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. The Announcer ...................................................
. a weekly digest of calls . actions . websites . campaigns . etc .
. send all announcements and notes to sandra.fauconnier@rug.ac.be .
. please don't be late ! delivered every friday . into your inbox .
...................................................................
01 . CyberSalon Announce . BECTU meeting
02 . Oleg Kireev . mailradek in english
03 . Anne-Marie Schleiner . Game Patch Show
04 . Gate Foundation . GATE exhibition: The Archives 0001
05 . Olga Kisseleva . new artistic web-site
06 . Catherine McGovern . maid in cyberspace - encore ! press release
07 . Jon C. Ippolito . "The Space Between" this Monday
at Guggenheim Museum SoHo
08 . DEAF@v2.nl . DEAF98: Online Realities in 3D
09 . stickman . Its an ad. It's 4,470 dollars. It's art!
10 . Museo de Arte
Contemporaneo
Carrillo Gil . 1/ Press release TOUR. RBW21 in the MACG
11 . Eugene Thacker . W3LAB announcement
12 . Technologies To The
People . Live Video Art /Full Screen/Real Revolution
13 . waz@easynet.co.uk . Swallow Is Ten. Calm Down.
................................................................... 01
Date: Sun, 1 Nov 1998 21:13:43 +0000
Subject: BECTU meeting
From: CyberSalon Announce <cs-announce@hrc.westminster.ac.uk>
From: Martin Spence <BECTU@GEO2.poptel.org.uk>
DO YOU WORK IN
NEW MEDIA?
MULTIMEDIA?
CD-ROM APPLICATIONS?
WEBSITE DESIGN?
If so get yourself along to BECTU's open meeting at 7.00 p.m. on Monday
16th November in the Asquith Room, 111 Wardour Street, London, W1. On the
agenda: contracts, pay rates, working conditions, hours of work. BECTU is
the trade union for film, TV and media workers.
-------------------------------------------------------------------
Dr. Richard Barbrook
Hypermedia Research Centre
School of Communications, Design & Media
University of Westminster
Watford Road
Northwick Park
HARROW HA1 3TP
http://www.hrc.wmin.ac.uk/
+44 (0)171-911-5000 x 4590
................................................................... 02
Date: Mon, 2 Nov 1998 20:55:33 +0300 (WSU)
From: Oleg Kireev <radek@glasnet.ru>
Moscow-based magazine "Radek", dedicated to theory, art and politics
continues the project "mailradek in english". The information about the
magazine is available on the Website:
http://www.geocities.com/SoHo/Coffeehouse/1457.
Everybody who doesn't receive it can send a "subscribe english mailradek"
e-mail to radek@glasnet.ru, and we'll include him into the mailing list.
Our address is: Russia 117333 Moscow, Vavilova 48-237, for O.Kireev.
tel./fax:(095)137 71 31.
Text no. 62
30.10.1998
Moscow Contemporary Art doesn't exist anymore. This art was seen to embody
the most progressive centre of our new Westernership, to have worked out
strategies of the opposition to the power in the 70s and 80s, to have
represented Russia in the West in the course of Perestroika and claimed to
have a new social project. The dearest thing of the Moscow artistic milieu
-
an international acknowledgement - came to an end (even Kulik-the-superstar
is not assured of the near future), the other one, which it hated mostly
and
seriously hoped to beat - Tsereteli and the like - has grossly crawled all
over the capital. The galleries opened in the late 80s or the early 90s
have
closed or become the local centers *for friends*, new issues of the *Moscow
Art Magazine* are not expected eagerly anymore, the newspaper critics who
attracted the most attention in the previous years, disappeared from their
newspapers, and even the size of cultural columns in newspapers has been
reduced or disappeared altogether. Thank God, we were among the first to
leave this drowning boat...
Quite simply - they have created their social project in a wrong
way, developed their professional ideology in a wrong way, and built their
plans for the limitless future. The names of Elena Selina, Fedor Romer or
Yuri Leiderman are not telling much already, although these are the central
actors in history of our Actual Art. This art was just totally blind
towards
surrounding it reality. The USSR epoch seemed to be gone completely,
democracy - was final, and ahead of them were only foreign trips,
philosophy
and a high intellect. This philosophy didn't explain what the capitalism
was, and why any social institution exists the limited time only and then
historically changes.
The main news of the week indeed sound anew in the context of such
history: Brener returns! The main terrorist and provocateur of the Moscow
art circle hasn't found success in the West also. But he was among the very
first to believe in universality of contemporary art and to build his
heroic
strategies of resistance with reference to it. What will he achieve now?
There's even no one to get afraid of his return....
Oleg Kireev
project: Anatoly Osmolovsky and Oleg Kireev
translation: Irina Aristarkhova and Oleg Kireev
realization: mailradek
................................................................... 03
Date: Mon, 2 Nov 1998 18:11:19 -0800 (PST)
From: Anne-Marie Schleiner <amschle@cadre.sjsu.edu>
Subject: Game Patch Show
Call for Artist's Proposals or Submissions:
Proposal or Submission Deadline: December 10, 1998
Contact e-mail: amschle@cadre.sjsu.edu
"Cracking the Maze" will be an on-line exhibit of game patches and
plug-ins created by artists, game hackers and hybrid characters that will
be hosted on Switch, an on-line journal of new media art and
theory. Participating artists will be provided with optional game
patching/hacking software, including software donated by Bungie.
