mille Plateaux) and music as a (potential) philosophical project can be
extended to realisations in film & video. Film- and videomakers (such as
Jurgen Reble and David Larcher) combine different stylistic components
in visual assemblages that show cognitive or intuitive affininities with
Deleuzeian & Guattarinian concepts like the fold and the rhizome. Of
course, the history of cross-fertilization between philosophy and film &
video neither starts nor ends with the work of these experimental
artists, yet in these times of drastic visual revolution their
exploration of inspiring concepts suggests a welcome possibility to try
to think the image through philosophy - and perhaps of more importance,
to try to think philosophy through the image (like Deleuze did himself
in his Cinima 1: Limage-mouvement & Cinima 2: Limage-temps).
Foucault described Mille Plateaux as an introduction to the
anti-fascist existence, but in fact the book seems much more a manual
than an introduction. Against the orderly dialectics of classical
Marxism, the authors conciously champion a theory of complexity: a
method of complications and implications instead of a restricted
sequence of cause and effect. To complicate means to cross the borders
of categorization, to neglect compartiments, to expose and even create
unexpected relations; like djs do in the mix and filmmakers in the
editing. Such is the praxis of rhizomatics: a democracy of sounds and
images breaking through predictable hiearchies of instruments (the usual
privilege of voice and guitar solos) and of narrative structures (the
familiar dominance of plot and character).
Mille Plateaux thus as a users guide to the end of the millenium. A
handbook for the do-it-yourself philosopher, entirely to the liking of
Deleuze who has serious doubts about the heavy machinery of
institutional philosophy and its blatant complicity to power, preventing
rather than encouraging people to think. He finds classical philosophy
an immense school of intimidation delivering specialists in thought, and
in addition ensuring outsiders to conform themselves to the specialism
theyve come to ridicule. Against such cynicism, Deleuze & Guattari
propose a productive blueprint for things to come. In their plea for
rhizomes and bodies without organs, they sketch a prefiguration of
sampler-performers, cyborg-mutants and internet-bifurcation out of the
technoscience and cyber culture of the nineties. Therefore, Mille
Plateaux as a pure science fiction book of the kind that William
Burroughs, Philip K. Dick and J.G. Ballard love to write.
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