From marc.garrett at furtherfield.org Mon May 1 12:37:35 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 11:37:35 +0100 Subject: [NetBehaviour] 'Hairy guys' join EU in fighting Microsoft appeal. In-Reply-To: References: Message-ID: <4455E4EF.4070407@furtherfield.org> 'Hairy guys' join EU in fighting Microsoft appeal. By James Kanter. LUXEMBOURG Carlo Piana is part of a motley brigade of software activists and lawyers who have forced even the most dapper Microsoft executives to loosen a button or two in court here this past week. It was only two years ago that Piana, a lawyer from Milan with a dark scraggly beard and a passion for technology, woke up to news that the European Union had slapped Microsoft with a record fine of ?497 million, or $627.5 million at current exchange rates, for abusing its dominant position in the software market by designing and marketing software in ways that exclude rivals from the market. After Microsoft vowed to overturn the EU decision on appeal, Piana got a call from a friend who is a member of the Free Software Foundation Europe, or FSFE, a campaign group that supports making software code more accessible to the public. more... http://iht.com/articles/2006/04/28/yourmoney/msft.php From marc.garrett at furtherfield.org Mon May 1 12:45:52 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 11:45:52 +0100 Subject: [NetBehaviour] Survival Scrapbooks. In-Reply-To: References: Message-ID: <4455E6E0.9020500@furtherfield.org> Survival Scrapbooks. BySimon Yuill The Survival Scrapbooks are a series of six books published in the early-1970s covering different aspects of autonomous living from a practical perspective. Several authors contributed to the series, often with additional input from others. The titles in the series, and their authors, were: volume 1: Shelter, 1972 - Stefan Szczelkun contents: different forms of wild, mobile, or simple-to-build accommodation including caves, hand-made tents, wooden huts, and vans. volume 2: Food, 1972 - Stefan Szczelkun contents: ways of harvesting rainwater, small-scale farming, poaching, growing mushrooms, as well as advice on nutrients and different forms of diet, and fresh air as food. volume 3: Access to Tools, 1973 - Dave Williams and Stephanie Munro contents: a directory of books, resources, organisations and where to buy tools for farming, building, publishing etc. Each entry includes some small example of useful information to illustrate it. volume 3 1/2: Play: Ways and Means, 1973 - Pauline Vincent and Ann Winn contents: different play and self-made learning activities "for kids, parents, teachers, anybody". These include textile and paper making but also recycling junk, basic photography and electronics and, according to the subject listing, the "mastery of elegant insults". volume 4: Paper Houses, 1974 - Roger Sheppard, Richard Threadgill, and John Holmes contents: a detailed instruction guide to building geodesic domes from paper and cardboard, including how to make the paper. volume 5: Energy - Stefan Szczelkun contents: various DIY energy systems such as wind turbines, waterwheels, bio-gas, and home-built solar panels, but also a section on psychic energies. Includes maps of naturally available energy sources (such as wind, water, wood) in Britain and the States. The books were published by the Unicorn Bookshop in Brighton, with some titles re-printed in the States by Shocken. It started as an ongoing project and other titles were planned, such as one on squatting, one on communications and publishing, and one called "Cracks in the Earth" on what to do when "attacked by teenage vampires from Outer Space" amongst other things. The styles of the different authors vary, as do the format of the books. Szczelkun's titles were all published with punch-holes in the pages so they could be removed from their cover and combined with other material in a ring-binder. The sections are each printed in a different coloured ink (purple, blue, red, brown, orange, etc) with a coloured strip and graphic icon in each outer edge to make it easy to flick through and find stuff. The texts are hand-written and a variety of different visual styles are used in the illustrations, including drawings by Clifford Harper, photographs, Victorian etchings and newspaper clippings. "Access To Tools" follows the format of the Whole Earth Catalogue, lots of compact boxes of information on each page a bit like the classified adds in a newspaper. This also has page-holes for a ring-binder. The other two books depart from this. "Paper Houses" is more like a conventional instruction manual with step-by-step diagrams and photographs, whilst "Play" is printed in landscape format typical of school activity-books at that time, although it is also the most visually intense with tons of drawings, photographs and pasted texts cramming the pages. The scrapbook idea and ring-binder format utilises a particular form of information system that has a loose structure, and is intended to be re-edited. As such it is typical of many of the experiments with the book format that were explored in its day, and which led towards some of the structures that now characterise online publication, such as the Wiki. Classic examples of such texts are Ted Nelson's "Computer Lib" (1974 and 1975), Marvin Minsky's "Society of Mind" (from early 1970's onwards), and the Whole Earth Catalogue (1968 - 1998). Whilst volume 3, "Access to Tools" is clearly a British version of the Whole Earth Catalogue - it's title is the slogan from the Catalogue's cover - there is also a shared set of themes between the Catalogue and the Scrapbooks as a whole: both share a strong influence of Buckminster Fuller's ideas, evident in themes such as knowledge as a tool, social-ecological systems, shelter, energy, and geodesic domes. In this sense they are equivalent US and British statements of early-1970's counterculture and alternative living. They differ in that most of the Scrapbooks provide more detailed explorations of particular topics, rather than general compendiums of knowledge. They also differ in terms of their textual archaeologies. more... http://www.metamute.org/en/Survival-Scrapbooks From marc.garrett at furtherfield.org Mon May 1 12:51:42 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 11:51:42 +0100 Subject: [NetBehaviour] Historical Celestial Atlases on the Web. In-Reply-To: <002801c66ad5$7e943be0$6601a8c0@t5x1c0> References: <002801c66ad5$7e943be0$6601a8c0@t5x1c0> Message-ID: <4455E83E.7020102@furtherfield.org> Historical Celestial Atlases on the Web. Man has always been fascinated with the solemn and mysterious parade of the celestial luminaries in the night sky. As the earliest-known texts of various ancient cultures attest, the stars were commonly grouped into constellations which were believed to represent divine persons, sacred animals and other objects of religious importance. Of course, each of the major cultures stemming from of the Near East, the Far East and the New World developed an indigenous system of constellation figures and associated legends which were recorded in written texts or depicted in maps or on globes. Of these various constellation systems, the Sumerian/Babylonian system of constellations would prove to be the most influential as it was their system that through successive adoptions, modifications and additions by Greek/Roman, Islamic and European astronomers evolved into the mathematically defined system of 88 constellations that is currently employed in the international astronomical community. more... http://www.phys.uu.nl/~vgent/celestia/celestia.htm From marc.garrett at furtherfield.org Mon May 1 12:55:28 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 11:55:28 +0100 Subject: [NetBehaviour] Park and write. In-Reply-To: <002801c66ad5$7e943be0$6601a8c0@t5x1c0> References: <002801c66ad5$7e943be0$6601a8c0@t5x1c0> Message-ID: <4455E920.3060405@furtherfield.org> Park and write. By Sean Coughlan BBC News Magazine. A homeless woman in London has been living in a car since last summer. But by writing a blog she has put herself in touch with an international audience. It's a tale of our time - about being cut off from everything around you but still connected to people thousands of miles away. A woman becomes homeless, so she gets into her car and drives. Except she has nowhere to go - so she stays in the car, with all her possessions heaped in the back, sleeping in the front seats, parking in secluded streets. For eight months, no one notices her, because she makes sure she looks respectable, taking showers and even ironing her clothes in public places like hospitals. She has made herself invisible, out of touch from anyone she used to know - and keeping separate from other homeless people. But this is the information age. And even though she doesn't speak to anyone, she can go into a library where she can access the internet and write an online journal - a homelessness blog - which she uses to describe all her unspoken experiences and feelings. more... http://news.bbc.co.uk/2/hi/uk_news/magazine/4923488.stm From cahen.x at levels9.com Mon May 1 12:59:43 2006 From: cahen.x at levels9.com (xavier cahen) Date: Mon, 01 May 2006 12:59:43 +0200 Subject: [NetBehaviour] 00-00-0000.org / 05_01_2003 / =?windows-1252?q?F=EAte_du_1_er_mai?= =?windows-1252?q?=2C_Paris=2C_2003_/_The_first_may_day_march=2C_2003=2C_P?= =?windows-1252?q?aris=2E?= Message-ID: <4455EA1F.9010500@levels9.com> ---------------- 00-00-0000.org Month Mois Mes - Day Jour Dia - Year Ann?e A?o http://www.00-00-0000.org To get acces to 00-00-0000.org you need to download the software below... Pour acc?der ? 00-00-0000.org vous devez t?l?charger le logicel ci-dessous... Para conseguir acces a 00-00-0000.org usted necesitan de descargar el programa debajo... ++++++ ++++++ Windows XP et 2000 http://www.levels9.com/laube/00-00-0000_PC.zip Mac OS 10 and + http://www.levels9.com/laube/00-00-0000_MAC.zip ++++++ ++++++ or acc?s direct / direct access Actu. / http://www.levels9.com/artprog1/actu/document_actu/1mai/1mai_2.html http://www.levels9.com/artprog1/actu/document_actu/1mai/index.html ++++++ ++++++ 00-00-0000 00-00-0000 Dawn to Dawn... de l'aube ? l'aube... Amanecer al amanecer... 05-01-2003 F?te du 1 er mai, Paris, 2003 / The first may day march [ English version below ] Les d?fil?s du 1er mai ont d?but? jeudi matin dans la plupart des grandes villes fran?aises. Cette ann?e, ils ont ?t? plac?s sous le signe de la d?fense des retraites, au moment ou le gouvernement Raffarin finalise son projet de r?forme qu'il doit pr?senter la semaine suivante en conseil des ministres. le 1er mai 2003, avec quelques 200 manifestations, a retrouv? ses origines syndicales sur le dossier f?d?rateur des retraites. Ce rendez-vous fait figure, ? cet ?gard, de r?p?tition g?n?rale avant la journ?e de gr?ves et de manifestations pr?vues le 13 mai prochain. Derri?re une banderole unitaire, sur laquelle ?tait inscrit : "Tous ensemble, public, priv? : retraites, protection sociale, emploi, salaires, paix" les d?fil?s de Marseille, Lyon, Paris affichaient clairement ce message. C'est sur ce m?me mot d'ordre qu'ont d?fil? les manifestants de Strasbourg, Nancy et Toulouse. Partout en France, les manifestants demandaient le "retrait de la r?forme Fillon", r?clamant la fin d'une soci?t? "qui n'offre que ch?mage et pr?carit?". Dans la matin?e, les leaders syndicaux se sont exprim?s. Bernard Thibault, le secr?taire g?n?ral de la CGT, a rappel? sur RMC Info qu'il "propose d'envisager une succession de rendez-vous tout au long du mois de mai". "Mais si le gouvernement nous invite ? rediscuter de la r?forme, nous r??valuerons ces rendez-vous", a-t-il d?clar?. De son c?t?, Marc Blondel, le secr?taire g?n?ral de FO, sur BFM, a tax? de "propagande" la campagne de communication que va lancer le gouvernement sur sa r?forme des retraites d?s le 7 mai, ajoutant "nous n'avons qu'une seule r?ponse ? faire : essayer de prendre l'opinion publique ? t?moin". Quant ? Fran?ois Ch?r?que, le secr?taire g?n?ral de la CFDT, il avait soulign? sur LCI que "le niveau des pensions devait ?tre l'?l?ment central de la r?forme"... Ce premier mai parisien fut pluvieux, mais n'entama pas la d?termination des manifestants. Cette journ?e rappelle l'enjeux de l'action syndicale et nous ram?ne ? ces origines symboliques... En effet, en 1884, les principaux syndicats ouvriers des ?tats-Unis d'Am?rique r?unis au cours du IVe congr?s de l?American Federation of Labor s'?taient donn? deux ans pour imposer aux patrons une limitation de la journ?e de travail ? huit heures, ? savoir la division id?ale de la journ?e en 3 huit : travail, sommeil, loisirs. Ils avaient donc choisi de d?buter leur action de gr?ve g?n?rale le 1er mai 1886 parce que beaucoup d'entreprises am?ricaines entamaient ce jour-l? leur ann?e comptable. Si beaucoup de travailleurs obtiennent imm?diatement satisfaction de leurs employeurs, pour d'autres, (au nombre d'environ 340.000) ceux-ci doivent faire gr?ve. Cette victoire des 8 heures sera douloureuse et ne sera acquise qu'apr?s des ?meutes sanglantes et l'explosion d'une bombe ? Chicago, le jugement de trois syndicalistes anarchistes condamn?s ? la prison ? perp?tuit? et de cinq autres pendus le 11 novembre 1886 malgr? des preuves incertaines. Trois ans apr?s le drame de Chicago, la IIe Internationale socialiste r?unit ? Paris son deuxi?me congr?s. Celui-ci se tient au 42, rue Rochechouart, salle des Fantaisies parisiennes dans le 9 i?me arrondissement, pendant l'Exposition universelle qui comm?more le centenaire de la R?volution fran?aise. Les congressistes se donnent pour objectif la journ?e de huit heures (soit 48 heures hebdomadaires, le dimanche seul ?tant ch?m?). Jusque-l?, il est habituel de travailler dix ou douze heures par jour (en 1848, en France, un d?cret r?duisant ? 10 heures la dur?e de la journ?e de travail n'a pas r?sist? plus de quelques mois ? la pression patronale). Le 20 juin 1889, sur une proposition de Raymond Lavigne, ils d?cident qu?il sera ?organis? une grande manifestation ? date fixe de mani?re que dans tous les pays et dans toutes les villes ? la fois, le m?me jour convenu, les travailleurs mettent les pouvoirs publics en demeure de r?duire l?galement ? huit heures la journ?e de travail et d?appliquer les autres r?solutions du congr?s. Attendu qu?une semblable manifestation a ?t? d?j? d?cid?e pour le 1er mai 1890 par l?AFL, dans son congr?s de d?cembre 1888 tenu ? Saint Louis, cette date est adopt?e pour la manifestation. A Paris lors d'une manifestation en 1890, les manifestants d?fil?rent en portant ? la boutonni?re un triangle rouge symbolisant leurs revendications, ? savoir la division id?ale de la journ?e en 3 huit. Ce triangle fut remplac? par la fleur d'?glantine puis par le muguet cravat? de rouge. C'est depuis ce jour que f?te du travail et muguet furent associ?s. Xavier Cahen 00-00-0000 [ English version] 00-00-0000 The first may day march [ Paris, May 01, 2003 ] The processions of May 1 began Thursday morning in the majority from the large French cities. This year, they were placed under the sign of the defense of the retirements, at the moment or the Raffarin government finalizes its project of reform which it must present the following week in the Council of Ministers. May 1, 2003, with some 200 demonstrations, found its trade-union origins on the federator subject of the retirements. This demonstration makes figure of general repetition before the day of strikes and demonstrations envisaged on next 13 May. Behind a unit streamer, on which was written: "All together, public, private: retirements, social protection, employment, salaries, peaces " the processions of Marseille, Lyon, Paris posted this message clearly. It is on this same watchword that the demonstrators of Strasbourg, Nancy and Toulouse walked. Everywhere in France, the demonstrators asked for the "withdrawal of the Fillon reform", claiming the end of a society "which offers only unemployment and precariousness". In the morning, the trade-union leaders expressed themselves. Bernard Thibault, the secretary-general of the CGT, recalled on RMC Info that it "proposes to consider a succession of appointment throughout May". "But if the government invites us to discuss again the reform, we will revalue those meetings", it declared. On his side, Marc Blondel, the secretary-general of FO, on BFM, taxed with "propaganda" the communication campaign which the government will launch on its reform of the retirements as of May 7, adding "we have only one answer to make: to try to take the public opinion with witness ". As for Fran?ois Ch?r?que, the secretary-general of the CFDT, it had underlined on LCI that "the level of the pensions was to be the central element of the reform"... This 1st Parisian May was rainy, but did not break the determination of the demonstrators. This day points out the trade unions actions and brings back to us to these origins symbolic systems... Indeed, in 1884, the principal working trade unions of the United States of America joined together during IVe congress of American Federation of Labor had been given two years to impose to the owners a limitation of the working day on eight hours, namely ideal division of the day in 3 eights: work, sleep, leisure. They had chosen to begin their action from general strike on May 1, 1886 because many American companies started this day their countable year. So much from workers obtain satisfaction of their employers immediately, for others, (with the number from approximately 340.000) those must strike. This 8 hours victory will be painful and will be acquired only afterwards bloody riots and the explosion of a bomb in Chicago, the judgement of three anarchistic trade unionists condemned to the prison with perpetuity and of five others to be hung on November 11, 1886, in spite of dubious evidence. Three years later the drama of Chicago, socialist II nd International joins together in Paris its second congress. This one is held with the 42, street Rochechouart, room of Parisian Imaginations in the 9 th district, during the World Fair which commemorates centenaire of the French revolution. The congressmen are given for objective the eight hours day (either 48 hours weekly, Sunday alone being been unemployed). Up to that point, it is usual to work ten or twelve hours per day (in 1848, in France, a decree reducing to 10 hours the duration of the working day did not resist more few months the employers' pressure). June 20, 1889, on a proposal of Raymond Lavigne, they decide that it "will be organized a great demonstration on fixed date so that in all the countries and in all the cities at the same time, the same agreed day, the workers put the authorities in residence to reduce legally to eight hours the working day and to apply the other resolutions of the congress. Waited until a similar demonstration was already decided for May 1, 1890 by the AFL, in its congress from December 1888 held in Saint Louis, this date is adopted for the processions. In Paris at the time of a demonstration in 1890, the demonstrators ravelled while carrying to the buttonhole a red triangle symbolizing their claims, namely ideal division of the day in 3 eights. This triangle was replaced by the flower of red wild rose then by the lily of the valley. It has been for this day which Labour Day and lily of the valley were associated? Xavier Cahen Translation : Kristine Barut Dreuilhe ----------------- 00-00-0000.org dawn to dawn... de l'aube ? l'aube... Amanecer al amanecer... http://www.00-00-0000.org -- XAVIER CAHEN -------------- cahen.x at levels9.com Paris France http://www.levels9.com From marc.garrett at furtherfield.org Mon May 1 13:03:51 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 12:03:51 +0100 Subject: [NetBehaviour] Hard Drive Laser Oscilloscope. In-Reply-To: <002801c66ad5$7e943be0$6601a8c0@t5x1c0> References: <002801c66ad5$7e943be0$6601a8c0@t5x1c0> Message-ID: <4455EB17.1040009@furtherfield.org> Hard Drive Laser Oscilloscope. by Alan Parekh: Filed under Electronic Hacks, Crazy Hacks, DIY Hacks, Top 5. This project was inspired by Aftotech?s Hard Drive Speakers (page 4). Basically the voice coil drive circuit was located on the hard drive controller board and disconnected by cutting a trace. The voice coil was metered and was found to be 10 ohms, this was within range to be driven directly from my stereo speaker output. A laser was mounted to the hard drive body, the laser output bounces off a mirror that is mounted at the edge of the hard drive body. The first mirror is top hinged and has a wire connecting it to the read/write arm of the hard drive. Now when the read/write arm moves the vertical deflection of the laser beam is changed. The first mirror points its laser output to a second mirror is mounted to the center of the hard drive platter. Initially the second mirror was intended to be spun using the hard drive motor however the hard drive motor spins too fast. Instead the platter is moved by hand allowing fine control of the horizontal laser position. We have all seen an oscilloscope hooked up to a speaker output to allow us to ?watch? the music. Well now you can see a standard oscilloscope and a Hard Drive Oscilloscope side by side... more... http://hackedgadgets.com/2006/04/25/top-5-uses-for-a-dead-hard-drive/2/ From heliopod at gmail.com Mon May 1 13:23:59 2006 From: heliopod at gmail.com (Jason Nelson) Date: Mon, 1 May 2006 21:23:59 +1000 Subject: [NetBehaviour] submissions wanted (revised) where we create Message-ID: <33e11ba10605010423q65b80833i82d74a6a7c8ea7d3@mail.gmail.com> All, After consultations, we have reconfigured the wherewecreate project. The new and easy on you guidelines are listed below. The project needs content to get started so please send soon. Where We Create Project. http://newformsreview.com/wherewecreate/ The first project from the newly built newformsreview.com founded by Jason Nelson, a net art and digital Literature portal and forthcoming peer-reviewed journal. The Where We Create Project is designed to connect digital artists and writers (and analog creators as well) through a website featuring photos and descriptions of where artists/writers create. Our geographies and external landscapes are instrumental in altering and forming the