The exhibit will also include writings by theorists Erkki Huhtamo and
Sandy Stone. "Cracking the Maze" will be curated by Anne-Marie Schleiner.
Cracking the Maze
Game Plug-ins and Patches as Hacker Art
As any avid gamer quickly discovers, the Internet is not only a
free source of computer game cheats and puzzle keys, but the home of
numerous game plug-ins and patches available for download. These patches
range from a simple repair of a programming bug to intricate new game
scenarios, replacing the characters, sounds, architecture and/or game
challenges in the original games. The increasing popularity of these once
unsanctioned game hacks has led some gaming companies, like the producers
of Quake and Marathon, to capitalize on the trend and subsume this once
renegade practice into their marketing strategy, bundling patch-making
software with their official games. Certainly the Internet fame of the
"Nuderaider" patch for Tomb Raider, a patch which strips the protagonist
Lara Crofts already scanty attire to reveal sharp nude polygons, is good
PR for Tomb Raider. Web rumor has it that Eidos Interactive faked and
distributed the Nude Raider screenshots as a publicity stunt. Another
common application of game patches is in the corporate Silicon Valley
workspace, where workers relieve tension by playing networked tunnel
shooter games over their local ethernet network, pasting photographs of
themselves onto the games avatars and customizing the architecture to
mimic their own corporate habitat.
Other game patches position themselves in a more critical and/or
subversive relation to their "hosts", the official game engines. Rather
than constructing themselves as hyperbole to the host game or as a
customized simulation, the more subversive patches offer alternatives to
the often rigidly defined genres of gameplay and sometimes create
new genres that are assimilated into the game marketplace. Although the
category of "feminist game patches" is not entirely accurate, game
patches with female protagonists prefigure the first appearance of female
characters in official games like Tomb Raider, Resident Evil, and Final
Fantasy VII. The Marathon Infinity patch "Tina Shapes and Tina Sounds"
replaced the protagonist,"Infinity Bob" with a female Tina. A Japanese
Doom patch entitled "Otakon Doom" replaced the protagonist with a Japanese
animation girlfighter named "Priss". Still another Doom patch replaced
all the characters with the cast from the movie "Aliens", including
substituting Sigourney Weaver for the male protagonist. Another variety
of game patches humorously undermines the extremely macho codes of
interaction in shoot-em-up computer games by substituting the standard
adult male characters with androgynous animals and goofy childrens fantasy
characters. Take for instance the Marathon patch that replaced all the
characters with different colored gumby dolls and the Doom patch entitled
"Barney and his Minions".
Although some artists have successfully created games as art,
producing a game patch as art offers certain advantages over building a
game from scratch. On a technical level, of course, the artist(s) avoids
having to put in the extensive time required for programming an
interactive game engine. But the parasitic game patch is also a means to
infiltrate gaming culture and to contribute to the formation of new
configurations of game characters, game space and gameplay. Like the
sampling rap MC, game hacker artists operate as culture hackers who
manipulate existing techno-semiotic structures towards different ends or,
as described by artist Brett Stalbaum, "who endeavor to get inside
cultural systems and make them do things they were never intended to do."
"Cracking the Maze" will exhibit both game patches created by artists and
game patch artifacts from the web produced by the original game hackers,
in an attempt to generate an open discourse on art, games, game hacking
and gaming culture on the Internet.
Many artists, art critics, new media critics and theoreticians
have expressed a disdain for games and game style interactivity, in fact,
to describe an interactive computer art piece as "too game-like" is a
common pejorative. But considering the increasing popularity of computer
games with younger generations, even at the expense of television, it
seems perilous to ignore the spread of gaming culture. What sorts of
spaces computer games construct, what sorts of gender-subject
configurations operate in computer games, and what sorts of politics of
'the other' computer games employ, what modes of interactivity and
addiction computer games invite, how networked on-line games construct
alternate worlds, how gaming culture manifests itself on the
Internet--these are all areas ripe for investigation by cultural critics
and manipulation by game hacker artists. "Cracking the Maze" will attempt
to bring together discourse and activity in these and other areas in
relation to the game patch as hacker art.
................................................................... 04
Date: Tue, 3 Nov 1998 12:48:40 +0100
From: "Gate Foundation" <gate@xs4all.nl>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject: GATE exhibition: The Archives 0001
Amsterdam, November 2 1998
THE ARCHIVES 0001
On the Index
The presentation is open to the public from November 9 until December 24
1998
The openinghours of the Gate Foundation are from Monday to Friday from 10
AM to 5 PM
The Archives 0001 is the first public presentation of the artist-archives
that are documented by the Gate Foundation. Information about 750 artists
is filed in these archives. The Archives compile documentation of Dutch
artists from different cultural backgrounds and artists from Africa, Asia
and Latin America.
During the presentation of The Archives, works by different artists from
the archives, will be shown, in the exhibitionspace of the Gate Foundation,
in an ongoing and changing set up. These artists challenge the Dutch art
topography, the nature and perception of the artworld and the discussions
on art and culture. The exhibition will present the Gate Foundation as an
institute where research can be done on international art consisting of
paintings, sculptures, objects and installations, photo, video and
performance, drawing and graphics.