creatures we create. What we need is the following sent to this address: wherewecreate at gmail.com 1. An image or two, 300 px by 300 px jpg or around there, of where you create. This can be your office, your backyard, some coffee shop, whatever you want to show the physical space(s) where you work. 2. Some text about that place and its meaning to you, your work, your life, or whatever you feel represents the world in which you create. We are looking for around five or six or seven sentences, but not much more. 3. Your name, any other brief biographical information, and where this places you are talking about are: for example: Emporia, Kansas, downtown office building, second floor in the back?. 4. and a few urls so people can go see the work you create in that place. NOTE: Please keep in mind the more personal space the better, and that this isn't intended to showcase your artistic skills, but rather share a small bit of your geography. Cheers, Jason Nelson -------------- next part -------------- An HTML attachment was scrubbed... URL: From marc.garrett at furtherfield.org Mon May 1 14:04:20 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 13:04:20 +0100 Subject: [NetBehaviour] submissions wanted (revised) where we create In-Reply-To: <33e11ba10605010423q65b80833i82d74a6a7c8ea7d3@mail.gmail.com> References: <33e11ba10605010423q65b80833i82d74a6a7c8ea7d3@mail.gmail.com> Message-ID: <4455F944.9060008@furtherfield.org> Hi Jason, Because some of us may create in more than one environment, is there a chance that submissions are allowed more than one image to send you - perhaps 3 in total? Obviously within size guidelines... marc > All, > > After consultations, we have reconfigured the wherewecreate project. > > The new and easy on you guidelines are listed below. The project needs > content to get started so please send soon. > > > Where We Create Project. http://newformsreview.com/wherewecreate/ > > > > > The first project from the newly built newformsreview.com > founded by Jason Nelson, > > a net art and digital Literature portal and forthcoming peer-reviewed > journal. > > > > The Where We Create Project is designed to connect digital artists and > writers (and > > analog creators as well) through a website featuring photos and > descriptions of where > > artists/writers create. Our geographies and external landscapes are > instrumental > > in altering and forming the creatures we create. > > > > What we need is the following sent to this address: > wherewecreate at gmail.com > > > > 1. An image or two, 300 px by 300 px jpg or around there, of where you > create. > This can be your office, your backyard, some coffee shop, whatever you > want > to show the physical space(s) where you work. > > > > 2. Some text about that place and its meaning to you, your work, your > life, > > or whatever you feel represents the world in which you create. We are > looking > > for around five or six or seven sentences, but not much more. > > > > 3. Your name, any other brief biographical information, and where this > places > > you are talking about are: for example: Emporia, Kansas, downtown > > office building, second floor in the back?. > > > 4. and a few urls so people can go see the work you create in that place. > > > > NOTE: Please keep in mind the more personal space the better, and > > that this isn't intended to showcase your artistic skills, > > but rather share a small bit of your geography. > > > > Cheers, Jason Nelson > >------------------------------------------------------------------------ > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From marc.garrett at furtherfield.org Mon May 1 14:47:47 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 13:47:47 +0100 Subject: [NetBehaviour] From ambientTV 3 - items of interest... In-Reply-To: <4455E4EF.4070407@furtherfield.org> References: <4455E4EF.4070407@furtherfield.org> Message-ID: <44560373.4010706@furtherfield.org> ambientTV.NET is delighted to invite you to Orchestra of Anxiety MARIBOR [MAY 10th - 12th] ---> http://www.ambientTV.NET/5/ooa Who Watches the Watchers? PRAGUE [MAY 18th - 19th] ---> http://www.ambienttv.net/content/?q=thespyschool faceless SYDNEY [JUNE 2nd] ---> http://www.ambienttv.net/content/?q=faceless ________________________________________________________ Orchestra of Anxiety @ 12 Int. Festival of Computer Arts in Maribor The first realized piece from ambientTV.NET's collection of musical instruments constructed using materials and technologies from the security and surveillance industries ??? a harp with strings of razor wire. After having sliced the fingers of the many courageous Slovakian guest harpists last month, it will be on show in Maribor, Slovenia, 10???12th of May, 2006 ---> http://www.ambientTV.NET/5/ooa ---> http://www.kibla.org ________________________________________________________ Who Watches the Watchers? @ Skolska28 and FAMU in Prague Thu., May 18, 6pm - presentation (Skolska28) Fri., May 19, 2pm - workshop and screening (Film and TV School of the Academy of Performing arts in Prague, Lazansky palac, Room2) Recent works of artists Manu Luksch and Mukul Patel reflect upon the omnipresence of surveillance technology in our daily environment by making use of it in humorous, unanticipated ways. The artists will show examples of their productions and discuss access to and artistic reinterpretation of these 'tools'... --> http://www.ambienttv.net/content/?q=thespyschool --> http://openstudios.info --> http://www.skolska28.cz --> http://www.famu.cz ________________________________________________________ faceless @ GBK Gallery in Sydney keep the date: opening 6-8pm, 2 June 2006 at Gallery Barry Keldoulis, 2 Danks Street, Waterloo, Sydney Sean Cordeiro & Claire Healy will present new installations in their exhibition Custom Living and Austrian artist Manu Luksch will show her video installation faceless ??? a sci-fi CCTV thriller. --> http://www.ambienttv.net/content/?q=faceless --> http://www.gbk.com.au ________________________________________________________ ________________________________________________________ ambientTV.NET...... ......is a crucible for independent, interdisciplinary practice ranging from installation and performance, through documentary, dance, and gastronomy, to sound and video composition and real-time manipulation. Techniques and effects of live data broadcasting and transmission provide theme, medium, and performative space for many of the works. http://www.ambientTV.NET From marc.garrett at furtherfield.org Mon May 1 15:39:14 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 14:39:14 +0100 Subject: [NetBehaviour] How Will They Do It? - The End of the Internet. In-Reply-To: References: Message-ID: <44560F82.5060106@furtherfield.org> How Will They Do It? - The End of the Internet. By Jeff Chester (with editorial comment by Les Blough) Feb 24, 2006, 13:17 The End of the Internet? By Jeff Chester The nation's largest telephone and cable companies are crafting an alarming set of strategies that would transform the free, open and nondiscriminatory Internet of today to a privately run and branded service that would charge a fee for virtually everything we do online. Verizon, Comcast, Bell South and other communications giants are developing strategies that would track and store information on our every move in cyberspace in a vast data-collection and marketing system, the scope of which could rival the National Security Agency. According to white papers now being circulated in the cable, telephone and telecommunications industries, those with the deepest pockets--corporations, special-interest groups and major advertisers--would get preferred treatment. Content from these providers would have first priority on our computer and television screens, while information seen as undesirable, such as peer-to-peer communications, could be relegated to a slow lane or simply shut out. http://www.axisoflogic.com/artman/publish/article_21223.shtml From turbulence at turbulence.org Mon May 1 15:44:13 2006 From: turbulence at turbulence.org (Turbulence) Date: Mon, 1 May 2006 09:44:13 -0400 Subject: [NetBehaviour] Turbulence Commission: "The Saddest Thing I Own" by Matthew Belanger, A. Elizabeth Mikesell, and Marianne R. Petit Message-ID: <000001c66d25$595862a0$6601a8c0@t5x1c0> May 1, 2006 Turbulence Commission: "The Saddest Thing I Own" by Matthew Belanger, A. Elizabeth Mikesell, and Marianne R. Petit http://turbulence.org/Works/saddest/ There are some things that we own that are just so sad. You know what we mean. Sad. It seems likely that these sad things illuminate our vulnerable places, one way or another. "The Saddest Thing I Own" invites people everywhere to share the saddest thing they own. What are these sad things? What makes things sad? Do things start off sad? Do some sad things begin as happy things that then become sad? Are some things only sad because for some sad reason we kept them? Are some things just plain sad no matter what? This is what we want to know. "The Saddest Thing I Own" is a 2006 commission of New Radio and Performing Arts, Inc. (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Jerome Foundation. BIOGRAPHIES MATTHEW BELANGER is a New York based new media artist, programmer, and consultant. He dedicates this site to his mother, Wendy, who passed away in October of 2005 after a long battle with cancer. His works include documentary video, large-scale digital photography, interactive online applications and software development. His complete portfolio can be seen at: http://www.matthewbelanger.com/ A. ELIZABETH MIKESELL is an artist and writer who lives in New York City. She is on the faculty of New York University's Expository Writing Program, in which she teaches writing to students in the Tisch School of the Arts. Her fiction and non-fiction have been published in a number of small literary magazines. MARIANNE R. PETIT is an Associate Arts Professor at the Interactive Telecommunications Program at the Tisch School of the Arts at New York University. Her artwork, including video, animation, and installation, has been exhibited in international festivals and exhibits and reviewed in a variety of publications including Leonardo, Wired and World Art. Her work can be seen at: http://www.mariannepetit.com. For more information about Turbulence, please visit http://turbulence.org Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org New American Radio: http://somewhere.org Networked_Performance Blog: http://turbulence.org/blog Upgrade! Boston: http://turbulence.org/upgrade From newmediapoet at yahoo.com Mon May 1 16:20:18 2006 From: newmediapoet at yahoo.com (Jason Nelson) Date: Mon, 1 May 2006 07:20:18 -0700 (PDT) Subject: [NetBehaviour] submissions wanted (revised) where we create In-Reply-To: <4455F944.9060008@furtherfield.org> Message-ID: <20060501142018.61617.qmail@web54602.mail.yahoo.com> Marc and all, Sure three images sounds fine. Please do include short descriptions for each, just so we know which are where and how. Jason marc wrote: Hi Jason, Because some of us may create in more than one environment, is there a chance that submissions are allowed more than one image to send you - perhaps 3 in total? Obviously within size guidelines... marc > All, > > After consultations, we have reconfigured the wherewecreate project. > > The new and easy on you guidelines are listed below. The project needs > content to get started so please send soon. > > > Where We Create Project. http://newformsreview.com/wherewecreate/ > > > > > The first project from the newly built newformsreview.com > founded by Jason Nelson, > > a net art and digital Literature portal and forthcoming peer-reviewed > journal. > > > > The Where We Create Project is designed to connect digital artists and > writers (and > > analog creators as well) through a website featuring photos and > descriptions of where > > artists/writers create. Our geographies and external landscapes are > instrumental > > in altering and forming the creatures we create. > > > > What we need is the following sent to this address: > wherewecreate at gmail.com > > > > 1. An image or two, 300 px by 300 px jpg or around there, of where you > create. > This can be your office, your backyard, some coffee shop, whatever you > want > to show the physical space(s) where you work. > > > > 2. Some text about that place and its meaning to you, your work, your > life, > > or whatever you feel represents the world in which you create. We are > looking > > for around five or six or seven sentences, but not much more. > > > > 3. Your name, any other brief biographical information, and where this > places > > you are talking about are: for example: Emporia, Kansas, downtown > > office building, second floor in the back???. > > > 4. and a few urls so people can go see the work you create in that place. > > > > NOTE: Please keep in mind the more personal space the better, and > > that this isn't intended to showcase your artistic skills, > > but rather share a small bit of your geography. > > > > Cheers, Jason Nelson > >------------------------------------------------------------------------ > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > _______________________________________________ NetBehaviour mailing list NetBehaviour at netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour --------------------------------- Love cheap thrills? Enjoy PC-to-Phone calls to 30+ countries for just 2?/min with Yahoo! Messenger with Voice. -------------- next part -------------- An HTML attachment was scrubbed... URL: From marc.garrett at furtherfield.org Mon May 1 16:27:56 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 15:27:56 +0100 Subject: [NetBehaviour] submissions wanted (revised) where we create In-Reply-To: <20060501142018.61617.qmail@web54602.mail.yahoo.com> References: <20060501142018.61617.qmail@web54602.mail.yahoo.com> Message-ID: <44561AEC.60506@furtherfield.org> Hi Jason, Thanks - will send some later on this evening :-) marc > Marc and all, > > Sure three images sounds fine. Please do include > short descriptions for each, just so we know which > are where and how. > > Jason > > */marc /* wrote: > > Hi Jason, > > Because some of us may create in more than one environment, is > there a > chance that submissions are allowed more than one image to send you - > perhaps 3 in total? > > Obviously within size guidelines... > > marc > > > All, > > > > After consultations, we have reconfigured the wherewecreate project. > > > > The new and easy on you guidelines are listed below. The project > needs > > content to get started so please send soon. > > > > > > Where We Create Project. http://newformsreview.com/wherewecreate/ > > > > > > > > > > The first project from the newly built newformsreview.com > > founded by Jason Nelson, > > > > a net art and digital Literature portal and forthcoming > peer-reviewed > > journal. > > > > > > > > The Where We Create Project is designed to connect digital > artists and > > writers (and > > > > analog creators as well) through a website featuring photos and > > descriptions of where > > > > artists/writers create. Our geographies and external landscapes are > > instrumental > > > > in altering and forming the creatures we create. > > > > > > > > What we need is the following sent to this address: > > wherewecreate at gmail.com > > > > > > > > 1. An image or two, 300 px by 300 px jpg or around there, of > where you > > create. > > This can be your office, your backyard, some coffee shop, > whatever you > > want > > to show the physical space(s) where you work. > > > > > > > > 2. Some text about that place and its meaning to you, your work, > your > > life, > > > > or whatever you feel represents the world in which you create. > We are > > looking > > > > for around five or six or seven sentences, but not much more. > > > > > > > > 3. Your name, any other brief biographical information, and > where this > > places > > > > you are talking about are: for example: Emporia, Kansas, downtown > > > > office building, second floor in the back???. > > > > > > 4. and a few urls so people can go see the work you create in > that place. > > > > > > > > NOTE: Please keep in mind the more personal space the better, and > > > > that this isn't intended to showcase your artistic skills, > > > > but rather share a small bit of your geography. > > > > > > > > Cheers, Jason Nelson > > > >------------------------------------------------------------------------ > > > >_______________________________________________ > >NetBehaviour mailing list > >NetBehaviour at netbehaviour.org > >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > ------------------------------------------------------------------------ > Love cheap thrills? Enjoy PC-to-Phone calls to 30+ countries > > for just 2?/min with Yahoo! Messenger with Voice. > >------------------------------------------------------------------------ > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From marc.garrett at furtherfield.org Mon May 1 19:47:45 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 01 May 2006 18:47:45 +0100 Subject: [NetBehaviour] Join May Day Virtual Sit-In! All Day Long. In-Reply-To: <4455E4EF.4070407@furtherfield.org> References: <4455E4EF.4070407@furtherfield.org> Message-ID: <445649C1.5020203@furtherfield.org> May Day Virtual Sit-In! http://www.thing.net/~rdom/ecd/MayDay2006/Start.html Join May Day Virtual Sit-In! All Day Long. Bodies On-line and Bodies in the Street Together. NO ILLEGAL BORDERS! NO ILLEGAL LAWS! CLICK HERE*CLIQUEN AQUI http://www.thing.net/~rdom/ecd/MayDay2006/Start.html The Electronic Disturbance Theater and the borderlands Hacklab call for a virtual strike in solidarity with the May 1st General Strike / Walkout / Boycott in the US and actions for Freedom of Movement taking place all over Europe on May 1st, 2006. Information control is a critical part of the control of people's movement and the information dissemination engines such as CNN are used to propagate racist propaganda from the mouths of Lou Dobbs, Tom Tancredo and Sensenbrenner every day. Racists like the Minutemen, with known ties to neo-Nazi groups, have become an everyday fixture in the US media landscape. With this virtual strike, we will join the millions marching in the US, Mexico and Europe in slowing down the economy by slowing down the information systems. On this day without an immigrant, we will also have a day without Lou Dobbs, Semsenbrenner and the Minutemen in cyberspace. Join us in making this a reality. This virtual strike is also made in solidarity with La Otra Campana of the Zapatistas, who are marching to the US consulate in Mexico City as part of their campaign to overthrow the evil governments of the world by building community power from below and from the left. May 1st has been celebrated for more than a century as International Workers Day, commemorating the struggle for the eight hour workday in the US and the state murder of anarchist labor organizers in Chicago in 1887. The militant labor movement in Chicago was largely due to the influence of radical immigrant workers from central Europe, who were the most exploited of the working class. Today we reclaim May Day as a day for migrant people everywhere. Against HR4437 and for amnesty for all! For a world free of deportations and detention centers! For Freedom of Movement and the Right to Stay! For a world free of borders! For a world free of racist immigration controls! For a world free of neo-liberalism and capitalism! For a world where many worlds fit! Join the Virtual Sit-In, May 1st, 2006 and help make the massive mayday strike/walkout/boycott be felt throughout cyberspace. http://www.thing.net/~rdom/ecd/MayDay2006/Start.html _______________________________________________ knowledgelab mailing list knowledgelab at lists.aktivix.org https://lists.aktivix.org/mailman/listinfo/knowledgelab From turbulence at turbulence.org Mon May 1 23:01:05 2006 From: turbulence at turbulence.org (Turbulence) Date: Mon, 1 May 2006 17:01:05 -0400 Subject: [NetBehaviour] !! Tomorrow Night !! Upgrade! Talman and Thorington Message-ID: <000001c66d62$62f1e380$6601a8c0@t5x1c0> UPGRADE! BOSTON: JEFF TALMAN AND HELEN THORINGTON Join us for an evening of listening and dialogue with award winning sound artists Jeff Talman and Helen Thorington. When: May 2, 7:00-9:00 p.m. Where: Art Interactive, 130 Bishop Allen Drive, at the corner of Prospect Street, Cambridge More Information: http://www.turbulence.org/upgrade/archives/05_06JT.html http://www.turbulence.org/upgrade/archives/05_06HT.html Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org New American Radio: http://somewhere.org Networked_Performance Blog: http://turbulence.org/blog Upgrade! Boston: http://turbulence.org/upgrade From sondheim at panix.com Tue May 2 06:31:14 2006 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 2 May 2006 00:31:14 -0400 (EDT) Subject: [NetBehaviour] why these? Message-ID: why these? recuperated older work: murmer: see chora as well real carapace on the virtual virtual carapace on the real chora: see murmer as well Deleuze's _pli_ Kristeva's _chora_ Wolfram's _automata_ http://www.asondheim.org/murmer.mp4 http://www.asondheim.org/chora.mp4 The theory is within the production of the objects. Both objects are for sale. Therefore both objects are the result of production. Alienated labor: Software as third party/partition. Exchange value: Digital. bit(n)|bit(m) Use value: Analog. bite(n,m) From james at jwm-art.net Tue May 2 13:21:56 2006 From: james at jwm-art.net (james at jwm-art.net) Date: Tue, 02 May 2006 11:21:56 +0000 Subject: [NetBehaviour] SketchUp In-Reply-To: Message-ID: I was going to download sketchup just to see what it's like, mainly so I could reply to the message but there is nothing about http://sketchup.google.com which entices me out of my "I can't be bothered" attitude. So I'll dismiss it as crap without trying it. Pay $495 for the "Pro" version so I can print out at a higher-than-screen resolution, they must be marketing at out and out newbies. "Discover if 3d modelling is right for you", like it's some kind of beauty treatment or laxative or something. And the name stinks bad. It frightens me that google is promoting cruft like this. On 29/4/2006, "carlos katastrofsky" wrote: >google frightens me. i tried "sketchup" and - yes, it's quite handy and >easy to use. like other google- software & services you can download it >for free (there's a pay - version too) and the ever funny and colourful >ooooo's smile at you friendly. >this all is really frightening. > >------- Forwarded message ------- > >Sketchup, one of the best 3D drawing apps is now free - "Google SketchUp >(free) >is an easy-to-learn 3D modeling program whose few simple tools enable you >to >create 3D models of houses, sheds, decks, home additions, woodworking >projects - >even space ships. You can add details, textures and glass to your models, >design >with dimensional accuracy, and place your finished models in Google Earth, >share >them with others by posting them to the 3D Warehouse, or print hard copies. >Google SketchUp (free) is a great way to discover if 3D modeling is right >for >you." - http://sketchup.google.com >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From aabrahams at bram.org Tue May 2 15:21:05 2006 From: aabrahams at bram.org (aabrahams) Date: Tue, 2 May 2006 15:21:05 +0200 Subject: [NetBehaviour] Police officer killed in Berlin? Message-ID: http://bram.org/beinghuman/poll/hans/violence.php What is happening when violence is declared art ? Why should someone do this ? What does it mean? On 5/2/06, Hans Bernhard wrote: > - Hide quoted text - > We hereby declare this found footage video to be an > actionist UBERMORGEN.COM art piece named > ?Foriginal Media Hack no. 1, Web 2.0". a physical > manifestation that is to be viewed as a document of the art. > > Videolink: > http://www.foriginal.com/no1 > > //Media Hack Distributor > > Repeat > { > follow link > watch video > forward to another friend > } > > Hans- > -- > Hans Bernhard > UBERMORGEN.COM > > Am 02.05.2006 um 01:43 schrieb Barbara Alex: > > > Von: "Barbara Alex" > > Datum: 1. Mai 2006 22:42:54 GMT+02:00 > > An: hans at ubermorgen.com > > Betreff: copkiller > > > > Dear Hans > > > > I ran into this brutal beating up of a cop during the 1st of may > > demonstrations in berlin-kreuzberg, i was walking into a backyard and > > there they were, 4 guys attacking, beating up this officer... after i > > started filming with my mobile the guys started to hit more brutally. > > dunno if this guy ever gets up again, they really beat the shit out of > > him. While filming another cop turned up and i ran away. > > > > B. Alex > > > > > > + From jack at jigglingwhisker.com Tue May 2 15:30:12 2006 From: jack at jigglingwhisker.com (Jack Stenner) Date: Tue, 2 May 2006 08:30:12 -0500 Subject: [NetBehaviour] SketchUp In-Reply-To: References: Message-ID: <0A9F990A-21BA-462B-BBF4-4DFB88DD1A9C@jigglingwhisker.com> FYI, if you've used AutoCAD, Maya, or any number of other CAD/3d software packages, and then try SketchUp, you'll see the benefit. It was developed as a quick, sketch-based, way to create form in the early design stages of the architectural process. It is VERY popular with architectural designers because it is a quick and easy way to visualize 3d ideas before making the commitment to full blown CAD. It works well for them because once an idea is approved it can be exported directly to the CAD jockeys, saving time creating geometry from scratch. The name is also a by-product of it's use in architecture. When presenting concepts to clients, designers found that CAD renderings presented imagery that looked too "finished." Clients were reluctant to consider changes and engage in a creative dialog. They locked onto the image too soon. SketchUp has the capability to produce renderings that simulate a loose sketch, preserving the preliminary nature of concept design. I'm sure Google wants to capitalize on it's ease of use and "popularize" it with homeowners, but it really is a great tool. I used it early on as an architect, but more recently have found it useful as a tool to describe the layouts of installation work. ....and yes, google is scary :-) Jack On May 2, 2006, at 6:21 AM, wrote: > I was going to download sketchup just to see what it's like, mainly > so I > could reply to the message but there is nothing about > http://sketchup.google.com which entices me out of my "I can't be > bothered" attitude. So I'll dismiss it as crap without trying it. > > Pay $495 for the "Pro" version so I can print out at a > higher-than-screen resolution, they must be marketing at out and out > newbies. "Discover if 3d modelling is right for you", like it's some > kind of beauty treatment or laxative or something. > > And the name stinks bad. It frightens me that google is promoting > cruft > like this. > > On 29/4/2006, "carlos katastrofsky" > wrote: > >> google frightens me. i tried "sketchup" and - yes, it's quite >> handy and >> easy to use. like other google- software & services you can >> download it >> for free (there's a pay - version too) and the ever funny and >> colourful >> ooooo's smile at you friendly. >> this all is really frightening. >> >> ------- Forwarded message ------- >> >> Sketchup, one of the best 3D drawing apps is now free - "Google >> SketchUp >> (free) >> is an easy-to-learn 3D modeling program whose few simple tools >> enable you >> to >> create 3D models of houses, sheds, decks, home additions, woodworking >> projects - >> even space ships. You can add details, textures and glass to your >> models, >> design >> with dimensional accuracy, and place your finished models in >> Google Earth, >> share >> them with others by posting them to the 3D Warehouse, or print >> hard copies. >> Google SketchUp (free) is a great way to discover if 3D modeling >> is right >> for >> you." - http://sketchup.google.com >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour at netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > From play at ubermorgen.com Tue May 2 19:19:21 2006 From: play at ubermorgen.com (Hans Bernhard) Date: Tue, 2 May 2006 19:19:21 +0200 Subject: [NetBehaviour] Net Community Hacks Cultural Funding System Message-ID: Net Community Hacks Cultural Funding System Vienna, 2 May 2006 ?Our much-discussed, game-theory-oriented approach to cultural funding represents a clear rejection of all the Austrian cultural industry?s hegemonic tendencies,? states MANA coordinator Stefan Lutschinger: ?This hack of the outmoded jury and committee system opposes every rationalistic funding cut with pure difference, contingency coping and the fruitful development of paradox.? Software-based Funding Distribution Last week, a participatory cultural support budget of 125,000 euros was distributed to artists and cultural producers in Vienna using the MANA Community Game ? an innovative software-supported selection process. The decision regarding the distribution of funding was not made by curators, juries or committees, but by the submitters themselves. Twelve people will receive project grants between 5,000 and 15,000 euros, whereby 42% of the recipients are women. ?Old? Concepts and ?New Thinking? The Community Game is one of the most innovative distribution systems for cultural funding worldwide. It is based on ?old? concepts of the avant-garde ? auto-curating and self-organization ? and the ?new thinking? of second-order cybernetics. MANA?s great advantage is its capacity for self-correction and adaptation to intelligent system environments: errors and irregularities can be recognized and corrected immediately by the net community, which emerges strengthened from this process. Here 120 submitters agreed to a complex set of rules. A Self-managed Cultural Funding Budget Since the autumn of 2004, the open net community ?netznetz.net? has grown out of the numerous digital cultural initiatives that have developed in Vienna in recent years. In order to do justice to these diverse cultural and artistic modes of expression, an application has been made to the City of Vienna?s Department of Cultural Affairs (Net Culture Unit) for a self-managed cultural funding budget to support this very active scene with around 500,000 euros yearly. The heart of this funding model is the software-based selection process MANA. After a two-month evaluation phase in early summer, the net community will decide on its specific adaptation and further development. Inquiries: Stefan Lutschinger, Johannes Grenzfurthner, Hans Bernhard Email: s.lutschinger at digitaldrafts.at +43 660 6538616 http://mana.netznetz.net http://en.wikipedia.org/wiki/Netznetz http://www.parliaments-of-art.net -- Hans Bernhard UBERMORGEN.COM / etoy.holding Skype Hans_Bernhard Studio +43 1 236 19 85 Mobile +43 650 930 00 61 Email hans at ubermorgen.com http://www.ubermorgen.com http://www.gwei.org ?UBERMORGEN.COM: "Spending time on doing something? From marc.garrett at furtherfield.org Tue May 2 19:52:59 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 02 May 2006 18:52:59 +0100 Subject: [NetBehaviour] Net Community Hacks Cultural Funding System In-Reply-To: References: Message-ID: <44579C7B.6020907@furtherfield.org> Now this stuff sounds pretty interesting... marc > Net Community Hacks Cultural Funding System > > > Vienna, 2 May 2006 > > > ?Our much-discussed, game-theory-oriented approach to cultural > funding represents a clear rejection of all the Austrian cultural > industry?s hegemonic tendencies,? states MANA coordinator Stefan > Lutschinger: ?This hack of the outmoded jury and committee system > opposes every rationalistic funding cut with pure difference, > contingency coping and the fruitful development of paradox.? > > Software-based Funding Distribution > > Last week, a participatory cultural support budget of 125,000 euros > was distributed to artists and cultural producers in Vienna using the > MANA Community Game ? an innovative software-supported selection > process. The decision regarding the distribution of funding was not > made by curators, juries or committees, but by the submitters > themselves. Twelve people will receive project grants between 5,000 > and 15,000 euros, whereby 42% of the recipients are women. > > ?Old? Concepts and ?New Thinking? > > The Community Game is one of the most innovative distribution systems > for cultural funding worldwide. It is based on ?old? concepts of the > avant-garde ? auto-curating and self-organization ? and the ?new > thinking? of second-order cybernetics. MANA?s great advantage is its > capacity for self-correction and adaptation to intelligent system > environments: errors and irregularities can be recognized and > corrected immediately by the net community, which emerges > strengthened from this process. Here 120 submitters agreed to a > complex set of rules. > > A Self-managed Cultural Funding Budget > > Since the autumn of 2004, the open net community ?netznetz.net? has > grown out of the numerous digital cultural initiatives that have > developed in Vienna in recent years. In order to do justice to these > diverse cultural and artistic modes of expression, an application has > been made to the City of Vienna?s Department of Cultural Affairs (Net > Culture Unit) for a self-managed cultural funding budget to support > this very active scene with around 500,000 euros yearly. The heart of > this funding model is the software-based selection process MANA. > After a two-month evaluation phase in early summer, the net community > will decide on its specific adaptation and further development. > > > Inquiries: > > Stefan Lutschinger, Johannes Grenzfurthner, Hans Bernhard > Email: s.lutschinger at digitaldrafts.at > +43 660 6538616 > http://mana.netznetz.net > http://en.wikipedia.org/wiki/Netznetz > http://www.parliaments-of-art.net > > > > > > -- > Hans Bernhard > UBERMORGEN.COM / etoy.holding > > Skype Hans_Bernhard > Studio +43 1 236 19 85 > Mobile +43 650 930 00 61 > Email hans at ubermorgen.com > http://www.ubermorgen.com > http://www.gwei.org > > ?UBERMORGEN.COM: "Spending time on doing something? > > > > > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From marc.garrett at furtherfield.org Tue May 2 19:55:06 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 02 May 2006 18:55:06 +0100 Subject: [NetBehaviour] Networked Realities & Prospective Locative Hacks. In-Reply-To: <4455EB17.1040009@furtherfield.org> References: <002801c66ad5$7e943be0$6601a8c0@t5x1c0> <4455EB17.1040009@furtherfield.org> Message-ID: <44579CFA.4070001@furtherfield.org> Networked Realities & Prospective Locative Hacks Art Exhibition Deadline May 12, 2006. Artist-engineer hybrids are invited to submit artworks for the ACM exhibition to take place in the California Nanosystems Institute at UC Santa Barbara. For this exhibition we seek artworks that raise issues related to human-human, human-machine, human-machine-world, machine-machine, human-world and machine-world interactions, placing a strong emphasis on the role of the notion of awareness, be it cultural, linguistic, network-centric, spatial or geospatial. In particular, we seek works that focus on the roles that multimedia content and technologies play in exploring human and social aspects of technology and science, including how it may re-define relationships and understanding between cultures and already established disciplines. We welcome any interactive artworks that address the topics above, including multimodal interactive spaces, locative media artworks, networked systems, data visualizations and communications systems. Please visit the website http://www.mat.ucsb.edu/acmmm06/arts/index.html for up-to-date information including deadlines, procedures, list of exhibition and program review committee. ACM Multimedia is the premier annual multimedia conference, covering all aspects of multimedia computing. The ACM Multimedia Interactive Art Program seeks to bring together the arts and multimedia communities to create the stage to explore, discuss, and push the limits for the advancement of both multimedia technology through the arts, and the arts through multimedia technology. The Interactive Art Program consists of a conference track and an art exhibition. We invite artists working with digital media and researchers in technical areas to submit their original contributions. -- -------------------------------------- MARKO PELJHAN PROJEKT ATOL - PACT SYSTEMS ANE ZIHERLOVE 2 SI-1000 LJUBLJANA contact phone ISAT: +8816-3157-6514 by appointment only until APR 15, 2006 -------------------------------------- current location: IGLOOLIK, NUNAVUT 69deg 21'53'' 81deg 48'58'' -------------------------------------- From office at kanonmedia.com Tue May 2 20:31:33 2006 From: office at kanonmedia.com (kanonmedia) Date: Tue, 2 May 2006 20:31:33 +0200 Subject: AW: [NetBehaviour] Net Community Hacks Cultural Funding System In-Reply-To: <44579C7B.6020907@furtherfield.org> Message-ID: <002801c66e16$a6e4b4a0$32703b56@kanonmedia> Hi Marc and girls and guys, Don't let you please too easily, this is a press release coming out of the election campaign being fought around the ec theme creative industries. And the press release as much as the internal process of the media artists and open source programmers involved is perceived in a very critical way by many involved. Don't wanna come up now with too many details, be sure we are not through yet. Love, give my hugs to Ruth! sascha -----Urspr?ngliche Nachricht----- Von: netbehaviour-bounces at netbehaviour.org [mailto:netbehaviour-bounces at netbehaviour.org] Im Auftrag von marc Gesendet: Dienstag, 2. Mai 2006 19:53 An: NetBehaviour for networked distributed creativity Betreff: Re: [NetBehaviour] Net Community Hacks Cultural Funding System Now this stuff sounds pretty interesting... marc > Net Community Hacks Cultural Funding System > > > Vienna, 2 May 2006 > > > ?Our much-discussed, game-theory-oriented approach to cultural > funding represents a clear rejection of all the Austrian cultural > industry?s hegemonic tendencies,? states MANA coordinator Stefan > Lutschinger: ?This hack of the outmoded jury and committee system > opposes every rationalistic funding cut with pure difference, > contingency coping and the fruitful development of paradox.? > > Software-based Funding Distribution > > Last week, a participatory cultural support budget of 125,000 euros > was distributed to artists and cultural producers in Vienna using the > MANA Community Game ? an innovative software-supported selection > process. The decision regarding the distribution of funding was not > made by curators, juries or committees, but by the submitters > themselves. Twelve people will receive project grants between 5,000 > and 15,000 euros, whereby 42% of the recipients are women. > > ?Old? Concepts and ?New Thinking? > > The Community Game is one of the most innovative distribution systems > for cultural funding worldwide. It is based on ?old? concepts of the > avant-garde ? auto-curating and self-organization ? and the ?new > thinking? of second-order cybernetics. MANA?s great advantage is its > capacity for self-correction and adaptation to intelligent system > environments: errors and irregularities can be recognized and > corrected immediately by the net community, which emerges > strengthened from this process. Here 120 submitters agreed to a > complex set of rules. > > A Self-managed Cultural Funding Budget > > Since the autumn of 2004, the open net community ?netznetz.net? has > grown out of the numerous digital cultural initiatives that have > developed in Vienna in recent years. In order to do justice to these > diverse cultural and artistic modes of expression, an application has > been made to the City of Vienna?s Department of Cultural Affairs (Net > Culture Unit) for a self-managed cultural funding budget to support > this very active scene with around 500,000 euros yearly. The heart of > this funding model is the software-based selection process MANA. > After a two-month evaluation phase in early summer, the net community > will decide on its specific adaptation and further development. > > > Inquiries: > > Stefan Lutschinger, Johannes Grenzfurthner, Hans Bernhard > Email: s.lutschinger at digitaldrafts.at > +43 660 6538616 > http://mana.netznetz.net > http://en.wikipedia.org/wiki/Netznetz > http://www.parliaments-of-art.net > > > > > > -- > Hans Bernhard > UBERMORGEN.COM / etoy.holding > > Skype Hans_Bernhard > Studio +43 1 236 19 85 > Mobile +43 650 930 00 61 > Email hans at ubermorgen.com > http://www.ubermorgen.com > http://www.gwei.org > > ?UBERMORGEN.COM: "Spending time on doing something? > > > > > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > _______________________________________________ NetBehaviour mailing list NetBehaviour at netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour From marc.garrett at furtherfield.org Tue May 2 20:44:41 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 02 May 2006 19:44:41 +0100 Subject: AW: [NetBehaviour] Net Community Hacks Cultural Funding System In-Reply-To: <002801c66e16$a6e4b4a0$32703b56@kanonmedia> References: <002801c66e16$a6e4b4a0$32703b56@kanonmedia> Message-ID: <4457A899.10402@furtherfield.org> Hi Sascha, mmm - interesting. Thanks for letting me know - hopefully, something like Node.London will be happening in Austria, which will challenge the power structures there in a big in regard to how artists/groups are reprsented - which as far as I know is probably going to happen in Brazil and Sweden, creating a consensual, lateral shift away from such centralized organizations. good to hear from you:-) marc >Hi Marc and girls and guys, > >Don't let you please too easily, this is a press release coming out of >the election campaign being fought around the ec theme creative >industries. And the press release as much as the internal process of the >media artists and open source programmers involved is perceived in a >very critical way by many involved. > >Don't wanna come up now with too many details, be sure we are not >through yet. > >Love, give my hugs to Ruth! sascha > >-----Urspr?ngliche Nachricht----- >Von: netbehaviour-bounces at netbehaviour.org >[mailto:netbehaviour-bounces at netbehaviour.org] Im Auftrag von marc >Gesendet: Dienstag, 2. Mai 2006 19:53 >An: NetBehaviour for networked distributed creativity >Betreff: Re: [NetBehaviour] Net Community Hacks Cultural Funding System > >Now this stuff sounds pretty interesting... > >marc > > > >>Net Community Hacks Cultural Funding System >> >> >>Vienna, 2 May 2006 >> >> >>?Our much-discussed, game-theory-oriented approach to cultural >>funding represents a clear rejection of all the Austrian cultural >>industry?s hegemonic tendencies,? states MANA coordinator Stefan >>Lutschinger: ?This hack of the outmoded jury and committee system >>opposes every rationalistic funding cut with pure difference, >>contingency coping and the fruitful development of paradox.? >> >>Software-based Funding Distribution >> >>Last week, a participatory cultural support budget of 125,000 euros >>was distributed to artists and cultural producers in Vienna using the >> >> > > > >>MANA Community Game ? an innovative software-supported selection >>process. The decision regarding the distribution of funding was not >>made by curators, juries or committees, but by the submitters >>themselves. Twelve people will receive project grants between 5,000 >>and 15,000 euros, whereby 42% of the recipients are women. >> >>?Old? Concepts and ?New Thinking? >> >>The Community Game is one of the most innovative distribution systems >> >> > > > >>for cultural funding worldwide. It is based on ?old? concepts of the >>avant-garde ? auto-curating and self-organization ? and the ?new >>thinking? of second-order cybernetics. MANA?s great advantage is its >>capacity for self-correction and adaptation to intelligent system >>environments: errors and irregularities can be recognized and >>corrected immediately by the net community, which emerges >>strengthened from this process. Here 120 submitters agreed to a >>complex set of rules. >> >>A Self-managed Cultural Funding Budget >> >>Since the autumn of 2004, the open net community ?netznetz.net? has >>grown out of the numerous digital cultural initiatives that have >>developed in Vienna in recent years. In order to do justice to these >>diverse cultural and artistic modes of expression, an application has >> >> > > > >>been made to the City of Vienna?s Department of Cultural Affairs (Net >> >> > > > >>Culture Unit) for a self-managed cultural funding budget to support >>this very active scene with around 500,000 euros yearly. The heart of >> >> > > > >>this funding model is the software-based selection process MANA. >>After a two-month evaluation phase in early summer, the net community >> >> > > > >>will decide on its specific adaptation and further development. >> >> >>Inquiries: >> >>Stefan Lutschinger, Johannes Grenzfurthner, Hans Bernhard >>Email: s.lutschinger at digitaldrafts.at >>+43 660 6538616 >>http://mana.netznetz.net >>http://en.wikipedia.org/wiki/Netznetz >>http://www.parliaments-of-art.net >> >> >> >> >> >>-- >>Hans Bernhard >>UBERMORGEN.COM / etoy.holding >> >>Skype Hans_Bernhard >>Studio +43 1 236 19 85 >>Mobile +43 650 930 00 61 >>Email hans at ubermorgen.com >>http://www.ubermorgen.com >>http://www.gwei.org >> >>?UBERMORGEN.COM: "Spending time on doing something? >> >> >> >> >> >> >>_______________________________________________ >>NetBehaviour mailing list >>NetBehaviour at netbehaviour.org >>http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> >> > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > From marc.garrett at furtherfield.org Tue May 2 20:48:47 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 02 May 2006 19:48:47 +0100 Subject: [NetBehaviour] art spam... In-Reply-To: <44561AEC.60506@furtherfield.org> References: <20060501142018.61617.qmail@web54602.mail.yahoo.com> <44561AEC.60506@furtherfield.org> Message-ID: <4457A98F.3010502@furtherfield.org> Hi Netbehaviourists, I just received this in my email box and wondered if anyone new who it was, or received one themselves? Fscinating and curious - an art spam... marc ---------------->look below<-------------- Hello, My name is emma pumpin an Artist. I live in Nertherland, with my two kids,and the love of my life. I have been doing artwork since I was a small child. That gives me about 23 years of experience. I majored in art in high school and took a few college art courses. Most of my work is done in either pencil or airbrush mixed with color pencils. I have recently added designing and creating artwork on the computer.I have been selling my art for themany years and have had my work featured on trading cards, prints and in magazines. I have sold in galleries and to private collectors from all around the world. But i am always facing serious difficulties when it comes to selling my art works to Americans,most of them offer to pay with US POSTAL MONEY ORDER, which is difficult for me to cash here in Nertherland. I am looking for a representative in the states who will be working for me as a partime worker and i will be willing to pay 10% for every transaction,bu this wouldn't affect your present state of work. Someone who would help me recieve payments from my customers in the States, I mean someone that is responsible and reliable, cause think of the cost of coming to the State just to get payments is very expensive. I am working on setting up a branch in the States,but as for now i need a representative in the United State who will be handling the payment aspect. These payments are in money order and they would come to you in your name, so all you need do is cash the money order deduct your percentage and wire the rest back. But the problem i have is trust,But i have my way of getting anyone that gets away with our money,i mean the FBI branch in Washington gets involve. It wouldnt cost you any amount,You are to receive payments which will be sent to you by fedex or usps from my business patners, which would come in form of money order then you are to cash it and send the cash to me via western union money transfer all western union charges will be deducted from the money. If you are interested,please get back to me as soon as possible regards emma pumpin Hello, My name is emma pumpin an Artist. I live in Nertherland, with my two kids,and the love of my life. I have been doing artwork since I was a small child. That gives me about 23 years of experience. I majored in art in high school and took a few college art courses. Most of my work is done in either pencil or airbrush mixed with color pencils. I have recently added designing and creating artwork on the computer.I have been selling my art for themany years and have had my work featured on trading cards, prints and in magazines. I have sold in galleries and to private collectors from all around the world. But i am always facing serious difficulties when it comes to selling my art works to Americans,most of them offer to pay with US POSTAL MONEY ORDER, which is difficult for me to cash here in Nertherland. I am looking for a representative in the states who will be working for me as a partime worker and i will be willing to pay 10% for every transaction,bu this wouldn't affect your present state of work. Someone who would help me recieve payments from my customers in the States, I mean someone that is responsible and reliable, cause think of the cost of coming to the State just to get payments is very expensive. I am working on setting up a branch in the States,but as for now i need a representative in the United State who will be handling the payment aspect. These payments are in money order and they would come to you in your name, so all you need do is cash the money order deduct your percentage and wire the rest back. But the problem i have is trust, But i have my way of getting anyone that gets away with our money,i mean the FBI branch in Washington gets involve. It wouldnt cost you any amount,You are to receive payments which will be sent to you by fedex or usps from my business patners, which would come in form of money order then you are to cash it and send the cash to me via western union money transfer all western union charges will be deducted from the money. If you are interested,please get back to me as soon as possible regards emma pumpin please i want u to reply to my alternate e mail adrress : emmapumpin at yahoo.com urgnet repley From szpako at yahoo.com Tue May 2 21:18:41 2006 From: szpako at yahoo.com (Michael Szpakowski) Date: Tue, 2 May 2006 12:18:41 -0700 (PDT) Subject: [NetBehaviour] portraits of various kinds & some other stuff Message-ID: <20060502191841.40248.qmail@web30307.mail.mud.yahoo.com> HI Two portraits: portrait of Amanda Congdon: http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi/2006/05/02#post84 portrait of the artist with scanner: http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi/2006/04/16#post74 Two older pieces I just got around to putting on the net: the world is all that is the case: http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi/2006/04/14#post73 eclogue: http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi/2006/04/12#post71 137 self portraits by 134 people: http://www.somedancersandmusicians.com/self_portraits/index.html please consider contributing a self portrait (read guidelines carefully!): http://www.somedancersandmusicians.com/self_portraits/contribute.html best michael From play at ubermorgen.com Tue May 2 21:38:24 2006 From: play at ubermorgen.com (Hans Bernhard) Date: Tue, 2 May 2006 21:38:24 +0200 Subject: AW: [NetBehaviour] Net Community Hacks Cultural Funding System In-Reply-To: <002801c66e16$a6e4b4a0$32703b56@kanonmedia> References: <002801c66e16$a6e4b4a0$32703b56@kanonmedia> Message-ID: <2A8E37BE-43B8-4513-96AD-5C0C99A6E36B@ubermorgen.com> Dearz This is simply not true. netznetz is in no way affiliated with any political entity (be it european, austrian or city). netznetz receives 500.000 euros to distribute by the community to the community from the city of vienna. thats it... and last week - for the first time - we distributed 125.000 Euros in a successful software-supported election process, now we are really happy and we are looking forward to distribute the next 125.000 Euros in september and we also look forward to the Annual convention that will be held also around this time this year.. netznetz actually is a network of about 150 artists, cultural workers and nerds.. a social experiment, a funding system experiment... hans- Am 02.05.2006 um 20:31 schrieb kanonmedia: > Hi Marc and girls and guys, > > Don't let you please too easily, this is a press release coming out of > the election campaign being fought around the ec theme creative > industries. And the press release as much as the internal process > of the > media artists and open source programmers involved is perceived in a > very critical way by many involved. > > Don't wanna come up now with too many details, be sure we are not > through yet. > > Love, give my hugs to Ruth! sascha > > -----Urspr?ngliche Nachricht----- > Von: netbehaviour-bounces at netbehaviour.org > [mailto:netbehaviour-bounces at netbehaviour.org] Im Auftrag von marc > Gesendet: Dienstag, 2. Mai 2006 19:53 > An: NetBehaviour for networked distributed creativity > Betreff: Re: [NetBehaviour] Net Community Hacks Cultural Funding > System > > Now this stuff sounds pretty interesting... > > marc > >> Net Community Hacks Cultural Funding System >> >> >> Vienna, 2 May 2006 >> >> >> ?Our much-discussed, game-theory-oriented approach to cultural >> funding represents a clear rejection of all the Austrian cultural >> industry?s hegemonic tendencies,? states MANA coordinator Stefan >> Lutschinger: ?This hack of the outmoded jury and committee system >> opposes every rationalistic funding cut with pure difference, >> contingency coping and the fruitful development of paradox.? >> >> Software-based Funding Distribution >> >> Last week, a participatory cultural support budget of 125,000 euros >> was distributed to artists and cultural producers in Vienna using the > >> MANA Community Game ? an innovative software-supported selection >> process. The decision regarding the distribution of funding was not >> made by curators, juries or committees, but by the submitters >> themselves. Twelve people will receive project grants between 5,000 >> and 15,000 euros, whereby 42% of the recipients are women. >> >> ?Old? Concepts and ?New Thinking? >> >> The Community Game is one of the most innovative distribution systems > >> for cultural funding worldwide. It is based on ?old? concepts of the >> avant-garde ? auto-curating and self-organization ? and the ?new >> thinking? of second-order cybernetics. MANA?s great advantage is its >> capacity for self-correction and adaptation to intelligent system >> environments: errors and irregularities can be recognized and >> corrected immediately by the net community, which emerges >> strengthened from this process. Here 120 submitters agreed to a >> complex set of rules. >> >> A Self-managed Cultural Funding Budget >> >> Since the autumn of 2004, the open net community ?netznetz.net? has >> grown out of the numerous digital cultural initiatives that have >> developed in Vienna in recent years. In order to do justice to these >> diverse cultural and artistic modes of expression, an application has > >> been made to the City of Vienna?s Department of Cultural Affairs (Net > >> Culture Unit) for a self-managed cultural funding budget to support >> this very active scene with around 500,000 euros yearly. The heart of > >> this funding model is the software-based selection process MANA. >> After a two-month evaluation phase in early summer, the net community > >> will decide on its specific adaptation and further development. >> >> >> Inquiries: >> >> Stefan Lutschinger, Johannes Grenzfurthner, Hans Bernhard >> Email: s.lutschinger at digitaldrafts.at >> +43 660 6538616 >> http://mana.netznetz.net >> http://en.wikipedia.org/wiki/Netznetz >> http://www.parliaments-of-art.net >> >> >> >> >> >> -- >> Hans Bernhard >> UBERMORGEN.COM / etoy.holding >> >> Skype Hans_Bernhard >> Studio +43 1 236 19 85 >> Mobile +43 650 930 00 61 >> Email hans at ubermorgen.com >> http://www.ubermorgen.com >> http://www.gwei.org >> >> ?UBERMORGEN.COM: "Spending time on doing something? >> >> >> >> >> >> >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour at netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour From office at kanonmedia.com Tue May 2 22:26:59 2006 From: office at kanonmedia.com (kanonmedia) Date: Tue, 2 May 2006 22:26:59 +0200 Subject: AW: AW: [NetBehaviour] Net Community Hacks Cultural Funding System In-Reply-To: <4457A899.10402@furtherfield.org> Message-ID: <000001c66e26$c8f611a0$32703b56@kanonmedia> :) good to hear from you too hans, is it a press release of the department of culture of the city of vienna or not? maybe you prefer to discuss a few things in vienna? -----Urspr?ngliche Nachricht----- Von: netbehaviour-bounces at netbehaviour.org [mailto:netbehaviour-bounces at netbehaviour.org] Im Auftrag von marc Gesendet: Dienstag, 2. Mai 2006 20:45 An: NetBehaviour for networked distributed creativity Betreff: Re: AW: [NetBehaviour] Net Community Hacks Cultural Funding System Hi Sascha, mmm - interesting. Thanks for letting me know - hopefully, something like Node.London will be happening in Austria, which will challenge the power structures there in a big in regard to how artists/groups are reprsented - which as far as I know is probably going to happen in Brazil and Sweden, creating a consensual, lateral shift away from such centralized organizations. good to hear from you:-) marc >Hi Marc and girls and guys, > >Don't let you please too easily, this is a press release coming out of >the election campaign being fought around the ec theme creative >industries. And the press release as much as the internal process of the >media artists and open source programmers involved is perceived in a >very critical way by many involved. > >Don't wanna come up now with too many details, be sure we are not >through yet. > >Love, give my hugs to Ruth! sascha > >-----Urspr?ngliche Nachricht----- >Von: netbehaviour-bounces at netbehaviour.org >[mailto:netbehaviour-bounces at netbehaviour.org] Im Auftrag von marc >Gesendet: Dienstag, 2. Mai 2006 19:53 >An: NetBehaviour for networked distributed creativity >Betreff: Re: [NetBehaviour] Net Community Hacks Cultural Funding System > >Now this stuff sounds pretty interesting... > >marc > > > >>Net Community Hacks Cultural Funding System >> >> >>Vienna, 2 May 2006 >> >> >>?Our much-discussed, game-theory-oriented approach to cultural >>funding represents a clear rejection of all the Austrian cultural >>industry?s hegemonic tendencies,? states MANA coordinator Stefan >>Lutschinger: ?This hack of the outmoded jury and committee system >>opposes every rationalistic funding cut with pure difference, >>contingency coping and the fruitful development of paradox.? >> >>Software-based Funding Distribution >> >>Last week, a participatory cultural support budget of 125,000 euros >>was distributed to artists and cultural producers in Vienna using the >> >> > > > >>MANA Community Game ? an innovative software-supported selection >>process. The decision regarding the distribution of funding was not >>made by curators, juries or committees, but by the submitters >>themselves. Twelve people will receive project grants between 5,000 >>and 15,000 euros, whereby 42% of the recipients are women. >> >>?Old? Concepts and ?New Thinking? >> >>The Community Game is one of the most innovative distribution systems >> >> > > > >>for cultural funding worldwide. It is based on ?old? concepts of the >>avant-garde ? auto-curating and self-organization ? and the ?new >>thinking? of second-order cybernetics. MANA?s great advantage is its >>capacity for self-correction and adaptation to intelligent system >>environments: errors and irregularities can be recognized and >>corrected immediately by the net community, which emerges >>strengthened from this process. Here 120 submitters agreed to a >>complex set of rules. >> >>A Self-managed Cultural Funding Budget >> >>Since the autumn of 2004, the open net community ?netznetz.net? has >>grown out of the numerous digital cultural initiatives that have >>developed in Vienna in recent years. In order to do justice to these >>diverse cultural and artistic modes of expression, an application has >> >> > > > >>been made to the City of Vienna?s Department of Cultural Affairs (Net >> >> > > > >>Culture Unit) for a self-managed cultural funding budget to support >>this very active scene with around 500,000 euros yearly. The heart of >> >> > > > >>this funding model is the software-based selection process MANA. >>After a two-month evaluation phase in early summer, the net community >> >> > > > >>will decide on its specific adaptation and further development. >> >> >>Inquiries: >> >>Stefan Lutschinger, Johannes Grenzfurthner, Hans Bernhard >>Email: s.lutschinger at digitaldrafts.at >>+43 660 6538616 >>http://mana.netznetz.net >>http://en.wikipedia.org/wiki/Netznetz >>http://www.parliaments-of-art.net >> >> >> >> >> >>-- >>Hans Bernhard >>UBERMORGEN.COM / etoy.holding >> >>Skype Hans_Bernhard >>Studio +43 1 236 19 85 >>Mobile +43 650 930 00 61 >>Email hans at ubermorgen.com >>http://www.ubermorgen.com >>http://www.gwei.org >> >>?UBERMORGEN.COM: "Spending time on doing something? >> >> >> >> >> >> >>_______________________________________________ >>NetBehaviour mailing list >>NetBehaviour at netbehaviour.org >>http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> >> > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > _______________________________________________ NetBehaviour mailing list NetBehaviour at netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour From sondheim at panix.com Tue May 2 22:49:16 2006 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 2 May 2006 16:49:16 -0400 (EDT) Subject: [NetBehaviour] Analog Instrumentation Message-ID: (apologies for so much of this stuff...) Analog Instrumentation http://www.asondheim.org/matsu1.mp3 http://www.asondheim.org/matsu2.mp3 http://www.asondheim.org/matsu3.mp3 Alpine zither. Relationships with ch'in and taksim. With VLF (very low frequency) radio "events" which are deeply random, but often possess wave trains. With the touch/caress of the resonant body which metaphorically relates to elementary physics and the world at large. With elements of air, metal, wood. Is theory ever final. ii Take up: Exchange value: Digital. bit(n)|bit(m) Use value: Analog. bite(n,m) once again. Analog: the bite of the instrument, bight of the shore. Metal pegs tend to slip, strings unwind or break, wood cracks, the body expands or contracts dependent on humidity, soundboard warps, frets go out of true. The analog is a tending. Analog noise: Finger noise, body-tapping, wolf notes, string and nail contact positions, nail roughness, breath sounds, string squeak, fret sound, fingerboard sound with bending, player's body movements against the soundbox. The frequencies are inexact: no frets are ever true, string pressure sharpens the pitch, there are a-harmonics and a-harmonic resonances, the instrument couples to its support, the fingerboard and body warp slightly with finger pressure, oxidations and dirt tender the string further out of true, there is always peg slippage with pressure, vibrato and bending stretch imperfect metal memory. A tending or movement back towards pitch, pitching as catastrophic memory, sudden halting of sound for retuning. The mapping is always imperfect. Labor: the labor of the arms, wrists, fingers, body leaning slightly towards the fingerboard, careful breathing somewhat isolated from vibrato, muscle tensions and memories paralleling dance. Warping: unequal expansion or contraction of upper or lower soundboards or instrument sides, twisting of one or another surface, unequal expansion or contraction of different woods or metals, finger-pressure on one or another surface, expansion or contraction due to cracking, humidity, pressure, wood curing, oiling and waxing, physical mistreatment. Digital: Of this at a later date. Electronic noise and noise floors. Human-instrument interface. Switch noise. Acoustic coupling of transducers including microphones, earphones, speakers. Analog sound 'falling through the cracks' depending on bandwidth. Data corruption and technological obsolescence of computers and storage media. Problematic power supplies. Problematic of analog noise. Problematic of acoustic space-mapping. Standing-waves, speaker placement and cone inertia, line losses, failed checksums, bandwidth limitations. Digital and digital reproduction. From joncates at criticalartware.net Tue May 2 23:48:57 2006 From: joncates at criticalartware.net (jonCates) Date: Tue, 2 May 2006 16:48:57 -0500 Subject: [NetBehaviour] [FRAY] this THURS + FRI! Message-ID: <7E244F1B-B215-4C3D-962B-7019719A1707@criticalartware.net> This week's interrelated [FRAY] events include CALCULATIONS: PIONEERS OF COMPUTER ANIMATION @ Conversations At The Edge, I LOVE PRESETS, OFF/ON and Latent Light Excavations @ The Eye & Ear Clinic and AV IS NOT TV @ BUSKER! Join us for these intersections of analog computers, digital systems and realtime experimental New Media art. - jonCates [FRAY] CALENDAR FOR THIS WEEK MAY 4 AND 5: THURSDAY MAY 4 CALCULATIONS: PIONEERS OF COMPUTER ANIMATION THURSDAY MAY 4 @ 6:00 PM Gene Siskel Film Center 164 N. State CHI IL .US $ 9 USD Decades before Hollywood CGI spectaculars, artists worked with computers to create an aesthetic specific to the machine. At IBM, Bell, and in their own home-built labs, they generated visionary spectacles from mathematical precision--complex abstractions, stroboscopic patterns, kinetic rhythms, and volumetric illusions. Tonight's program is a cross-section of films by these early pioneers- from John Whitney's stunning, analog-computer-generated CATALOG (1961, 7 min.) and the pulsating geometry of Lillian Schwartz's ENIGMA (1972, 4 min., archival print) to the dense digital metaphysics of John Stehura's CIBERNETIK 5.3 (1965-69, 8 min., archival print) and the allegorical characters of Peter Foldes' HUNGER (1973, 12 min.). Also on the program: HUMMINGBIRD (Charles Csuri, 1967 10 min.); SUNSTONE (Ed Emshwiller, 1979, 3 min.); CALCULATED MOVEMENTS (Larry Cuba, 1985, 6 min.); POEMFIELD NO. 5: FREE FALL (Stan VanDerBeek, 1966, 7 min.); PERMUTATIONS (John Whitney, 1968, 7 min.). 