This first presentation of the Archives is arranged around questions about
the Index and indexical forms: how does the Index relate to other Indexical
forms such as exhibitions and catalogues? What is the nature of national
and international Index forms? How do indexes relate to contemporary views
on national, continental and international transactions in the world of
art?
Visit our homepage at http://www.base.nl/gate for information on the
artists currently exhibited.
History
The Archives have grown into the most comprehensive and larger account of
Dutch artists from different cultural backgrounds as well as from
international artists from Asia, Africa and Latin America. It started as a
result of the researches on foreign artists in The Netherlands developed by
the Gate Foundation in relation to particular projects such as the 1991
exhibition Het Klimaat and the prolonguated researches on refugee artists
in The Netherlands in cooperation with the Dutch organization for refugees
VluchtelingenWerk Nederland which eventually resulted in Het Toeval van de
Plaats . This project consisted of a series of silk-screens, made by 15
refugee artists, living in the Netherlands. Also a lengthy report was
written as a result of the 1994/1996 research on refugee-artists in the
Netherlands.
The Gate Foundation provides advice, information and help to develop
projects starting from the Archives. Recent exhibitions and activities such
as Power Up in the Museum of Modern Art in Arnhem and Soaps in the Museum
of Ethnology in Rotterdam were curated based on the Archives of the Gate
Foundation. Among others the University of Leiden has done research based
on the Archives and organized student workshops in addition. This way the
Archives serve as a major source for a broad area of study and activities
within the international visual arts.
The Gate Foundation is a non-profit organization supported by the Ministry
of Education, Culture and Science and by the Municipality of Amsterdam.
Please contact the Gate Foundation for more relevant information.
................................................................... 05
From: "Olga Kisseleva" <kisselev@cnam.fr>
Subject: new artistic web-site
Date: Tue, 3 Nov 1998 23:22:37 +0100
Hi,
"How are you" , a new artistic web-site by Olga Kisseleva is now
on-line at http://www.fraclr.org
"In "How are You?" the artist asked this question of people in
different countries. She entered the received answers into a computer and
created hyperlinks between them. The answers came to form a single text. A
collective answer, which assumes a collective subject. But this collective
subject is created by the artist. She attempted, in other words, to create
a whole, a utopian unity out of fragments, the fragments of individual
minds, individual beings, pieces of TV news, memories, languages, customs,
pop culture, and so on. The resulting communication utopia has a
distinctly late twentieth form of hypertext. Maybe this is the only kind
of unity possible today, or at least the kind of unity which is true to
the mosaic nature of fragments it brings together?" (Lev Manovich)
"How are you" is the interactive project, changed by users day after
day.
best regards
Olga Kisseleva artist associated professor at Art department of Jean
Monnet University
................................................................... 06
Date: Wed, 4 Nov 1998 13:24:10 -0500
From: Catherine McGovern <catherine@studioxx.org>
Subject: maid in cyberspace - encore ! press release
Maid in Cyberspace - Encore !
NOV 6 -28TH, 1998
BELGO 410
372, Ste-Catherine W, no410
Montreal
Maid in Cyberspace Encore! is Studio XXâs 2nd annual international
festival of
web art by women.
Maid in Cyberspace Encore! will be held November 6th to 28th, 1998, at
Belgo
410, 372 Ste-Catherine West, #410, MontrŽal.
Eleven women artistsfrom Canada (MontrŽal, Toronto, Calgary), New York,
Australia, England, Scotland, and Estonia will present web art projects
in the festival.
Web art treats the Internet as a specific medium for creation and
expression a
medium which is a relatively new one for art. Explore its boundaries:
at the festival
During the festival, visitors are invited to view the various web art
projects
at their leisure on a fast Internet connection. Documentation about the
projects and the
artists will be available.
at home
All projects will be viewable on the web from the !! opening date of the
festival at:
www.studioxx.org/maid-encore/
Events:
Vernissage : November 6th, 6 - 9pm. Snack, sip Napoleonic battle
cocktails,
surf the projects. Aural fixations provided thru a Hot Streaming Radio
performance by
<CCS>, an experimental sound collective that grooves on netcasting
projects. The show
will be a collaborative live stream from NYC and Banff, to Montreal.
<CCS> is Yvanne
Faught & Susan Kennard. www.irational.org/radio/ccs
November 14th
1 - 3pm.: Curly, Larry & PoMo (situating cyberfeminism within
contemporary
culture) and 4 - 6pm: the $9.95 Project (or how to build interactive
media art for $9.95).
With invited speaker Nancy Paterson; electronic media artist, (of the
Internet based Stock
Market Skirt installation), teacher, and Associate Artist at the Bell
Centre for Creative
Communications in Toronto.
November 21st, 2pm. Up and coming web toys and tricks for artists, etc·
along
with presentations by local artists and the Maid jury.
November 28th, 12:30 pm. Russian Forum North/North: East West (8:30pm
Moscow
Time). Returning from the First Cyberfeminism Symposium in Russia,
Katherine
Liberovskaya will unite women involved in web art from Montreal,
St-Petersburg,
and possibly Siberia artists, as well as curators, organisers and
theorists -
in a on-line LIVE forum. The forum will address "East" & "West" women's
perspectives
and visions on the possibilities, advantages and disadvantages of the
Internet
for creative expression. Concurrently, a special curated selection of
Russian
women's web art will be presented.