1961-1985, Canada/USA, 64 min. 16mm. [FRAY]: http://fvnm.info/fray CATE: http://www.artic.edu/webspaces/siskelfilmcenter/2006/april/ edge.html FRIDAY MAY 4 I LOVE PRESETS, OFF/ON and Latent Light Excavations FRIDAY MAY 4 @ 4:30 PM The Eye and Ear Clinic Film, Video & New Media Dept @ The School of the Art Institute of Chicago Room 1307 in the MacLean Building 112 S. Michigan Ave CHI IL .US FREE The Eye & Ear Clinic presents a live realtime audio video performance by I LOVE PRESETS (Rob Ray, jon.satrom and Jason Soliday) with screenings of Scott Bartlett's ground-breaking 1968 video-film OFF/ON and Lynn Marie Kirby's recent digital film project Latent Light Excavations! I LOVE PRESETS: http://www.ilovepresets.com The Eye & Ear Clinic: http://fvnm.info/eyeandear [FRAY]: http://fvnm.info/fray AV IS NOT TV FRIDAY MAY 4 @ 8 PM BUSKER 1087 N Hermitage Ave CHI IL .US FREE AV is not TV will be four interwoven realtime audio visual performances by Taeyoon Kim and djANDY, Morgan Higby-Flowers and Brendan Pete and Black September with Brendan Pete. Crossing signals, each performance commingles with collaborative approaches to hacking and processing digital material. AV is not TV also featuring the video installation work ELECTRIC SPECTRUM TOTEM INSTALLATION by Michael Miles. AV IS NOT TV: http://fvnm.info/fray/av_is_not_tv BUSKER: http://www.buskerchicago.com [FRAY] CALENDAR FOR NEXT WEEK, MAY 13: SATURDAY MAY 13 [FRAY] Conference SATURDAY MAY 13 @ 2 PM Film, Video & New Media Dept @ The School of the Art Institute of Chicago Room 1307 in the MacLean Building 112 S. Michigan Ave CHI IL .US FREE Join [FRAY] for discussions and presentations on connective and collaborative New Media and Digital Arts with Annette Barbier (UNREAL- ESTATES and Interactive Arts and Media Department Columbia College), Ryan Griffis (The Temporary Travel Office, YOUgenics and The School of Art & Design University of Illinois at Champaign Urbana), Mark Hansen (Professor in English Language & Literature, Cinema & Media Studies; University of Chicago), Lynn Marie Kirby (California College of the Arts), PILOT TV, Rob Ray (DEADTECH and dorkbot Chicago), Lincoln Schatz (OPEN-NODE and The Upgrade! Chicago) and Daniel Tucker (AREA Chicago). [FRAY] After (Party) Event SATURDAY MAY 13 @ 9 PM - ON Chicago Art Department 1837 S. Halsted CHI IL .US FREE The Chicago Art Department hosts the [FRAY] After (Party) Event. the [FRAY] After (Party) Event event is co-presented by the Film, Video & New Media and Performance Departments. Students of the Film, Video & New Media and Performance Departments are organizing and curating Performance Inside Out, a program of performance in the context of New Media that will take place @ the Chicago Art Department and online during the After (Party) Event. The Chicago Art Department: http://chicagoartdepartment.org [FRAY]: http://fvnm.info/fray From joncates at criticalartware.net Wed May 3 00:17:46 2006 From: joncates at criticalartware.net (jonCates) Date: Tue, 2 May 2006 17:17:46 -0500 Subject: [NetBehaviour] [FRAY] this THURS + FRI! In-Reply-To: <7E244F1B-B215-4C3D-962B-7019719A1707@criticalartware.net> References: <7E244F1B-B215-4C3D-962B-7019719A1707@criticalartware.net> Message-ID: <42D2CFD9-9139-47EE-9F58-359772AC4C61@criticalartware.net> BTW, in the message below the correct dates of this week's events are THURS MAY 4 + FRIDAY MAY 5 // jonCates On May 2, 2006, at 4:48 PM, jonCates wrote: > This week's interrelated [FRAY] events include CALCULATIONS: > PIONEERS OF COMPUTER ANIMATION @ Conversations At The Edge, I LOVE > PRESETS, OFF/ON and Latent Light Excavations @ The Eye & Ear Clinic > and AV IS NOT TV @ BUSKER! Join us for these intersections of > analog computers, digital systems and realtime experimental New > Media art. - jonCates > > [FRAY] CALENDAR FOR THIS WEEK MAY 4 AND 5: > > THURSDAY MAY 4 > > CALCULATIONS: PIONEERS OF COMPUTER ANIMATION > THURSDAY MAY 4 @ 6:00 PM > Gene Siskel Film Center > 164 N. State > CHI IL .US > $ 9 USD > > Decades before Hollywood CGI spectaculars, artists worked with > computers to create an aesthetic specific to the machine. At IBM, > Bell, and in their own home-built labs, they generated visionary > spectacles from mathematical precision--complex abstractions, > stroboscopic patterns, kinetic rhythms, and volumetric illusions. > Tonight's program is a cross-section of films by these early > pioneers-from John Whitney's stunning, analog-computer-generated > CATALOG (1961, 7 min.) and the pulsating geometry of Lillian > Schwartz's ENIGMA (1972, 4 min., archival print) to the dense > digital metaphysics of John Stehura's CIBERNETIK 5.3 (1965-69, 8 > min., archival print) and the allegorical characters of Peter > Foldes' HUNGER (1973, 12 min.). Also on the program: HUMMINGBIRD > (Charles Csuri, 1967 10 min.); SUNSTONE (Ed Emshwiller, 1979, 3 > min.); CALCULATED MOVEMENTS (Larry Cuba, 1985, 6 min.); POEMFIELD > NO. 5: FREE FALL (Stan VanDerBeek, 1966, 7 min.); PERMUTATIONS > (John Whitney, 1968, 7 min.). 1961-1985, Canada/USA, 64 min. > 16mm. > > [FRAY]: http://fvnm.info/fray > CATE: http://www.artic.edu/webspaces/siskelfilmcenter/2006/april/ > edge.html > > FRIDAY MAY 5 > > I LOVE PRESETS, OFF/ON and Latent Light Excavations > FRIDAY MAY 5 @ 4:30 PM > The Eye and Ear Clinic > Film, Video & New Media Dept @ The School of the Art Institute of > Chicago > Room 1307 in the MacLean Building > 112 S. Michigan Ave > CHI IL .US > FREE > > The Eye & Ear Clinic presents a live realtime audio video > performance by I LOVE PRESETS (Rob Ray, jon.satrom and Jason > Soliday) with screenings of Scott Bartlett's ground-breaking 1968 > video-film OFF/ON and Lynn Marie Kirby's recent digital film > project Latent Light Excavations! > > I LOVE PRESETS: http://www.ilovepresets.com > The Eye & Ear Clinic: http://fvnm.info/eyeandear > [FRAY]: http://fvnm.info/fray > > AV IS NOT TV > FRIDAY MAY 5 @ 8 PM > BUSKER > 1087 N Hermitage Ave > CHI IL .US > FREE > > AV is not TV will be four interwoven realtime audio visual > performances by Taeyoon Kim and djANDY, Morgan Higby-Flowers and > Brendan Pete and Black September with Brendan Pete. Crossing > signals, each performance commingles with collaborative approaches > to hacking and processing digital material. AV is not TV also > featuring the video installation work ELECTRIC SPECTRUM TOTEM > INSTALLATION by Michael Miles. > > AV IS NOT TV: http://fvnm.info/fray/av_is_not_tv > BUSKER: http://www.buskerchicago.com > > [FRAY] CALENDAR FOR NEXT WEEK, MAY 13: > > SATURDAY MAY 13 > > [FRAY] Conference > SATURDAY MAY 13 @ 2 PM > Film, Video & New Media Dept @ The School of the Art Institute of > Chicago > Room 1307 in the MacLean Building > 112 S. Michigan Ave > CHI IL .US > FREE > > Join [FRAY] for discussions and presentations on connective and > collaborative New Media and Digital Arts with Annette Barbier > (UNREAL-ESTATES and Interactive Arts and Media Department Columbia > College), Ryan Griffis (The Temporary Travel Office, YOUgenics and > The School of Art & Design University of Illinois at Champaign > Urbana), Mark Hansen (Professor in English Language & Literature, > Cinema & Media Studies; University of Chicago), Lynn Marie Kirby > (California College of the Arts), PILOT TV, Rob Ray (DEADTECH and > dorkbot Chicago), Lincoln Schatz (OPEN-NODE and The Upgrade! > Chicago) and Daniel Tucker (AREA Chicago). > > [FRAY] After (Party) Event > SATURDAY MAY 13 @ 9 PM - ON > Chicago Art Department > 1837 S. Halsted > CHI IL .US > FREE > > The Chicago Art Department hosts the [FRAY] After (Party) Event. > the [FRAY] After (Party) Event event is co-presented by the Film, > Video & New Media and Performance Departments. Students of the > Film, Video & New Media and Performance Departments are organizing > and curating Performance Inside Out, a program of performance in > the context of New Media that will take place @ the Chicago Art > Department and online during the After (Party) Event. > > The Chicago Art Department: http://chicagoartdepartment.org > [FRAY]: http://fvnm.info/fray > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > From sondheim at panix.com Wed May 3 09:43:34 2006 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 3 May 2006 03:43:34 -0400 (EDT) Subject: [NetBehaviour] Re: [webartery] portraits of various kinds & some other stuff In-Reply-To: <20060502191841.40248.qmail@web30307.mail.mud.yahoo.com> References: <20060502191841.40248.qmail@web30307.mail.mud.yahoo.com> Message-ID: Favorite is The World is etc. - wondered if the music was Wittgenstein's or Webern's? Too coincidental? Anyway the relationship's there. Like the joining of flesh to Aufhebung, sp? - Alan blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact sondheim at panix.com, - general directory of work: http://www.asondheim.org From szpako at yahoo.com Wed May 3 10:29:55 2006 From: szpako at yahoo.com (Michael Szpakowski) Date: Wed, 3 May 2006 01:29:55 -0700 (PDT) Subject: [NetBehaviour] Re: [webartery] portraits of various kinds & some other stuff In-Reply-To: Message-ID: <20060503082955.6344.qmail@web30301.mail.mud.yahoo.com> HI Alan thanks! -the music is mine although I think you're right in detecting a second Viennese school character to it - Berg & Webern in particular are favourites. I tend to be something of a musical chameleon - comes from having done quite a lot of theatre work :) As for Wittgenstein, I lack your rigour I'm afraid -truth is the title came at the very last moment, although again I am a huge fan, not so much of the Tractatus, which I could never get through, but the Investigations. One of the things that appeals in particular is the literary quality, the sheer strange elegance of his writing...so quotable! warmest wishes michael --- Alan Sondheim wrote: > > > Favorite is The World is etc. - wondered if the > music was Wittgenstein's > or Webern's? Too coincidental? Anyway the > relationship's there. Like the > joining of flesh to Aufhebung, sp? - Alan > > blog at http://nikuko.blogspot.com - for URLs, DVDs, > CDs, books/etc. see > http://www.asondheim.org/advert.txt - contact > sondheim at panix.com, - > general directory of work: http://www.asondheim.org > > > > Yahoo! Groups Links > > <*> To visit your group on the web, go to: > http://groups.yahoo.com/group/webartery/ > > <*> To unsubscribe from this group, send an email > to: > webartery-unsubscribe at yahoogroups.com > > <*> Your use of Yahoo! Groups is subject to: > http://docs.yahoo.com/info/terms/ > > > > From xavier.cahen at pourinfos.org Tue May 2 15:30:01 2006 From: xavier.cahen at pourinfos.org (xavier cahen pourinfos.org) Date: Tue, 02 May 2006 15:30:01 +0200 Subject: [NetBehaviour] ))))) radiolist.org ((((( visual arts noise platform ((((( # 3 Message-ID: <44575ED9.3040907@pourinfos.org> RadioList.org Plate-forme sonore des arts visuels / visual arts noise platform (((((((((.)))))))))) It's time for your french lesson ! # 3 ;-) .((((( Abonnement RSS : podcast, ipodder, sage, etc... http://radiolist.org/index.php?feed=rss2 .((((( Abonnement ? la newsletter http://radiolist.org De qui de quoi : est-ce une bonne nouvelle, Paris )))))))).(((((((((( Interview de Christian Barani vid?aste et membre actif de l?association ?est-ce une bonne nouvelle?. Cette association propose de diffuser des vid?os de producteurs - concepteurs - r?alisateurs, et/ou artistes, qui ?uvrent dans un champ ouvert et pluriel. Extraits sonores des vid?os de Christian Barani, Yann Beauvais, La?titia Bourget, Lo?c Connanski et Sabine Massenet. http://radiolist.org//?p=54#more-54 Madame la baronne est ? la Maison populaire ! Montreuil )))))))).(((((((((( Rencontre de la commissaire d?exposition ?milie Renard, lors de la visite guid?e du premier chapitre de l?exposition : Madame la baronne ?tait plut?t mani?r?e, assez rococo et totalement baroque, au Centre d?art Mira Phalaina, ? la Maison Populaire de Montreuil. Un portrait en trois expositions con?u par ?milie Renard. http://radiolist.org//?p=53#more-53 Cr?ation Sonore Ilios & Nanofamas )))))))).(((((((((( Ilios et Nanofamas sont deux projets d?artiste sonore utilisant le bruit comme source de leur composition. Ils ont travaill? au mois de mars 2006 ? Barcelone sur une s?rie de pi?ces d?une dur?e de deux minutes chacune. En voici un extrait : http://radiolist.org//?p=52# Mac/Val, sur les pas de Marion, Vitry-sur-Seine )))))))).(((((((((( Mac/Val , visite guid?e du samedi 4 f?vrier 2006 sur le th?me de la d?formation. Marion nous parle d?une oeuvre des artistes suivants : Bertrand Lamarche & Nicolas Moulin ? C?sar - Alain Bublex - Franck Scurti - Malachi Farell. http://radiolist.org//?p=50 De qui de quoi : ?of, espace de montrastion, Paris )))))))).(((((((((( Vous avez dit galerie ? Interview de Kiko Herrero et de Serge Ramon, initiateur d??of, espace de monstration, 15 rue st fiacre, ? Paris, dans le second arrondissement. http://radiolist.org//?p=49 Apr?s quoi ? #1 : ONVELECDI )))))))).(((((((((( Premier num?ro d?une ?mission d?di?e ? la psychocritique, sociocritique de la d?composition des objets s?miotiques informationnels. Tentative sonore de d?r?alisation des rapports entre l?int?riorit? et l?ext?riorit? des lignes de partage. Retour sur la mobilisation pour le retrait du CPE et le match urbain opposant forces de l?ordre et ? ?jeunes?. http://radiolist.org//?p=48 Christian No?l, un cactus ? Marseille )))))))).(((((((((( C?est le travail de Christian No?l r?alis? dans la rencontre du texte, de la voix, de l?image et du son qui est pr?sent? ici en quelques morceaux choisis. Mati?re sonore cr??e ? partir de textes de Claude Ber et Italo Calvino avec les voix de Sylvana Pintozzi et Fr?d?rique Wolf Michaux. Extraits des pi?ces sonores : Free Party en basse cour, Elle vit ? cloche pied et Elle m?emm?ne au paradis. http://radiolist.org//?p=47 -- RadioList.org (((((((.))))))) xavier cahen administrateur xavier.cahen at radiolist.org http://www.radiolist.org From marc.garrett at furtherfield.org Wed May 3 11:43:08 2006 From: marc.garrett at furtherfield.org (marc.garrett at furtherfield.org) Date: Wed, 3 May 2006 05:43:08 -0400 Subject: [NetBehaviour] sondheim censored.... Message-ID: <380-220065339438562@M2W004.mail2web.com> Hi Alan, Do you know that much of your work is censored at various colleges? For instance, I tried accessing this piece/link ttp://www.asondheim.org/moon.mp4 and was refused access from the college's Firewall, mentioning that it is because of sexual content. marc URL: http://www.asondheim.org/ blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact sondheim at panix.com, - general directory of work: http://www.asondheim.org _______________________________________________ NetBehaviour mailing list NetBehaviour at netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . From rob at robmyers.org Wed May 3 11:49:29 2006 From: rob at robmyers.org (rob at robmyers.org) Date: Wed, 03 May 2006 10:49:29 +0100 Subject: [NetBehaviour] sondheim censored.... In-Reply-To: <380-220065339438562@M2W004.mail2web.com> References: <380-220065339438562@M2W004.mail2web.com> Message-ID: <20060503104929.qf0baf8voccw400g@webmail.robmyers.org> Quoting "marc.garrett at furtherfield.org" : > Do you know that much of your work is censored at various colleges? Possibly it's just the word "moon"? :-) BoingBoing have a good list of resoures for defeating censorware: http://www.boingboing.net/censorroute.html - Rob. From sondheim at panix.com Wed May 3 17:04:51 2006 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 3 May 2006 11:04:51 -0400 (EDT) Subject: [NetBehaviour] Re: [webartery] portraits of various kinds & some other stuff In-Reply-To: <20060503082955.6344.qmail@web30301.mail.mud.yahoo.com> References: <20060503082955.6344.qmail@web30301.mail.mud.yahoo.com> Message-ID: It's not so much to the point here, but I think the Tractatus is an absolutely (pun intended) critical text for understanding the sea change that occurred from the 19th to the 20th century and beyond; it's a kind of logicism that's reappeared in Badiou... - Alan On Wed, 3 May 2006, Michael Szpakowski wrote: > HI Alan > thanks! -the music is mine although I think you're > right in detecting a second Viennese school character > to it - Berg & Webern in particular are favourites. > I tend to be something of a musical chameleon - comes > from having done quite a lot of theatre work :) > As for Wittgenstein, I lack your rigour I'm afraid > -truth is the title came at the very last moment, > although again I am a huge fan, not so much of the > Tractatus, which I could never get through, but the > Investigations. One of the things that appeals in > particular is the literary quality, the sheer strange > elegance of his writing...so quotable! > warmest wishes > michael > --- Alan Sondheim wrote: > >> >> >> Favorite is The World is etc. - wondered if the >> music was Wittgenstein's >> or Webern's? Too coincidental? Anyway the >> relationship's there. Like the >> joining of flesh to Aufhebung, sp? - Alan >> >> blog at http://nikuko.blogspot.com - for URLs, DVDs, >> CDs, books/etc. see >> http://www.asondheim.org/advert.txt - contact >> sondheim at panix.com, - >> general directory of work: http://www.asondheim.org >> >> >> >> Yahoo! Groups Links >> >> >> webartery-unsubscribe at yahoogroups.com >> >> >> >> >> > > > > > Yahoo! Groups Links > > <*> To visit your group on the web, go to: > http://groups.yahoo.com/group/webartery/ > > <*> To unsubscribe from this group, send an email to: > webartery-unsubscribe at yahoogroups.com > > <*> Your use of Yahoo! Groups is subject to: > http://docs.yahoo.com/info/terms/ > > > > blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact sondheim at panix.com, - general directory of work: http://www.asondheim.org From sondheim at panix.com Wed May 3 19:12:40 2006 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 3 May 2006 13:12:40 -0400 (EDT) Subject: [NetBehaviour] sondheim censored.... In-Reply-To: <200605031100.k43B05g09033@ns.ivanpope.com> References: <200605031100.k43B05g09033@ns.ivanpope.com> Message-ID: Hi Marc - Could you possibly look into this and try some other files such as A4? This is disturbing; what I don't understand - how do they know the content? There is a blurred image of breasts, that's all. And "moon" doesn't give anything away unless someone thinks it has to do with "mooning". I'd appreciate anything else you could add to this.. Thanks, Alan From leon at c6.org Wed May 3 20:55:30 2006 From: leon at c6.org (leon) Date: Wed, 3 May 2006 19:55:30 +0100 Subject: [NetBehaviour] sondheim censored.... In-Reply-To: Message-ID: <200605031855.k43ItaH40908@c6.org> Generally there is a lot that academic institutions may choose to censor Never really worked out how they do it but know that c6 have fallen foul of this numerous times. AOL seemed to me to be the worst culprits with users signing up on their service being denied our content. Why? I cant answer but the censorship of art in this way is rather disturbing. Recently in eindhoven at the strp festival our exhibit was pulled for showing ascii porn, generated from sms texts that the public had submitted to the system. If a supposed new media curator cuts your work for rude pictures made of text in a country where drugs are legal then what is the hope of a corperation or government body allowing access through there network I too would be very interested to find out how they decide something is to be censord. It would identify the areas where I ought to try a little harder. leon -----Original Message----- From: netbehaviour-bounces at netbehaviour.org [mailto:netbehaviour-bounces at netbehaviour.org] On Behalf Of Alan Sondheim Sent: den 3 maj 2006 18:13 To: netbehaviour at netbehaviour.org Subject: [NetBehaviour] sondheim censored.... Hi Marc - Could you possibly look into this and try some other files such as A4? This is disturbing; what I don't understand - how do they know the content? There is a blurred image of breasts, that's all. And "moon" doesn't give anything away unless someone thinks it has to do with "mooning". I'd appreciate anything else you could add to this.. Thanks, Alan _______________________________________________ NetBehaviour mailing list NetBehaviour at netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour From marc.garrett at furtherfield.org Thu May 4 02:03:21 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 04 May 2006 01:03:21 +0100 Subject: [NetBehaviour] sondheim censored.... In-Reply-To: References: <200605031100.k43B05g09033@ns.ivanpope.com> Message-ID: <445944C9.5040101@furtherfield.org> Hi Leon & Alan, Yes - I find it all pretty disturbing. I will be bnack there next week and will have a chat with the techies there, to get some info about this... Not just that - furtherfield for some reason has been shoved down the google listings, and believe me there are plenty of links out there connecting to furtherfield. One of the F-crew found out that it was something to do with explicit material on the server (or somthing), which there isn't. I have emailed google and have totally ignored regarding this. It is worrying... marc > > > Hi Marc - > > Could you possibly look into this and try some other files such as A4? > This is disturbing; what I don't understand - how do they know the > content? There is a blurred image of breasts, that's all. And "moon" > doesn't give anything away unless someone thinks it has to do with > "mooning". I'd appreciate anything else you could add to this.. > > Thanks, Alan > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From marc.garrett at furtherfield.org Thu May 4 02:22:39 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 04 May 2006 01:22:39 +0100 Subject: [NetBehaviour] Dodgy album covers :-) In-Reply-To: References: <200605031100.k43B05g09033@ns.ivanpope.com> Message-ID: <4459494F.1070509@furtherfield.org> If you fancy some tense-sniggerz.... Some dodgy album covers :-) http://dixi.blogter.hu/?post_id=43131 marc From carlos.katastrofsky at gmx.net Thu May 4 13:19:48 2006 From: carlos.katastrofsky at gmx.net (carlos katastrofsky) Date: Thu, 04 May 2006 13:19:48 +0200 Subject: [NetBehaviour] sondheim censored.... In-Reply-To: <445944C9.5040101@furtherfield.org> References: <200605031100.k43B05g09033@ns.ivanpope.com> <445944C9.5040101@furtherfield.org> Message-ID: quite interesting... a few months ago the austrian art- group "monochrom" ( http://www.monochrom.at/english/ ) also went down on the google - index. altough they had a top ranking (#1 if you were looking for "monochrom" @ google.com), today the website can be found only on page 10 or something (to be correct: number 89 in the ranking is a link to a game (sovjet unterzoegersdorf) on their website, not to the entrypage). johannes (one of the group) told me that a friend of him said monochrom was somwhere listed as site with "explicit content", which is simply not true. google frightens me again... c. On Thu, 04 May 2006 02:03:21 +0200, marc wrote: > Hi Leon & Alan, > > Yes - I find it all pretty disturbing. I will be bnack there next week > and will have a chat with the techies there, to get some info about > this... > > Not just that - furtherfield for some reason has been shoved down the > google listings, and believe me there are plenty of links out there > connecting to furtherfield. One of the F-crew found out that it was > something to do with explicit material on the server (or somthing), > which there isn't. I have emailed google and have totally ignored > regarding this. It is worrying... > > marc > >> >> >> Hi Marc - >> >> Could you possibly look into this and try some other files such as A4? >> This is disturbing; what I don't understand - how do they know the >> content? There is a blurred image of breasts, that's all. And "moon" >> doesn't give anything away unless someone thinks it has to do with >> "mooning". I'd appreciate anything else you could add to this.. >> >> Thanks, Alan >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour at netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > From marc.garrett at furtherfield.org Thu May 4 13:45:07 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 04 May 2006 12:45:07 +0100 Subject: [NetBehaviour] VII MEDIA FORUM In-Reply-To: <4459494F.1070509@furtherfield.org> References: <200605031100.k43B05g09033@ns.ivanpope.com> <4459494F.1070509@furtherfield.org> Message-ID: <4459E943.1050102@furtherfield.org> VII MEDIA FORUM of the ??VIII Moscow International Film Festival June 23-26, 2006 http://mediaforum.mediaartlab.ru CALL FOR ENTRIES ? AUTHO(RITARNOST)? MEDIA FORUM MF programme 2006 International Board Entry Form and contacts MEDIA FORUM Festival programme works submittion deadline ? May 20th 2006 Presentation programme and conference applications deadline ? May 10st 2006 (e-mail ? mediaforum at mediaartlab.ru) Organizers: MediaArtLab Centre for Art and Culture, Interfest Location: Russian Cinematographers Union, Club Na Brestskoj, Moscow Support: ANO Internews Moscow International Film Festival Moscow International Film Festival (MIFF) is held since 1959 and gradually it has become one of most respectable and prestigious film- forums in the world. In 1973 MIFF was registered by the International Federation of Film-producers associations (FIAPF) as an ?A? class film festival alongside with those in Berlin, Cannes, San-Sebastian, Karlovy Vary and Venice. This is the sixth year Media Forum is organized as part of the Moscow International Film Festival. The role of new media in audiovisual art and culture received due recognition and Media Forum was immediately introduced into the official program of MIFF. Media Forum is the first event of such scale in Russia and it reveals a new vision of the world of new media culture and new screen technologies to the professionals, critics and public in general. The objective of Media Forum is to demonstrate the connection between traditional and modern branches of screen culture, the impact of technological innovations on visual arts. Media Forum as action is an exchange of ideas, infusion of new forces into contemporary culture and vice versa. It is an attempt to demonsrtate the logic of new thought and new communications. At the moment it is inside media culture that new ideas go through trial and approbation, ideas that cannot be realized in contemporary art context. MF programme 2006 1. Festival programme During preparation to this year MEDIAFORUM Alexey Isaev (1960-2006), our ideological leader and theoretician, died. This tragedy brought us to two immanent conclusions: 1. dedicate MEDIAFORUM 2006 to Alexey Isaev memory; 2. select as a theme for the Forum Autho(Ritarinost) because this was his last will. Media-artist by the very order of things is placed in the state of auto(rhetarian) author. First, as artistic personality generating its significant discourse, its self rhetoric. He automatically places itself in opposition to totality ? to its material, to the viewer, to the society, to the critic, to the power, to the temporality, and to the space. Authorizing his conception he wins the fight with the context. Only charismatic, autonomous, despotic rhetoric rips the emptiness of distrust, indifference, apathy. To establish his authority and accomplish the influence of art the author glows with will, forth, self-esteem, pretension; under this aegis he storm the heaven, shoot forward in a deep avant-garde. Only ambitious will be taken to the future (Victor Misiano). Secondly, he joined with the tentacles of the power, i.e. with media. He manipulate with its manipulators. Media is rhetoric in itself; without authority of the author it escapes the grasp. Artist which rules them by the iron hand doubles authority, i.e. produce art. The theme of the authority of media is as old as first experiments of ?guerilla video? of the 60-s but it haven?t lost its actuality. The power reactualizes it again and again. Now is quite obvious that without total antagonism and authority of artist it?s not possible interaction with unlimited. 2. Presentation programme: informational retrospective screenings and special screenings We invite the participation of festivals, distributive centres, media labs, archives, independent curators The International Conference and round table ?Between viewer and screen? 4. Multimedia shows International Board Woody Vasulka ? pioneer of media art, founder of the world?s largest media archives ?Vasulkas?, USA Rudolf Frieling - Zentrum fur Kunst und Medientechnology [ZKM], Karlsruhe,Germany. Kirill Razlogov ? art director of MIFF, director of Russian Institute for Cultural Research, Russia Kathy Rae Huffman ? Director of Visual Arts at Cornerhouse, Manchester,UK Etienne Sandrin ? Attach? de Conservation of Video Archive at the Georges Pompidou National Centre for Art and Culture, France Jan Schuijren ? curator, Amsterdam, Netherlands Entry Form and contacts Festival programme (Deadline: May 20, 2006): ONLY CD ROMs or DVD disks Name, family name, nationality, telephone/fax, address and e-mail of the author (group) Title of work, year and place of production ________________________________________ Technology, original format Submitted format Synopsis Short CV *Please enclose to your work: I authorize that my work can be (yes/no): transferred to other formats if it's necessary for presentation within the festival ________; used in printed and online publucations, TV programs presenting Media Forum, full _______; fragments ________; kept in MediaArtLab's archive ________. Date _______________ Signature ____________________ Non-selected works won't be returned Presentation programmes and conference (Deadline: May 10, 2005): Papers and Programme?description Proposals Please submit short abstracts (no more than 50 words) and description of organization or short CV (by e-mail mediaforum at mediaartlab.ru) Contacts: MIFF, Media Forum 119019, 8a, Nikitskii Boulevard, 3rd, (?Internews? - for ?MediaArtLab?) Tel.: +7 (095) 956-22-48 E-mail: mediaforum at mediaartlab.ru URL: http://mediaforum.mediaartlab.ru Media Forum programme is to be published as part of the official XXVIII Moscow International Film Festival Catalogue in Russian and English Olga Shishko, Programs Curator (mediaforum at mediaartlab.ru) Konstantin Bokhorov, International Curator (bororo at division.ru) Olga Selivanova, Coordinator of the Festival Program (elka at sidor.ru) From marc.garrett at furtherfield.org Thu May 4 13:50:51 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 04 May 2006 12:50:51 +0100 Subject: [NetBehaviour] sondheim censored.... In-Reply-To: References: <200605031100.k43B05g09033@ns.ivanpope.com> <445944C9.5040101@furtherfield.org> Message-ID: <4459EA9B.6020304@furtherfield.org> Hi Carlos, Yes, Google is frightening. If one types in to - find web pages that contain the term "furtherfield.org" we get 37,900... If one types net art - you find furtherfield on page 6, on google. Which would be fine but, we are really should be higher up to reflect what we do and the involvement of furtherfield and all the projects. It really does feel as though we have been censored... marc > quite interesting... > a few months ago the austrian art- group "monochrom" ( http://www.monochrom.at/english/ ) also went down on the google - index. altough they had a top ranking (#1 if you were looking for "monochrom" @ google.com), today the website can be found only on page 10 or something (to be correct: number 89 in the ranking is a link to a game (sovjet unterzoegersdorf) on their website, not to the entrypage). johannes (one of the group) told me that a friend of him said monochrom was somwhere listed as site with "explicit content", which is simply not true. > google frightens me again... > > c. > > > > On Thu, 04 May 2006 02:03:21 +0200, marc wrote: > >> Hi Leon & Alan, >> >> Yes - I find it all pretty disturbing. I will be bnack there next week and will have a chat with the techies there, to get some info about this... >> >> Not just that - furtherfield for some reason has been shoved down the google listings, and believe me there are plenty of links out there connecting to furtherfield. One of the F-crew found out that it was something to do with explicit material on the server (or somthing), which there isn't. I have emailed google and have totally ignored regarding this. It is worrying... >> >> marc >> >>> >>> >>> Hi Marc - >>> >>> Could you possibly look into this and try some other files such as A4? This is disturbing; what I don't understand - how do they know the content? There is a blurred image of breasts, that's all. And "moon" doesn't give anything away unless someone thinks it has to do with "mooning". I'd appreciate anything else you could add to this.. >>> >>> Thanks, Alan >>> _______________________________________________ >>> NetBehaviour mailing list >>> NetBehaviour at netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> >>> >> >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour at netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From marc.garrett at furtherfield.org Thu May 4 14:08:41 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 04 May 2006 13:08:41 +0100 Subject: [NetBehaviour] 1520+ Hometowns. In-Reply-To: <4459E943.1050102@furtherfield.org> References: <200605031100.k43B05g09033@ns.ivanpope.com> <4459494F.1070509@furtherfield.org> <4459E943.1050102@furtherfield.org> Message-ID: <4459EEC9.3030501@furtherfield.org> 1520+ Hometowns (a work in progress). "In March 2004 I began a map piece cutting out the hometown of each American and woman killed in Iraq. The U.S Government gives us very little information. We have no idea of the number of Americans injured and no accurate numbers for the Iraqis killed and injured. Former Iraqi commander Tommy Franks and Defense Secretary Donald Rumsfiield have both boasted 'we don't need body counts'. The list I have used has been based on CNN's web site. In some cases we don't have soldier's hometowns, only a state or county." David Wilson. http://tofuart.com/hometowns/ From marc.garrett at furtherfield.org Thu May 4 14:13:53 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 04 May 2006 13:13:53 +0100 Subject: [NetBehaviour] Virtual war: to be as if... In-Reply-To: <4459494F.1070509@furtherfield.org> References: <200605031100.k43B05g09033@ns.ivanpope.com> <4459494F.1070509@furtherfield.org> Message-ID: <4459F001.6040200@furtherfield.org> Virtual war: to be as if. "In a 1,000-square-mile region on the edge of Death Valley, Arab-Americans, many of them from the Iraqi expatriate community in San Diego, populate a group of mock villages resembling their counterparts in Iraq. American soldiers at forward operating bases nearby face insurgent uprisings, suicide bombings and even staged beheadings in underground tunnels. Recently, the soldiers here, like their counterparts in Iraq, have been confronted with Sunni-Shiite riots. At one village, a secret guerrilla revolt is in the works." http://linkme2.net/7w From marc.garrett at furtherfield.org Thu May 4 14:18:37 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 04 May 2006 13:18:37 +0100 Subject: [NetBehaviour] Hyperpolis 3.0: Really Useful Media. In-Reply-To: <4459EEC9.3030501@furtherfield.org> References: <200605031100.k43B05g09033@ns.ivanpope.com> <4459494F.1070509@furtherfield.org> <4459E943.1050102@furtherfield.org> <4459EEC9.3030501@furtherfield.org> Message-ID: <4459F11D.7090506@furtherfield.org> Hyperpolis 3.0: Really Useful Media Call for Papers/Proposals We know too much about media communications technologies as instruments of social control. We don?t know enough about media technologies as instruments of civil society and cultural development. We know too much about media discourses as, on the one hand, ?popular culture?: alienated and commodified cultural forms; and on the other, ?cultural theory?: paranoid cosmologies of hyper-rhetoric, and the ubiquitous inevitability of evil? We don?t know enough about digital media as something other than a means to an end, as ?instrumental culture?, where culture itself ?mainstream, alternative, underground, or otherwise is degraded to the status of tools (some hard, some soft, all ware). Hyperpolis: Really Useful Media will provide a forum for the discussion and presentation of some positive contributions to the field, in light of these chronic imbalances. 1 Media practices whose product is an improvement in the integrity and vitality of the culture and society in which they are embedded. 2 Media practices whose processes are in and of themselves desirable. Deadline: June 15th, 2006 Conference and Celebration: October 20th, 2006 Hosts: Integrated Digital Media Institute and Othmer Institute for Interdisciplinary Studies Polytechnic University, Brooklyn Info: idmi.poly.edu Contact: Carl Skelton, Director, IDMI Polytechnic University, Brooklyn RH 701, Six MetroTech Center Brooklyn NY 11201 USA cskelton at poly.edu From marc.garrett at furtherfield.org Thu May 4 14:21:39 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 04 May 2006 13:21:39 +0100 Subject: [NetBehaviour] Wikimania 2006 - International Wikipedia Conference. In-Reply-To: <4459EEC9.3030501@furtherfield.org> References: <200605031100.k43B05g09033@ns.ivanpope.com> <4459494F.1070509@furtherfield.org> <4459E943.1050102@furtherfield.org> <4459EEC9.3030501@furtherfield.org> Message-ID: <4459F1D3.7060002@furtherfield.org> Wikimania 2006. The International Wikipedia Conference. Welcome to the Wikimania 2006 website. Wikimania is an annual international conference devoted to Wikipedia and the Wikimedia Foundation projects. Wikimania is both a scientific conference and a community event, bringing together the various Wikimedia projects. It's an opportunity for Wikipedians to meet each other, exchange ideas, and report on research and projects, as well as a chance for Wikipedians and the general public to meet and interact. Wikimania will also provide an opportunity to meet and talk with people at the forefront of the Wikimedia communities and wiki software development. As well as being a forum for research and ideas about the Wikimedia Foundation projects, Wikimania will bring together those interested in free and open source software, free knowledge initiatives, and other wiki projects worldwide. Wikimania will serve as a venue for people across fields, including software and hardware development, library and information science, knowledge management, journalism, law, policy, and education to share ideas about the future of free knowledge and open-source content projects. http://wikimania2006.wikimedia.org/wiki/Main_Page From marc.garrett at furtherfield.org Thu May 4 14:24:51 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 04 May 2006 13:24:51 +0100 Subject: [NetBehaviour] Team Hack-A-Day forum. In-Reply-To: <4459EEC9.3030501@furtherfield.org> References: <200605031100.k43B05g09033@ns.ivanpope.com> <4459494F.1070509@furtherfield.org> <4459E943.1050102@furtherfield.org> <4459EEC9.3030501@furtherfield.org> Message-ID: <4459F293.7090703@furtherfield.org> Team Hack-A-Day forum. "The Team Hack-A-Day forum recently started a thread to discuss homebrew CNC. Computer Numerical Control machining is a very popular topic in our community because of the prohibitive cost of buying a machine off-the-shelf. Searching through the archive it seems we?ve only covered one actual CNC machine; since people have been building these things for so long, it?s hard to come up with the definitive CNC project. We?ve also featured the Etch CNC, designed by the AXIS developers to verify their software. My coworker Will O?Brien, who writes how-tos for Engadget, recently started working on a new CNC mill. You can expect a write-up on that in the future. Also, Lady Ada recommends Drill Bit City for sourcing cheap carbide bits." If there is enough interest, Team Hack-A-Day might add another forum for CNC projects. http://www.teamhackaday.com/forum/index.php From theartist at tastemysubversion.com.au Thu May 4 02:33:11 2006 From: theartist at tastemysubversion.com.au (TheSubversiveArtist) Date: Thu, 4 May 2006 10:33:11 +1000 Subject: [NetBehaviour] Dodgy album covers :-) In-Reply-To: <4459494F.1070509@furtherfield.org> References: <200605031100.k43B05g09033@ns.ivanpope.com> <4459494F.1070509@furtherfield.org> Message-ID: <0ab773cc2d986c96db1299ec15282b84@tastemysubversion.com.au> > Dear Marc: PURE GOLD!!! http://www.tastemysubversion.com.au -------------- next part -------------- A non-text attachment was scrubbed... Name: Pasted Graphic.tiff Type: image/tiff Size: 57384 bytes Desc: not available URL: -------------- next part -------------- 'I act with felt empathy for human beings, celebrating tolerance and diversity; and do so with humor, confronting imagery, and uncensored, in an in-political correct way you would not expect from any beaurocracy. I speak in a language you would chat to your mates with over a beer.' The modern world is deluded and lost-our advertising visual language is seen by me to eat at the frail human ego, acting to degrade us, for wealth in the fickle spectrum of money-which ultimately destroys us. I now use this method of subversion to attack the immoral and tragic state of leaders and paradigms of contemporary society, and the modern world, to morally validate people as individuals'. Controversial, hilarious, blatantly offensive, offensive, yet empathic. I see it as 'validating, exposing and attacking contemporary mass-delusion'. A dig at the achilles heel of our leaders. An angry statement to those who don't tolerate diversity. 'Celebrate your own subjective truth', It may look offensive, yet speaks from a well of empathy. I have a BFA, Ass Dip CAAD, Human Rights awards, etc. Hoping you have time to consider, and feedback with wonderful ideas. Sincerely, TheSubversiveArtist. (Melbourne) http://www.tastemysubversion.com.au theartist at tastemysubversion.com.au From rich at counterwork.co.uk Thu May 4 16:13:28 2006 From: rich at counterwork.co.uk (rich white) Date: Thu, 4 May 2006 15:13:28 +0100 Subject: [NetBehaviour] making nothing out of something Message-ID: <001801c66f84$ed4ed2d0$081f2352@counterwork> decontextulaisation of the art object 'Theory is good, but it doesn't prevent things from existing.' Charcot, J. M. quoted in Freud, S. 1977 p156 Decontextualisation is a term I have been using in my work to describe what happens to an artwork when its context or value has been removed or transferred to another non-art object. The purpose of this is to demonstrate a possible way that value is created and communicated. My aim in using decontextualisation is to create something that bears no relation to anything. I wish to create an artwork that is aware of its cultural, visual and psychological standing and uses this awareness to negate all attempts at clarifying, classifying and identifying its origin, use and value. I have currently only made tentative steps towards producing this work and through this I have come to realise the complexity and practical impossibilities of the idea. What I will illustrate here are the processes and methods by which I can allude to this process through metaphor, analogy and psychological suggestion, and why I feel this is an interesting field to explore... more http://www.counterwork.co.uk/writing/decontext.htm rich white http://www.counterwork.co.uk 07812444612 From ivan at textzi.net Fri May 5 12:01:23 2006 From: ivan at textzi.net (=?ISO-8859-1?Q?ivan_l=C3=B3pez?