Maid artists:
A Grammar of Signs - JR Carpenter
High Rise - Isabel Chang
Cards and Holes - Alicia Felberbaum
Encounter - Beverly Hood
Words - Tiia Johannson
Shifting - Tina LaPorta
Soundwalks - Andra McCartney
Please Stay on the Line - Juliet Ann Martin
Diagnostic Tools for the New Millenium - Josephine Starrs
Synchronicite - Pascale Trudel
Positive - Sheila Urbanoski
For Information:
Catherine McGovern
Studio XX
(514) 845-7934
catherine@studioxx.org
www.studioxx.org
---
If you would like to volunteer in the context of Maid in Cyberspace -
Encore !
please don't hesitate to be so nice. Call us. 845-7934.
xx-xx-xx-xx
Studio XX - art | techno | femmes
24, Mont-Royal ouest, #605
MontrŽal (QuŽbec) h2t 2s2
(514) 845-7934
grrls@studioxx.org www.studioxx.org
................................................................... 07
Date: Wed, 04 Nov 1998 15:30:47 -0500
From: "Jon C. Ippolito" <JIppolito@guggenheim.org>
Subject: "The Space Between" this Monday at Guggenheim Museum SoHo
What does cyberspace--the space between our globally connected desktops, =
laptops, and cell phones--look like? "The Space Between," the third =
symposium in the Guggenheim's Speaking Digital series, gathers artists, =
architects, and curators to present interactive maps of this "new =
frontier" and discuss their political and philosophical implications.=20
*Susan Hapgood, curator, will present "Extension," a dynamic display of =
art-oriented Web sites she and other former ada'web members, Benjamin Weil
=
and Ainatte Inbal, created for the Guggenheim's CyberAtlas project.
*Simon Pope, artist and software designer, will present the I/O/D "Web =
Stalker," a program that maps the Web as it browses.
*Hani Rashid, professor at Columbia University and partner with Lise Anne =
Couture in Asymptote Architecture, will present various datascape =
visualizations developed for both theoretical and practical contexts.
*Laura Trippi, curator and Web/New Media Services Manager for Carnegie =
Hall, will present "Intelligent Life," a thematic map of web sites created
=
for CyberAtlas based on the model of a neural net.
*Maciej Wisniewski, artist, will present "Turnstile 2" and "ScanLink," two
=
java-based applications that scan the Internet for hidden relationships.
The discussion is organized and moderated by Jon Ippolito, Assistant =
Curator of Media Arts at the Guggenheim Museum. The symposium is held in =
conjunction with the museum's CyberAtlas project.
Monday, November 9, 7 p.m.
Guggenheim Museum SoHo
575 Broadway (at Prince Street)
$10 ($5 for members, seniors, and students with valid ID). Tickets are =
available at the admission desk during Museum hours, or call the box =
office at (212) 423-3587. Doors open at 6:30 p.m.
Speaking Digital is a series of public dialogues--at the Guggenheim Museum
=
SoHo and on the Web--which brings together artists, innovators in =
technology, critics, writers, and others actively involved in working and =
thinking about the creative possibilities of digital technology. This =
symposium is generously sponsored by Samsung as part of its ongoing =
support of the Guggenheim Museum. For more information, please visit
http://www.guggenheim.org/speakingdigital
http://cyberatlas.guggenheim.org
................................................................... 08
Date: Thu, 5 Nov 1998 13:10:32 +0200 (MET)
from: DEAF@v2.nl
subject: DEAF98: Online Realities in 3D
Dutch Electronic Art Festival - DEAF98
Thursday 19 November 1998, 14.00-18.00
Bonheur, Eendrachtsstraat 79, Rotterdam
NLG 7,50
Online Realities in 3D
The programme 'Online Realities in 3D' is held in the framework of the
DEAF98 Digital Dive. It presents artists' projects which use
three-dimensionality as a metaphor for designing and articulating the
social and technical processes that take place in the 'data scape'. They
use '3D' not as a simple mirror of reality, but explore its potential
meaning in online world.
This afternoon of presentations offers an overview over recent developments
of 3D-online design. It will not provide definitive answers, but is meant
as a starting point for prolific discussions about the usefulness of 3D as
a metaphor in online environments.
14.15-14.30
Introduction by Katja Martin (D) (moderator)
14.30-15.45
Presentations of:
- Staging Strategies by Programm5 (Nicole Martin and Lilian Juechtern (D))
The project 'Staging Strategies' focusses on designing a genuine formal
language for the media of virtual reality. The basic element of a virtual
world is dynamic information. Events, data. Everything is floating and
moving. How do you visualize this in three-dimensional space? Which sensual
experiences are elementary to a Virtual Reality? Dataworlds lack gravity:
there is no Up and Down, no ground, no horizon. One move and everything is
changing. How can I find my way in a Virtual Reality? Staging Strategies
researches the basic parameters constituting the 'gestalt' of a virtual
reality.