=) Date: Fri, 5 May 2006 05:01:23 -0500 Subject: [NetBehaviour] zapatista red alert - texcoco In-Reply-To: <445649C1.5020203@furtherfield.org> References: <4455E4EF.4070407@furtherfield.org> <445649C1.5020203@furtherfield.org> Message-ID: two articles from narconews about post-mayday m?xico... this time the virtual sit-in is at -> http://bang.calit2.net/CincodeMayo/ -ivan ########################################## ########################################## http://narcosphere.narconews.com/story/2006/5/3/211717/2654 Other Campaign Suspended: Red Alert in the Zapatista Good Government Councils of Chiapas By Juan Trujillo, MEXICO CITY, MAY 3, 2006: As the political demonstration in the Plaza of the Three Cultures, in this city's Tlatelolco neighborhood, came to an end, in reaction to the confrontations between flower producers and police in Texcoco leaving one dead -14 year old child Javier Cort?z- , Delegate Zero-Subcomandante Marcos decreed a red alert in the Zapatistas' Good Government Councils in Chiapas and the temporary suspension of the Other Campaign's activities. The preceding information has been confirmed by telephone from Tlalteloco by Narco News/Other Journalism correspondent Roberto Chan Kin Ortega and by Hermann Bellinghausen of the Mexico City newspaper La Jornada. Through this morning and afternoon the clash between flower growers and police has been reported mainly by a few radio stations and briefs on the La Jornada website . Just a few kilometers away from the battle-tested town of San Salvador Atenco , according to information from La Jornada reporters Ren? Ram?n and Javier Salinas, "at least nine municipal police and six flower sellers were injured in a confrontation that occurred this morning when the farmers, supported by the Peoples' Front in Defense of the Land (the organization of Atenco farmers that successfully blocked an airport project on their land in 2002), tried to set up in front of the Belisario Dom?nguez market to sell their products. After the scuffle about 50 Atenco residents took refuge in an apartment building armed with sticks, machetes and rocks. Meanwhile, around 500 riot police remain in the streets and 500 Atenco residents are blocking the Texcoco federal highway." Ram?n and Salinas' reports in La Jornada maintain that "the tension rose in the area as federal forces and several helicopters arrived. In total there are 800 riot police in the zone. One of the people holed up in the apartment building is Ignacio del Valle, leader of the Peoples' Front in Defence of the Land. Around 2:45 pm another clash occurred due to an attempt to remove the Atenco residents from the Texcoco highway. The protesters began throwing Molotov cocktails and burning tires." According to Narco News correspondent Chan Kin Ortega at 6:20 p.m., people are marching toward the office of the federal government's Interior Minister tonight. Tomorrow at 8 a.m. the Other Campaign will assemble at the University of Chapingo (in Ecatepec, near the scene of today's violence in the state of Mexico). A mobilization has also been called tonight for adherents to the Other Campaign and people in general at the Fierro Bridge and the University of Chapingo to support the people under attack. Kind readers, Narco News' Other Journalism Road Team will be reporting on all the events of the coming hours and days... ########################################## ########################################## http://www.narconews.com/Issue41/article1761.html By Quetzal Belmont May 4, 2006 On May 3rd, rural flower farmers from the State of Mexico took their flowers to the Belisario Dominguez Market, in Texcoco, with the hope of setting up their stalls outside of the market, where they would sell their flowers. But upon arrival, they were met by various local, state, and federal police authorities. The flower farmers, who belong to the People's Front in Defense of the Land (FPDT), were violently attacked by police forces who claimed that they are not a legitimate business and that they don't have a designated location from which to sell their flowers. Throughout the day, there were several confrontations between the flower sellers and the police, with the confrontations intensifying in the afternoon, when a massive police attack attempted to remove them from the area. The flower sellers responded by erecting barricades, burning tires, and throwing Molotov cocktails while police attacked them with tear gas, night sticks, and submachine guns. As news of the confrontation spread, more members of their community of San Salvador, who belong to the same organization ? the FPDT ? as the flower farmers. The confrontation resulted in the death of 14-year old Javier Cort?s Santiago, who belongs to the People's Front in the Defense of the Land. Other members of the organization were injured, as were eight members of the police forces. After the confrontation, approximately 80 flower sellers went to hide in a local home, but were later found there, attacked, and arrested by over 400 federal police. A Mexican television reporter who was at the scene was also attacked and beaten, leaving him unable to record the events that unfolded. One has to ask: What were their motives in discouraging the media presence? During this attack on the home, one of the people arrested was Ignacio del Valle, a representative of the FDPT who is considered to be the front's leader. So far 94 people have been arrested and taken to the town of Toluca, where they gave declarations and had their legal status determined. At the same time, eleven police officers are being held by members of the (FPDT) in a local auditorium. Various controversies have emerged out of this conflict. It would appear that the arrest of Ignacio del Valle was an intentional provocation by the state and federal governments. This suggestion was articulated by Subcomandante Marcos (or as he's currently known, Delegate Zero), who as part of "the Other Campaign," is traveling to states around the country, and had just completed a visit to Mexico City. It's strange that these events unfolded at the same time that the residents of San Salvador de Atenco, who belong to the People's Front in Defense of the Land, have been acting as security for Delegate Zero's visit to Mexico City. Responding to the situation, Subcomandante Marcos announced that the EZLN is on red alert and that, for the moment, all activities associated with the Other Campaign have been suspended. At the same time, he put out a call for organizations to join forces and mobilize with the people of San Salvador de Atenco. Delegate Zero also declared that if anything should happen to him, there is someone waiting in the wings to take his place. Another important call went out for people to meet at 8:00 AM, on May 4th, on the campus of the University of Chapingo, to get organized and decide what kind of actions to carry out in response to the conflict. For now, the FPDT's central demands are: unconditional liberty for the FPDT members who have been arrested and the withdrawal of all police forces who have occupied the area and who have been maintaining a blockade on the Texcoco-Lecheria higway for over 12 hours. The task now is to analyze why this conflict is happening, taking into consideration the current socio-political context. There is the fact that the Other Campaign is well underway; Mexico is in an election year; and then there are economic interests to take into consideration, including the rumors of a Wal -Mart slated for construction in the area where the conflict began. A lot of questions remain unanswered. From rich at counterwork.co.uk Fri May 5 13:08:45 2006 From: rich at counterwork.co.uk (rich white) Date: Fri, 5 May 2006 12:08:45 +0100 Subject: [NetBehaviour] balloon servers Message-ID: <001b01c67034$46ef5c60$081f2352@counterwork> http://www.counterwork.pwp.blueyonder.co.uk/net.weight/mboard/msg/5.html if the link becomes broken please visit: http://www.counterwork.co.uk/net.weight and click through... rich http://www.counterwork.co.uk 07812444612 From camib at telus.net Fri May 5 04:38:58 2006 From: camib at telus.net (Camille) Date: Thu, 04 May 2006 19:38:58 -0700 Subject: [NetBehaviour] EXTENDED DEADLINE : ViPod Gallery submissions! In-Reply-To: Message-ID: ViPod Gallery: Viewing Event - CALL FOR SUBMISSIONS- DEADLINE EXTENDED The Escape Artists Society (T.E.A.S.) wants your video art for Vancouver?s first iPod viewing gallery or ViPod Gallery! Deadline for Works: May 19th, 2006 This is a fundraising event for Vancouver?s hottest emerging arts society The Escape Artists Society (T.E.A.S.): we put art in unusual spaces ? inserting ?our? world into ?there? world? penetrating public perceptions of culture, genre and form. Submitted works must be created specifically for screening on Apple?s new video iPod and can be no longer than 5 minutes in duration. The content and style of your work is open ? it can be narrative or non-narrative, personal or political, and presented in an experimental or documentary style. Play with the notion of ?ViPodification? in your work ? the small, intimate scale of the iPod may direct your explorations technically and conceptually? ?podify? it. Featured artists are eligible for prize packs featuring treats donated by local designers, artists and businesses. Final decisions: June 2nd, 2006 THE EVENT: The ViPod Viewing Gallery will take place in a funky uptown social location in Vancouver, BC, Canada. The space will be set up with special viewing tables: artists and guests will ?rent? the ViPods (each featuring a different artist?s work) for short periods ? to enjoy, share and discuss the works amongst themselves. The evening may also feature door prizes, performances and site-specific installations by local artists. Event Postponed: June 24th, 2006 REQUIREMENTS: Submissions must be original to the artist ? they may be new or older pieces that have been modified or ?ViPodified? - (altered in some way that addresses the intimate scale of the iPod?s screen) for the viewing environment in mind. * Max 320 x 240 in dimensions * Compression codecs to used MUST be either MPEG 4 or H.264, 2.5 mbps(max) at 30 fps * Max 5 mins, at max 15 megs in total file size * All audio and video must be original, with credits for all additional artist who worked on the project * Must include T.E.A.S. logo in credits ? this can be downloaded from T.E.A.S. website > after May 1st * Upon submission the artist will be asked to sign an agreement to release the work to T.E.A.S. for limited exclusive use for the first 6 weeks then unlimited, non-exclusive rights from that time forward To send your submissions please contact: Camille Baker at camille at telus.net or Victoria Singh at victoria-singh at telus.net or snail mail cd files to: The Escape Artists Society 1009 Semlin Drive Vancouver, BC V5L 4J9 Canada _________________________________________________________________________ THE ESCAPE ARTISTS SOCIETY The Escape Artists Society (TEAS)?officially registered in June 2005? is an emerging non-profit arts organization that aims to present and promote new media, experimental music, visual, wearable and live art experiences in unusual locations and environments. We rely on government grants and fund-raising events to finance our existence. KEY GOALS * To expose the public and arts community to ?acts of live art ?as part of their ?everyday life? (local +national). * To facilitate inspiring educational experiences?encourage the general public, artists and students to participate in events that will enrich their appreciation of art, media, technology and sound art. * Support the research, creation, presentation, production, exhibition and promotion of work by emerging, mid-career and established Canadian and international artists. WHO ARE WE T.E.A.S came to be when the key organizers: Camille Baker and Victoria Singh identified the need for a fresh approach to presenting unusual creative experiences to audiences in Vancouver. Despite the numerous organizations in the community mandated to provide work of this nature: they observe the limitations and frustrations many artists experience in terms of support, development and curatorial ingenuity. Both organizers have sound curatorial and arts administrative experience coupled with an outstanding reputation within the local and national arts community. In addition, Baker and Singh are supported by a working board of professional women, who are involved in fundraising and other organizational activities, planning of events, and the management of the society. They are Dr. Susan Kozel (president), Cindy Poremba (treasurer) and Valorie Pudsey (secretary). ACTIVITIES TO DATE SLITS 2- a multi-disciplinary performance evening featuring six artists performing simultaneously inside separate designer ?booths? : Archer Pechawis, Lois Klassen, Naufus Ramirez-Figueroa, Heidi Nagteegal, David Khang and Helge Meyer (Germany). This event received a favorable preview in the Georgia Straight? also co-sponsored by Western Front Performance Art. The Knitting Circle- a monthly discussion group (started in May 2005) for performance artists- featuring guest speakers, workshops and archival video evenings. This event is co-sponsored by The Western Front Performance Art Program. LIVE Biennial 2005- TEAS presented a work by new media artist Mark Brady called Difference and Repetition for Voice 1 on November 5,2005 at the Beehive Hair Salon on Main Street. This was a popular event and very well received by audience members. UPCOMING SITE/UNSCENE? site-specific media art and live performance media events from summer 2006- spring 2007, by nationally celebrated artists at various locations within Vancouver. For more information on T.E.A.S. go to http://www.escapeartists.ca :. Camille Baker The Escape Artists Society Co-Executive Director/ Curator Vancouver, BC, Canada http://www.escapeartists.ca :. -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Fri May 5 16:46:14 2006 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 5 May 2006 10:46:14 -0400 (EDT) Subject: [NetBehaviour] First, Second, Third, Fourth, the Slowness of Arches Message-ID: First, Second, Third, Fourth, the Slowness of Arches First and fourth are modified. Second and third are natural. Nothing is modified of course and nothing is natural. Flesh gathers around archslows. When the body transforms into self-medication. No, when the body implodes with natural information. No, when the body transforms through true modification. I wish I could take you down to Strawberry Fields. I wish I could live forever. http://www.asondheim.org/zold1.mp3 http://www.asondheim.org/zold2.mp3 http://www.asondheim.org/zold3.mp3 http://www.asondheim.org/zold4.mp3 http://www.asondheim.org/archslows.mp4 Second and third are modified. First and fourth are natural. Nothing is natural of course, not even death. Isn't death a modification? Nutrition gathers around archslows. The body explodes with modifications. I'm tired of the ennui called death. I wish I could die forever. And I would die forever. This is a true modification. From cahen.x at levels9.com Fri May 5 17:11:16 2006 From: cahen.x at levels9.com (xavier cahen) Date: Fri, 05 May 2006 17:11:16 +0200 Subject: [NetBehaviour] pourinfos Newsletter / 04-28 to 05-04-2006 Message-ID: <445B6B14.9060001@levels9.com> pourinfos.org l'actualit? du monde de l'art / daily Art news ----------------------------------------------------------------------- infos from April 28, 2006 to May 4, 2006 (included) ------------------------------------------------------------------- (mostly in french) @ 001 (04 05 2006) Workshop : "listening/machine", RAAC, Atelier Exp?rimental, Clans, France http://pourinfos.org/index.php?art=2935 ------------------------------------------------------------------- @ 002 (04 05 2006) Meetings : "the sound phenomenon in the contemporary art", Thursday May 4, 2006, Mus?e d'art contemporain de Lyon, Lyon, France. http://pourinfos.org/index.php?art=2990 ------------------------------------------------------------------- @ 003 (04 05 2006) Exhibition : ground zero, Olga, Limoges, France. http://pourinfos.org/index.php?art=3030 ------------------------------------------------------------------- @ 004 (04 05 2006) Exhibition : ORCAILLE, HAPTIC, vestibule de La Maison Rouge, Paris, France. http://pourinfos.org/index.php?art=3032 ------------------------------------------------------------------- @ 005 (04 05 2006) Meetings : Conference on the work of Erik SAMAKH, May 4 and May 17, 2006, ? Argenteuil et Cergy, France. http://pourinfos.org/index.php?art=3010 ------------------------------------------------------------------- @ 006 (04 05 2006) Meetings : Very is explained, Les entretiens sur l'art avec Laurent Grasso, Espace Paul Ricard , Paris, France. http://pourinfos.org/index.php?art=3046 ------------------------------------------------------------------- @ 007 (04 05 2006) Program : cultural, May 2006, Ecole Nationale Sup?rieure des Beaux-Arts, Paris, France. http://pourinfos.org/index.php?art=33030 ------------------------------------------------------------------- @ 008 (04 05 2006) Exhibition : SMALL SIZE #1, numeriscausa, Paris, France. http://pourinfos.org/index.php?art=33039 ------------------------------------------------------------------- @ 009 (04 05 2006) Exhibition : One shot by... Davide Bertocchi, Galerie Nuke, Paris, France. http://pourinfos.org/index.php?art=33041 ------------------------------------------------------------------- @ 010 (04 05 2006) Various : Contest of Montansier Authors, Theater Montansier, Versailles, France. http://pourinfos.org/index.php?art=33046 ------------------------------------------------------------------- @ 011 (04 05 2006) Publication : JHON n?15, two-monthly Portfolio & artbook!, Paris, France. http://pourinfos.org/index.php?art=33048 ------------------------------------------------------------------- @ 012 (04 05 2006) Publication : n?0 ?To give? mai 2006, CHECKPOINT, Editions LAPLATEFORME, Paris, France. http://pourinfos.org/index.php?art=33051 ------------------------------------------------------------------- @ 013 (04 05 2006) Publication : Stained glasses of Alfred Manessier, Les ?ditions Complicit?s, Grignan, France. http://pourinfos.org/index.php?art=33052 ------------------------------------------------------------------- @ 014 (04 05 2006) Publication : NiGHT WATCHING by Peter Greenaway, ?ditions dis voir, Paris, France. http://pourinfos.org/index.php?art=33053 ------------------------------------------------------------------- @ 015 (04 05 2006) Residences : artist's residence at box _ensa de Bourges, Bourges, France. http://pourinfos.org/index.php?art=33059 ------------------------------------------------------------------- @ 016 (04 05 2006) Residences : artist's residence at La Galerie, Centre d?art contemporain, Noisy-le-Sec, France. http://pourinfos.org/index.php?art=33060 ------------------------------------------------------------------- @ 017 (04 05 2006) Residences : artist's residence, Friche Belle de Mai, Marseille, France. http://pourinfos.org/index.php?art=33061 ------------------------------------------------------------------- @ 018 (04 05 2006) Call : for a curatorial project at la box _ensa de Bourges, Bourges, France. http://pourinfos.org/index.php?art=33062 ------------------------------------------------------------------- @ 019 (04 05 2006) Call : competion for digital art and photography, Los Angeles Center for Digital Art, Usa. http://pourinfos.org/index.php?art=33063 ------------------------------------------------------------------- @ 020 (04 05 2006) Call : Futuresonic 2006 International Festival, Manchester, The United Kingdom. http://pourinfos.org/index.php?art=33064 ------------------------------------------------------------------- @ 021 (04 05 2006) Call : The Media Art Friesland Festival 2006,Harlingen, Netherlands. http://pourinfos.org/index.php?art=33065 ------------------------------------------------------------------- @ 022 (04 05 2006) Call : Call for Submission, performances / gestures / actions, The Centre of Attention, London, The United Kingdom. http://pourinfos.org/index.php?art=33066 ------------------------------------------------------------------- @ 023 (04 05 2006) Call : festival of short film ? On the steps of my uncle ?, ville de Saint-Maur-des-Foss?s , France. http://pourinfos.org/index.php?art=33068 ------------------------------------------------------------------- @ 024 (04 05 2006) Call : the sound making art, 12th Contest Phonurgia Nova, Phonurgia Nova price 2006, Arles, France. http://pourinfos.org/index.php?art=33069 ------------------------------------------------------------------- @ 025 (05 05 2006) Program : May 2006, Espace Culture Multim?dia de la Maison populaire, Montreuil, France. http://pourinfos.org/index.php?art=2931 ------------------------------------------------------------------- @ 026 (05 05 2006) Program : Open Studio Cairo 2006, An international residency programme in Downtown Cairo, Egypt. http://pourinfos.org/index.php?art=33034 ------------------------------------------------------------------- @ 027 (06 05 2006) Exhibition : Fernand Fernandez, Bureau d'art et de recherche, Roubaix, France. http://pourinfos.org/index.php?art=2903 ------------------------------------------------------------------- @ 028 (06 05 2006) Exhibition : HOMESICK ? Act I, Akureyri Art Museum, Reykjav?k, Iceland. http://pourinfos.org/index.php?art=2984 ------------------------------------------------------------------- @ 029 (06 05 2006) Exhibition : UrbaNet ? Tango City, K?r Thiossane, Villa for art and the multi-media, Dakar, Senegal. http://pourinfos.org/index.php?art=3035 ------------------------------------------------------------------- @ 030 (06 05 2006) Exhibition : "strange bodies", Vincent Bernard, ARPAC, Fondation du Pioch Pelat, Castelnau le Lez, France. http://pourinfos.org/index.php?art=33023 ------------------------------------------------------------------- @ 031 (06 05 2006) Exhibition : White de blanc, Pascal Pinaud, Frac Basse-Normandie, Caen, France. http://pourinfos.org/index.php?art=33032 ------------------------------------------------------------------- @ 032 (06 05 2006) Screening : i love art vid?o, mus?e d'art moderne et contemporain de strasbourg, Strasbourg, France. http://pourinfos.org/index.php?art=33035 ------------------------------------------------------------------- @ 033 (06 05 2006) Exhibition : Morgane Tschiember, Olivier Mosset, galerie martinethibaultdelach?tre, Paris, France. http://pourinfos.org/index.php?art=33045 ------------------------------------------------------------------- @ 034 (07 05 2006) Meetings : "electronic activism in light...", Troisi?me oeil, Sunday May 7, Centre pompidou, Paris, France. http://pourinfos.org/index.php?art=33054 ------------------------------------------------------------------- @ 035 (08 05 2006) Exhibition : To reconsider the methods, procedures of the exposure and the meeting of the public, Collectif of artist VOUS ?TES ICI, Ch?teau Bastor-Lamontagne, Preignac , France. http://pourinfos.org/index.php?art=2952 ------------------------------------------------------------------- @ 036 (09 05 2006) Exhibition : birth of the Mobile Studio, studio of graphic creation itinerant, Paris, France. http://pourinfos.org/index.php?art=33044 ------------------------------------------------------------------- @ 037 (09 05 2006) Meetings : An introduction to Derrida, by Thierry Vigier, Tuesday May 9, Maison Populaire, Montreuil. http://pourinfos.org/index.php?art=33057 ------------------------------------------------------------------- @ 038 (10 05 2006) Exhibition : La force de l'art, Grand