- The Negative River by Karoly Toth (H/NL)
A co-operation of artists, writers and scientists who create a navigable
organic environment, using the river as metaphor. The participants
contribute documents and digital traces from their living environment which
are used to build up an information database. From this database, a
reconstruction of a new spatio-temporal structure, a Terra A-Topia, is made
in virtuual space. The project is less concerned with the latest technical
developments in hard- and software, than with the technologies of thought,
imagination, intuition and perception. If information is accepted as one of
the physical conditions of matter, then cognition has to be viewed as a
fundamental basis and the memetic engine of our understanding and 'mapping'
of the world. The virtual model of 'The Negative River' incorporates a
series of mutually influential data events that create a morphing,
continuously transforming and interactive structure of thoughts and
cognitive relations.
- Demedusator by Zoltan Szegedy-Maszak and Marton Fernezelyi (H)
Demedusator is a shared virtual world developed by its visitors. Any
creative participant can "publish" his/her creatures - let it be a complete
virtual world or sound, movie, picture - by placing them in a 3D world
explorable by any (Web)surfer. People can reflect to the existing content
by uploading something near to them, or they can create "a village of their
own" by uploading the parts of it as contents placed in the same 3D area.
The infinite container-space of DEMEDUSATOR is ready to be inhabited: any
pioneer can find an unsettled space-segment for his/her new virtual home.
- Happy Doomsday! by Calin Dan (RO/NL)
Happy Doomsday! is about the instability and virtual manipulability of
territories. The project combines elements of computer games with the
history of Europe. It is an idiosyncratic physical human-machine interface.
The user starts the program by sitting down on a fitness machine. He/she
then chooses an avatar country and war target. To reach the target the user
has to perform a workout on the fitness machine. This machine is linked to
other participants who can intervene in the progress of the user's war
efforts. Wars have constantly changed the political and
territorial situation. The participant has to adjust to the war scenario
from the period in which he/she has chosen to play the program. These
historical facts influence the war simulation of this project.
(HD! is presented in the DEAF98 exhibition.)
- VRMLsite by Kas Oosterhuis (NL) and Ilona Lenard (NL)
The VRMLsite is an open online discussion environment in VRML featuring a
live-debate between architects, designers and theorists.The discussion is
open to the public who can log on as an audience-avatar into the VRML
environment. 'vrmlSITE' contains free-floating, characteristic elements of
projects by the participants. Each participant is represented by an avatar
which is not a person but a small 3D world in itself, so that participants
and audience experience parallel 3D worlds talking to each other. The
participants can trigger events - by clicking on words in the vrmlSITE -
during the discussion.
16.15-17.00
Discussion
17.00-18.00
Online discussion VRMLsite
Bookmarks
Staging Strategies - http://www.digitalworks.org/rd/p5
The Negative River - http://users.bart.nl/~terra/fresh.htm
Demedusator - http://demedusator.c3.hu
Happy Doomsday! - http://www.v2.nl/~aadjan/hd/
VRMLsite - http://www.oosterhuis.nl, http://www.lenard.nl
DEAF98, Dutch Electronic Art Festival
17 - 29 november 1998
Eendrachtsstraat 10
3012 XL Rotterdam
Netherlands
tel: ++31.10.2067272
fax: ++31.10.2067271
email: deaf@v2.nl
www.v2.nl/DEAF
................................................................... 09
From: "stickman" <stickman@snafu.de>
Subject: Its an ad. It's 4,470 dollars. It's art!
Date: Wed, 4 Nov 1998 23:24:03 +0100
News release:
from the crossroads of culture, business and media.
The artist David Maas will be turning the December issue of ARTFORUM
international into a giant (no not mudpit) but a placeless, brand-name
gallery. At the same time, a humble internet gallery will offer a stroll
down the Guggenheim to admire his work in sunny environs.
About the aesthetics of cash
the role of the artist
and the politics of the potlatch...
I welcome you to find out more at www.stickman.de
(this is a loss-of-profit undertaking)
................................................................... 10
Date: Thu, 5 Nov 1998 22:31:12 +0200
From: Museo de Arte Contemporaneo Carrillo Gil <macg@www.conet.com.mx>
Subject: 1/ Press release TOUR. RBW21 in the MACG
MUSEO DE ARTE CARRILLO GIL
"TOWER"
RBW21 =3D Gue Schmidt and Fritz Fro
"SOUND THRESHOLD"
PRESS RELEASE
*** for a sound-work in the course of the festival "SOUND THRESHOLD".
*** "TOWER" is a sound-installation of the well-known Austrian artist's
group RBW21 (Gue Schmidt and Fritz Fro).
The MUSEO de ARTE CARRILLO GIL is presenting (10. November - 6. December
1998) the sound-installation "TOWER", of the Austrian artists Gue Schmidt
and Fritz Fro (RBW21 - RELATIVE BIOLOGICAL EFFECT 21).
The sound-work can be heard through loudspeakers mounted at the facade of
the museum, thereby transforming the everyday sound environment into an
artistic space. TOWER is a sound installation where two CDs are played in
loop-mode on two CD-players. The second player starts about 15 to 20
seconds after the start of the first player. The sound mingle, becoming one
and forming a static and hermetic body.
The group RBW21 (Relative Biological Effect 21) is working in the fields of
music, radio and visual-acoustic media, since the middle of the eighties.
They realized performances (cut-out) at the Gallery REM/ Vienna/ AUSTRIA,
the Kuenstlerhaus Dortmund/ GERMANY, at the festival L=B4Arte dell Ascolto/
Rimini/ ITALY and at the Studio 303/ Montreal/ CANADA.
RADIOWORKS/ BROADCASTING-STATIONS: Radio (Emisora) Cultural de la
Universidad de Antioquia/Medell=EDn/Colombia, Radio Universidad
Nacional/Bogot=E1/Colombia, Radio Cultural de Caracas (RED23)/Venezuela and
Radio Nacional de Venezuela. Various sound-works for Art-radio/Radio-art
(Austrian Broadcasting - ORF / 1989-98).
RBW comes from medical terminology and refers to the relative biological
effect of the radiation of average X-rays. The RBW-values are specified
according to the ionization density which results from absorption in water
independently from the type of ionisized radiation.
Since noises or sounds belong to the sphere of acoustic sensations, made up
of different kinds of vibrations, they are not only audible, but also
perceptible by the whole body, and consequently have an effect on animal
and vegetable organisms, as well as on inanimate objects. In this sense,
the word noise signifies sound, i.e. vibration, i.e. radiation. Our works
are "pieces of music" which evoke fields of association, spaces and
sculptures by overlapping and distorting sounds and noises. The
manifoldness of the vibrations demands a manner of listening which should
inspire the listener without provoking an evaluation of the noises and
sounds involved.
PRESS AND DISTRIBUTION.
MACG
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mailto:gue.s@thing.at
................................................................... 11
Date: Thu, 05 Nov 1998 19:29:25 -0500
From: Eugene Thacker <maldoror@eden.rutgers.edu>
Subject: W3LAB announcement
**************************************************
[techne]W3LAB: works-in-progress/works-in-process
**************************************************
W3LAB announcement :: BETA-TEST
http://gsa.rutgers.edu/maldoror/techne/w3lab-entry.html
The [techne]W3LAB is an online installation of work devoted to the web
(web-based projects, networking experiments, performance, software
design, VRML, etc.), and will include a range of projects by an
international group of digital artists, as well as a "hyper.theory"
section of texts by contemporary theorists of electronic culture.
This exhibit is being presented through an organization affiliated with
the Program in Comparative Literature at Rutgers University called
[techne]. Established in 1997, [techne] has held multimedia events,
performances, and lectures (including Mark Amerika, The Poool, and
Floating Point Unit) on the Rutgers University campus. The purpose of
this online show is to foster awareness of the variety and complexity of
selected works on the web.
The show will run in two phases:
Phase I (fall 1998) will be a beta-test preview, and will be
communicated to the digital community via mailing lists and other
information services. It will focus primarily on web-based works.
Phase II (winter 1999) will be communicated to academic and art-based
networks and institutions, and will coincide with the annual Program in
Comparative Literature conference at Rutgers University, at which time
the show will be "installed" during the conference, along with
multimedia and networking performances. The conference, whose theme this
year is "New World (dis)Orders: Globalization, Culture, Identity," will
take place in late February, and will attract a multidisciplinary group
of theorists from around the globe. This phase will place equal focus on
web-based works and performance/performative works which make use of the
Web.
Both phases will include ongoing discussions and distributions of issues
through the [techne] website
[gsa.rutgers.edu/maldoror/techne/techne.html], as well as other online
nodes such as Rhizome [www.rhizome.org], Alt-X [www.altx.com], and the
show "The Shock of the View"
[http://www.walkerart.org/salons/shockoftheview/sv_front.html],
presented by the Walker Arts Center.
W3LAB participants include ::
net.art :: Mark Amerika & Jay Dillemuth, Diane Bertolo, Sawad Brooks &
Beth Stryker, Heath Bunting, Contempt Productions (to be confirmed), Vuk
Cosic, Critical Art Ensemble, DhalgrenMOO, Disinformation, Ricardo
Dominquez & Zhanga, Fakeshop, Floating Point Unit, i/o 360, I/O/D, Oz
Lubling, --meta--, Robbin Murphy, Nikolas, Thomas Noller, plumb design,
Post-Tool, Erwin Redl, James Roven, Alexi Shulgin, Yoshi Sodeoka, Eugene
Thacker, Helen Thorington & Marianne Petit & John Neilson, Annette
Weintraub, Arianne Wortzel.
hyper.theory :: Mark Amerika, Sawad Brooks, Steve Dietz, Kathy Rae
Huffman, I/O/D, Douglas Kellner, Arthur & Marilouise Kroker, Geert
Lovink, Lev Manovich, David Porush, Mark Poster, Rhizome, Steve Shaviro,
VNS Matrix.
For more info see the [techne] website at
http://gsa.rutgers.edu/maldoror/techne/techne.html
or contact Eugene Thacker at maldoror@eden.rutgers.edu
For info on the "Globalization" conference
http://complit.rutgers.edu/conferences/new_world_disorders
**************************************************
[techne]W3LAB: works-in-progress/works-in-process
**************************************************
................................................................... 12
Date: Mon, 2 Nov 1998 13:53:15 +0100
From: Technologies To The People <daniel@irational.org>
Subject: Live Video Art /Full Screen/Real Revolution
SATELLITE VIDEO AND SPEED INTERNETŞ
INTRODUCING Technologies To The People¨ Video Collection
the use of video and television as a media of artistic expression
At this precise moment, with the pointed introduction of still more new
media which will have an event greater impact on society, it would seem
necessary and useful to disclose, and make an inventory of, that part of
media art which, from the point of view of art history, has crystallised.
NOW SERVED UP ON ONE DISH
Imagine ours satellites deep in the space broadcasting all the greatest
video art pieces, at blistering speeds up to 900 Kbps. Now imagine getting
all of this content right in your home computer.
That's because Technologies To The People¨ brings you the fastest Internet
access available worldwide.
You can see and hear every art piece when you want, not just when it
happens to be broadcast or screening in any museum.
Technologies To The People Video Collection http://www.irational.org/video/
The collections of Technologies To The People
Technologies To The People Video Collection
_____________________________________________
1. Against Video (1974)-Douglas Davis-6:30 min. Col. Video
2. And Now This (1983)-Jorge Lozano/Christa Schadt-8 min. Col. Video
3. Animation (1975)-Stuart Marshall-4 min. Col. Video
4. Art and Technology (1975)-Chris Burden-15 min. Col. Video
5. Barricades (1992)-Istvan Kantor-11 min. Col. Video
6. Behold the Promised Land (1991)-Ardele Lister-23 min. Col. Video
7. Berlin/nilreB: Tourist journal (1988)-Ken Kobland-19 min. Col. Video
8. Bits (1977)-Gary Hill-4:25 min. Col. Video
9. Blind Grace (1993)-Adam Cohen-20 min. Col. Video
10. Blue Monday (1984)-Duvet Brothers-4 min. Col. Video
11. Body Music (1974)-Charlemagne Palestine-12 min. Col. Video
12. Bon Voyage (1986)-Peter Callas-4:35 min. Col. Video
13. Border Brujo (1990)- Guillermo Gomez Pe–a-52 min. Col. Video
14. Bouncing in the Corner, NĽ 1 (1969)- Bruce Nauman-60 min. Col. Video
15. C'est La Video (1982)-Hank Bull-11 min. Col. Video
16. Calling the Shots (1984)-Mark Wilcox-13 min. Col. Video
17. Changing Parts (1984)-Mona Hatoum-24 min. Col. Video
18. Chott el-Djerid (A Portrait in Light and Heat) (1979)-Bill Viola-28
min. Col. Video
19. City of Angels(1983)-Marina & Ulay Abramovic-20 min. Col. Video
20. Clockshower (1973)- Gordon Matta-Clark-13:50 min. Col. Video
21. comings and goings (1977-79)-Peter D'Agostino-33:30 min. Col. Video
22. Conspiracy of silence (1991)-Lynn Hershman-20 min. Col. Video
23. Counterpart-Hong Kong Song (1990)-Hartmunt Jahn-13 min. Col. Video
24. Cross-Cultural Television (1987)-Muntadas/Hank Bull-35 min. Col. Video
25. Dans La Vision Peripherique Du Temoin (1986)-Marcel Odenbach-13 min.
Col. Video
26. Das Duracellband (1980)-Klaus vom Bruch-10 min. Col. Video
27. Dead Valley Days (1984-85)-Gorilla Tapes-20 min. Col. Video
28. Der Riese (1983)-Michael Klier-84 min. Col. Video
29. Dial H-I-S-T-O-R-Y(1995-7)-Johan Grimonprez-68 min. Col. Video
30. Dialog (1987)-Nobert Meissner/Mike Krebs-4:40 min. Col. Video
31. Ear to the Ground (1982)-Kit Fitzgerald/John Sanborn-4:30 min. Col.
Video
32. Excerpts and Euphoria (1983)-Edward Mowbray-11 min. Col. Video
33. Female Sensibility (1974)- Lynda Benglis-14 min. Col. Video
34. Franklin Furnace (1979)-Martha Wilson-29 min. Col. Video
35. Glances (1984)-Caterina Borelli-13 min. Col. Video
36. His master's voice (1983)-Marie-jo Lafontaine-10 min. Col. Video
37. Homage to Brezhnev (1988)-J—zef Robakowski-9:30 min. Col. Video
38. Home is Where The Heart Is (1982)-Sian Evans-27:30 min. Col. Video
39. Home Movies (1973)-Vito Acconci-32:30 min. Col. Video
40. Hong Kong Song (1989)-Robert Cahen-21 min. Col. Video
41. I Am Making Art (1971)- John Baldessari-18:40 min. Col. Video
42. If is too bad to be true, it could be Disinformation (1985)-Martha
Rosler-16:26 min. Col. Video
43. Intellectual Properties (1985)-John Adams-60 min. Col. Video
44. Introduction to the End of an Argument (Intifada): Speaking for
oneself... Speaking for others... (1989-90)-Jayce Salloum/Elia Suleiman-45
min. Col. Video
45. Involuntary Conversion (1991)-Jeanne Finley-9:20 min. Col. Video
46. Joan Does Dinasty (1986)-Joan Braderman-31 min. Col. Video
47. Kioko's situation (1989)-Mako Idemitsu-25 min. Col. Video
48. LA Nickel (1983)-Branda Miller-10 min. Col. Video
49. Leftside Rightside (1974)-Joan Jonas-7:30 min. Col. Video
50. Luftgeister/Air Spirits (1981)-Kauls Vom Bruch-8 min. Col. Video
51. Lying in State (1989)-Norman Cowie-30 min. Col. Video
52. Mayhem (1987)-Abigail Child-20 min. Col. Video
53. Moscow X (1993)-Ken Kobland-57:30 min. Col. Video
54. My TV Dictionary (1986)-Hans Breder-19 min. Col. Video
55. New Reel (1976)-Hermine Freed-12 min. Col. Video
56. Passeggiate romane (1985)-Caterina Borelli-16 min. Col. Video
57. Pilot (1977)-General Idea-28 min. Col. Video
58. Plowmans Lunch (1982)-Lawrence Weiner-28:30 min. Col. Video
59. Production Notes: Fast Food for Thought (1986-87)-Jason Simon-28 min.
Col. Video
60. Psyche (1974)-Gina Pane -29 min. Col. Video
61. Rainy Season (1987)-George Kuchar-28:37 min. Col. Video
62. Raum Sehen, Raum Horen (1974)-Valie Export-9 min. Col. Video
63. Relativ Romantisch (1983)-Klaus vom Bruch-21:46 min. Col. Video
64. Salto Mortale (1979)-Ulrike Rosenbach-29:30 min. Col. Video
65. Scenario du Film Passion (1982)-Jean-Luc Godard-54 min. Col. Video
66. Search-Wendy Kirkup (1993)-Pat Nandi-8 min. Col. Video
67. Seduction of a cyborg (1974)- Lynn Hershman-7 min. Col. Video
68. Semiotics of the kitchen (1975)-Martha Rosler-6 min. Col. Video
69. Sensible Shoes (1983)-John Adams-11:10 min. Col. Video
70. Sex Projection/2. Audience, Performer Mirror (1977)-Dan Graham-30 min.
Col. Video
71. Shoot (1971)-Chris Burden-1:50 min. Col. Video
72. Shooting (1974)-Vito Acconci-11 min. Col. Video
73. Shut The Fuck Up (1985)-General Idea-11 min. Col. Video
74. Soundings (1979)-Gary Hill-7 min. Col. Video
75. Suicide Sutra (1974)-Les Levine-30 min. Col. Video
76. Technology/Transformation: Wonder Woman (1978)-Dara Birbaum-7 min. Col.
Video
77. Test Tube (1979)-General Idea-28 min. Col. Video
78. The Abandoned shabono (1978)-Juan Downey-27 min. Col. Video
79. The Citadel (1992)-Cornelina Swann-14 min. Col. Video
80. The Diamond Lane (1981)-Barbara Bloom-5 min. Col. Video
81. The Double (1984)-Ken Feingold-29 min. Col. Video
82. The Eternal Frame (1975-76)-T.R. Uthco & Ant Farm-23:50 min. BW & Col.
Video
83. The Italian Tape (Exclamations) (1974)-John Baldessari-12 min. Col.
Video
84. The Long Take (1988)-Gary Kibbins-7 min. Col. Video
85. The Revealing Myself Tapes (1977)-Judith Barry-22 min. Col. Video
86. The Revolution Will Not Be Televised (1988)-Stuart Baker-3:47 min. Col.
Video
87. The Shoemakers Assistent (1976)-Alison Knowles-19 min. Col. Video
88. Then (1974)-Allan Kaprow-23:30 min. Col. Video
89. They are lost to vision altogether (1988-89)-Ton Kalin-13 min. Col.
Video
90. Three Transitions LBC (1974)-Peter Campus-6 min. Col. Video
91. Tough Limo (1983)-Frances Torres-16 min. Col. Video
92. Transgresions (1992)-Dara Birbaum-1 min. Col. Video
93. Trois Strophes Sur le Nom de Sacher (1989)-Chantal Akerman-12 min. Col.
Video
94. Tur'n (1987)-Raśl Rodr'guez-24 min. Col. Video
95. Untitled I (1981)-Han Bierman-9 min. Col. Video
96. Vol (1981)-Teresa Wennberg-4:40 min. Col. Video
97. Warnings (1988)-Muntadas-5:50 min. Col. Video
98. Watching Out (1986)-Nan Hoover-13 min. Col. Video
99. Yes Frank No Smoke (1984)-George Baker-7 min. Col. Video
100. You Should never Forget The Jungle (1975)-Charlemagne Palestine-8 min.
Col. Video
Special thanks: Eugeni Bonet, IUA Universitat Pompeu Fabra
current presentation:
metronom/barcelona/spain
october21/november27 1998
©Technologies To The People
................................................................... 13
From: waz@easynet.co.uk
Date: Mon, 02 Nov 1998 06:44:30 +0000
Subject: Swallow Is Ten. Calm Down.
!gulpÁ
S
W #10 - bloody hell - double figures. bloody hell.
A how did that happen. there's a few good things this
L time, like Ernest Slyman, Vita Amory, Elisha Porat
L and mez, but the rest is a load of complete toss.
O
W
Áplug!
http://www.waz.easynet.co.uk/swallow/ <-- URL unchanged since last time
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