Palais, Paris, France. http://pourinfos.org/index.php?art=2926 ------------------------------------------------------------------- @ 039 (10 05 2006) Screening : "Disassemblings", festival Paysages Electroniques, Lille, France. http://pourinfos.org/index.php?art=3000 ------------------------------------------------------------------- @ 040 (10 05 2006) Exposition : DEMONTAGES - art video, Cave des celestines, Lille, France. http://pourinfos.org/index.php?art=3026 ------------------------------------------------------------------- @ 041 (10 05 2006) Exhibition : Marlene Haring & Jochen H?ller, Auto, Vienna, Austria. http://pourinfos.org/index.php?art=33043 ------------------------------------------------------------------- @ 042 (10 05 2006) Meetings : signature, TROUBLE, avec Ga?lle Chotard,&,Ga?l Charbau (author of the text), Wednesday May 10, 2006, Bookstore Florence Loewy, Paris, France. http://pourinfos.org/index.php?art=33056 ------------------------------------------------------------------- @ 043 (10 05 2006) Meetings : Yves Peillet, Synthesized images and effects visual, Wednesday May 10, 2006, Observatoire des nouveaux m?dias, Ensad, Paris, France. http://pourinfos.org/index.php?art=33058 ------------------------------------------------------------------- @ 044 ))))) radiolist.org ((((( Plate-forme sonore des arts visuels ))))) | ))))) visual arts noise platform ((((( 3 http://pourinfos.org/index.php?art=4005 ------------------------------------------------------------------- @ 045 Apostils : The artist and his ?models? by Jean-Claude Moineau http://pourinfos.org/encours/item.php?id=3019 ------------------------------------------------------------------- From james at jwm-art.net Sat May 6 00:36:36 2006 From: james at jwm-art.net (james at jwm-art.net) Date: Fri, 05 May 2006 22:36:36 +0000 Subject: [NetBehaviour] SketchUp In-Reply-To: <0A9F990A-21BA-462B-BBF4-4DFB88DD1A9C@jigglingwhisker.com> Message-ID: I slouch corrected. One day I'll learn, that responding to an email, about a subject of which I know nothing, just for something to do, is wrong. I'm sorry it just happens, sometimes I get carried away. But I still stand by my assertation that the name sketchup stinks, no matter what. And guess what, I've not used any of those CAD packages, but I did use QCad an opensource(?) package, once or twice... You make it sound like sketchup has been around quite sometime? james. On 2/5/2006, "Jack Stenner" wrote: >FYI, if you've used AutoCAD, Maya, or any number of other CAD/3d >software packages, and then try SketchUp, you'll see the benefit. It >was developed as a quick, sketch-based, way to create form in the >early design stages of the architectural process. It is VERY popular >with architectural designers because it is a quick and easy way to >visualize 3d ideas before making the commitment to full blown CAD. >It works well for them because once an idea is approved it can be >exported directly to the CAD jockeys, saving time creating geometry >from scratch. The name is also a by-product of it's use in >architecture. When presenting concepts to clients, designers found >that CAD renderings presented imagery that looked too "finished." >Clients were reluctant to consider changes and engage in a creative >dialog. They locked onto the image too soon. SketchUp has the >capability to produce renderings that simulate a loose sketch, >preserving the preliminary nature of concept design. > >I'm sure Google wants to capitalize on it's ease of use and >"popularize" it with homeowners, but it really is a great tool. I >used it early on as an architect, but more recently have found it >useful as a tool to describe the layouts of installation work. > >.....and yes, google is scary :-) > >Jack > >On May 2, 2006, at 6:21 AM, >wrote: > >> I was going to download sketchup just to see what it's like, mainly >> so I >> could reply to the message but there is nothing about >> http://sketchup.google.com which entices me out of my "I can't be >> bothered" attitude. So I'll dismiss it as crap without trying it. >> >> Pay $495 for the "Pro" version so I can print out at a >> higher-than-screen resolution, they must be marketing at out and out >> newbies. "Discover if 3d modelling is right for you", like it's some >> kind of beauty treatment or laxative or something. >> >> And the name stinks bad. It frightens me that google is promoting >> cruft >> like this. >> >> On 29/4/2006, "carlos katastrofsky" >> wrote: >> >>> google frightens me. i tried "sketchup" and - yes, it's quite >>> handy and >>> easy to use. like other google- software & services you can >>> download it >>> for free (there's a pay - version too) and the ever funny and >>> colourful >>> ooooo's smile at you friendly. >>> this all is really frightening. >>> >>> ------- Forwarded message ------- >>> >>> Sketchup, one of the best 3D drawing apps is now free - "Google >>> SketchUp >>> (free) >>> is an easy-to-learn 3D modeling program whose few simple tools >>> enable you >>> to >>> create 3D models of houses, sheds, decks, home additions, woodworking >>> projects - >>> even space ships. You can add details, textures and glass to your >>> models, >>> design >>> with dimensional accuracy, and place your finished models in >>> Google Earth, >>> share >>> them with others by posting them to the 3D Warehouse, or print >>> hard copies. >>> Google SketchUp (free) is a great way to discover if 3D modeling >>> is right >>> for >>> you." - http://sketchup.google.com >>> _______________________________________________ >>> NetBehaviour mailing list >>> NetBehaviour at netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> >>> >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour at netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From sondheim at panix.com Sat May 6 03:22:51 2006 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 5 May 2006 21:22:51 -0400 (EDT) Subject: [NetBehaviour] Exhibition Text Message-ID: http://www.asondheim.org/restart.mov will take you to the exhibition text. the exhibition will be in Santa Monica in May. here, please use your imagination. i am sure your imagination is up to the challenge. and will be better than the original. or what will be or will become the original. for a short time this year in California. From james at jwm-art.net Sat May 6 17:51:18 2006 From: james at jwm-art.net (james at jwm-art.net) Date: Sat, 06 May 2006 15:51:18 +0000 Subject: [NetBehaviour] Change the way you see the world In-Reply-To: Message-ID: New Scientist: "A small change of perspective can make a world of difference, say cartographers Danny Dorling and Anna Barford WE LOVE our maps. At first glance, people are shocked by them: the shapes look familiar, yet everything is absurdly distorted. Without even thinking, they have learned something about the world they live in." subscribers only: http://www.newscientist.com/article/mg19025501.600.html Maps of the world distorted to show things like wealth, population density, number of patents issued, etc.... http://www.worldmapper.org From rich at counterwork.co.uk Sat May 6 18:35:04 2006 From: rich at counterwork.co.uk (rich white) Date: Sat, 6 May 2006 17:35:04 +0100 Subject: [NetBehaviour] from the people who brought you 'matrix ping-pong' Message-ID: <000301c6712b$0a904fc0$081f2352@counterwork> http://www.ntv.co.jp/kasoh/past_movie/index.html rich http://www.counterwork.co.uk 07812444612 From jack at jigglingwhisker.com Sun May 7 00:18:43 2006 From: jack at jigglingwhisker.com (Jack Stenner) Date: Sat, 6 May 2006 17:18:43 -0500 Subject: [NetBehaviour] SketchUp In-Reply-To: References: Message-ID: LOL, you're probably right...sketchup = ketchup, etc..... I don't know if it's a long time, but, it's been around for 6 or 7 years :-) Jack On May 5, 2006, at 5:36 PM, wrote: > I slouch corrected. One day I'll learn, that responding to an email, > about a subject of which I know nothing, just for something to do, is > wrong. I'm sorry it just happens, sometimes I get carried away. But I > still stand by my assertation that the name sketchup stinks, no matter > what. And guess what, I've not used any of those CAD packages, but I > did use QCad an opensource(?) package, once or twice... You make it > sound like sketchup has been around quite sometime? > > james. > > On 2/5/2006, "Jack Stenner" wrote: > >> FYI, if you've used AutoCAD, Maya, or any number of other CAD/3d >> software packages, and then try SketchUp, you'll see the benefit. It >> was developed as a quick, sketch-based, way to create form in the >> early design stages of the architectural process. It is VERY popular >> with architectural designers because it is a quick and easy way to >> visualize 3d ideas before making the commitment to full blown CAD. >> It works well for them because once an idea is approved it can be >> exported directly to the CAD jockeys, saving time creating geometry >> from scratch. The name is also a by-product of it's use in >> architecture. When presenting concepts to clients, designers found >> that CAD renderings presented imagery that looked too "finished." >> Clients were reluctant to consider changes and engage in a creative >> dialog. They locked onto the image too soon. SketchUp has the >> capability to produce renderings that simulate a loose sketch, >> preserving the preliminary nature of concept design. >> >> I'm sure Google wants to capitalize on it's ease of use and >> "popularize" it with homeowners, but it really is a great tool. I >> used it early on as an architect, but more recently have found it >> useful as a tool to describe the layouts of installation work. >> >> .....and yes, google is scary :-) >> >> Jack >> >> On May 2, 2006, at 6:21 AM, >> wrote: >> >>> I was going to download sketchup just to see what it's like, mainly >>> so I >>> could reply to the message but there is nothing about >>> http://sketchup.google.com which entices me out of my "I can't be >>> bothered" attitude. So I'll dismiss it as crap without trying it. >>> >>> Pay $495 for the "Pro" version so I can print out at a >>> higher-than-screen resolution, they must be marketing at out and out >>> newbies. "Discover if 3d modelling is right for you", like it's >>> some >>> kind of beauty treatment or laxative or something. >>> >>> And the name stinks bad. It frightens me that google is promoting >>> cruft >>> like this. >>> >>> On 29/4/2006, "carlos katastrofsky" >>> wrote: >>> >>>> google frightens me. i tried "sketchup" and - yes, it's quite >>>> handy and >>>> easy to use. like other google- software & services you can >>>> download it >>>> for free (there's a pay - version too) and the ever funny and >>>> colourful >>>> ooooo's smile at you friendly. >>>> this all is really frightening. >>>> >>>> ------- Forwarded message ------- >>>> >>>> Sketchup, one of the best 3D drawing apps is now free - "Google >>>> SketchUp >>>> (free) >>>> is an easy-to-learn 3D modeling program whose few simple tools >>>> enable you >>>> to >>>> create 3D models of houses, sheds, decks, home additions, >>>> woodworking >>>> projects - >>>> even space ships. You can add details, textures and glass to your >>>> models, >>>> design >>>> with dimensional accuracy, and place your finished models in >>>> Google Earth, >>>> share >>>> them with others by posting them to the 3D Warehouse, or print >>>> hard copies. >>>> Google SketchUp (free) is a great way to discover if 3D modeling >>>> is right >>>> for >>>> you." - http://sketchup.google.com >>>> _______________________________________________ >>>> NetBehaviour mailing list >>>> NetBehaviour at netbehaviour.org >>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>> >>>> >>> _______________________________________________ >>> NetBehaviour mailing list >>> NetBehaviour at netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> >> >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour at netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > From doutorsocratesoreidofutebol at gmail.com Mon May 8 00:09:57 2006 From: doutorsocratesoreidofutebol at gmail.com (ricardo ruiz) Date: Sun, 07 May 2006 19:09:57 -0300 Subject: [NetBehaviour] news from brazil In-Reply-To: References: Message-ID: <445E7035.3060106@gmail.com> dear netbehaviourists midiatatica.org goes northeast! (check out videos, photos and audios from both events) Upgrade! Salvador: http://midiatatica.org/upgrade/may012006.html mimoSa aracaju: http://turbulence.org/Works/mimoSa/blog/?p=27 (home page: http://turbulence.org/Works/mimoSa) all the best rr "paz na terra 3 x 2 bomba atomica" From turbulence at turbulence.org Sun May 7 16:09:49 2006 From: turbulence at turbulence.org (Turbulence) Date: Sun, 7 May 2006 10:09:49 -0400 Subject: [NetBehaviour] Turbulence Spotlight: "Community of Words" by Silvia Laurentiz and Martha CC Gabriel Message-ID: <003201c671df$eaf617c0$6601a8c0@t5x1c0> May 7, 2006 Turbulence Spotlight: "Community of Words" by Silvia Laurentiz and Martha CC Gabriel http://turbulence.org/spotlight/cm/community-of-words.htm Requirements: Flash plug-in; click on "Set Up" for further instructions. The "Community of Words" is a 3D environment governed by the Theory of Emergence. Users are invited to add their own words to the system thereby becoming part of the community of words; they can interact with and navigate the environment, and observe the actions of other participants. One of the system's main characteristics is the feedback phenomenon that happens while one navigates the 3D environment: the words already present in the space influence other participants, who may interact with them and create new texts in response to them. Participant characteristics such as language, slang, or culture form completely different communities of words and, subsequently, the words that emerge within them. BIOGRAPHIES SILVIA LAURENTIZ: Professor in the department of Fine Arts at the School of Communication and Arts, University of S?o Paulo, Laurentiz holds a PhD in Communication and Semiotics and a Masters Degree in Multimedia. She is also a graphics and multimedia designer; an artist who works in virtual reality, multimedia and web art; an art and new technologies researcher; and a speaker at art and technology conferences. MARTHA CARRER CRUZ GABRIEL: An engineer with postgraduate studies in Marketing and Graphic Design, Gabriel's Masters Degree in Art & Technology is in progress at the University of S?o Paulo. Web/MM artist, professor at the Business School and Digital Design Program of the Universidade Anhembi Morumbi, and director of technology at New Media Developers (NMD), Gabriel is the winner of 11 Internet Best Awards from 1998 to 2005 and a highly acclaimed speaker. For more information about Turbulence, please visit http://turbulence.org Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 ? Boston: 617.522.3856 Turbulence: http://turbulence.org New American Radio: http://somewhere.org Networked_Performance Blog: http://turbulence.org/blog Upgrade! Boston: http://turbulence.org/upgrade From marc.garrett at furtherfield.org Mon May 8 13:18:58 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 08 May 2006 12:18:58 +0100 Subject: [NetBehaviour] Electronic culture event of: new media art, architecture, sound/audiovideo In-Reply-To: References: Message-ID: <445F2922.10908@furtherfield.org> ///Sorry for any crosspostings Digicult Produzioni presents: MIXEDMEDIA Electronic culture event of: new media art, architecture, sound/audiovideo 25th-28th May 2006 Hangar Bicocca Viale Sarca 336 Milano ---------------- The first edition of MixedMedia, internatinoal event of new media art, architecture, sound and audiovisual, will be held in Milan from the 25th to the 28th May 2006 at the Hangar Bicocca (Viale Sarca 336) in the presence of the spectacular installation The Seven Celestial Palaces by Anselm Kiefer Web Site: www.mixedmedia.it/eng/index.html ---------------- Exhibition - from Thursday 25th May to Sunday 28th May from 12.00 to 19.30 Performances - from Thursday 25th May to Saturday 28th May from 20.00 to 01.00 ------------------ In a historical moment in which festival and reviews tied to the artistic application of new media and the so called new technologies proliferate, Mixed Media is an event of electronic culture which does not want to give an exhaustive panorama of the practices and disciplines which animate this world in continuous evolution, but which essentially presents itself as a moment of growth of dialogue and of confrontation of the new media. The four days of the event, through exhibitions, meetings, seminars, concerts and visual and sound environments, wants to try and give useful stimuli to establish courses and connections between the parts, helping to locate the way in which 'digital' is changing the cultural structures and the perceptive procedures of the modern society. Theorical Text: www.mixedmedia.it/eng/img/mixedmedia_eng.pdf ------------------ ///NEW MEDIA ART (Curator Silvio Mondino, coordination Tiziana Gemin) _Exhibtion area _ Hangar Bicocca _ Time: 12.00 / 19.30 The proposal for New Media Art, is represented by some multimedial installations and by a selection of software art works, living its most fascinating moments with installations by: _Jim Campbell, Aether Architecture, Lemur, Osman Khan, Interaction Design Lab, dotdotdot and the works of software artists such as: _Lia, Dextro, Jared Tarbell, Robert Hodgin, Meta, Toxi, Alessandro Capozzo, Fabio Franchino ------------------ //ARCHITECTURE (Curator Gianluca Milesi) _Exhibtion area _ Hangar Bicocca _ Time: 12.00 / 19.30 The Architecture section, unwinds around a fascinating and innovative e-exhibition, in which 20 internationally famous architects give a critical-recognitive panorama on the relationship between architecture, design and digital, through which their electronic works are commissioned, cured and managed via e-mail and exhibited only with digital technologies (monitor, video, software). Architects and studios invited are: _AMO-OMA, Architectonics, Asymptote, Iterae, DECOI, Diller & Scofidio + Renfro, Eisenman Architects, FOA, Greg Lynn Form, Ghigos, Hov, Ian+, Jakob MacFarlane, Laezza Moreno Santamaria, Lot/ek, Massimiliano Fuksas, Metrogramma, Ma0, MVRDV, New Teriitories, Nox, Plasmastudio, Shop, Toyo Ito, UN studio, UFO+Centola, Zaha Hadid, 2a + p ------------------ //SOUND-AUDIOVIDEO (Curator Marco Mancuso / Digicult, technical collaboration Walter Prati) _Concert Area_ Hangar Bicocca / Kiefer's Towers _ Time: 20.00 / 01.00 _Stage: 5 screens box + surround system 4+1 The Sound and Audiovisual section, during 3 evenings centred on the electronic audiovisual performance, give a complete panorama on the experimental practices in the modern multimedia live. Called to respond to this fascinating challenge, in the stage area of the hangar next to Kiefer's Towers, in a box with 5 screens and a surround system 4+1 there will be: _Thursday 25th May 2006: Echran (S/t live set) Ryoichi Kurokawa (Live audiovisual set) Purform (Black Box) Edwin Van Der Heide (LSP-Laser Sound Performance) _Friday 26th May 2006: Suguru Goto (Body Suite Performance) Skoltz_Kolgen (Askaa) Otolab (op7) Addictive Tv (Live DVJ set) _Saturday 27 May 2006: Eboman (Sensor Madness Show) Scanner/Tez (Blindscape - Generative Live Cinema) Ulf Lengheinrich (Drift - special edition for MixedMedia) Franko B (DJset) + Tina Frank (VJset) ------------------ // CURATORS _Paolo Rigamonti Architect and media designer, founder with Silvio Mondino of limiteazero, an experimental artistic group of media design and media art. He has worked for years on architectural projects and interior design and from 1997 is occupied with new media and on line communication. He has collaborated with some of the most important in the new media sector, such as Glamm Interactive, Sapient, Icon Media Lab, Virgilio. _Silvio Mondino Lives between Reggio Emilia and Milan where he works with Paolo Rigamonti with whom he is co-founder of limiteazero. He worked as a composer of electonical music for some years to then dedicate himself to interaction design. The artistic group Limiteazero has exhibited its work in Italy and abroad, among which: Villette-Numerique - La Villette , Paris (France); MASEDU, Centre for Contemporary Art, Sassari; Second University of Naples; Sintesi 02, Naples; Microwave Media Art Festival, Hong Kong; Techne02 - Spazio Oberdan, Milan; UNPlugged - Ars Electronica 2002, Linz (Austria). _Gianluca Milesi Lives and works in Milan and New York . He applies a method which is as free and flexible as possible for his work, for architecture, interior design, theoretical projects and installations, establishing relationships between experimentation and adherence to reality. His approach, which is artistic and multidisciplinary , and with particular attention to stimuli and digital technology , is in any case tied to architectural methods and conditions. Many of his works and projects have won prizes at competitions, exhibited and published in Italy and abroad and chosen for the Biennale di Venezia. A personal exhibition of his works, "Spaced Out, Gianluca Milesi, architectural exercises" was held at the Sesv, University of Florence , in 2003. He ads to the practical and theoretical activity of architecture that of the author. He has published many articles on the specialized press and of general interest and a guide book to contemporary architecture of New York . His work is found on www.science-architecture.com. _Marco Mancuso Lives and works as a freelance journalist of digital art and culture, new technologies and new media, multimedial communication, digital marketing, and along with this activity is also content manager and consultant of design and communication through new medias. He has been actively and professionally tied to the entire network of professionals, artists, consultants and journalists who are the heart of the electronic contro-culture in Italy for many years, which is in gradual expansion. In January 2005 he decides to give life to DIGICULT (www.digicult.it), a new cultural project on electronic art, which has the ambitious aim to build the first real Italian community of digital art and culture, a centre of attraction for all those who love electronic arts and technologies. A territory contaminated by art and worlds which apparently seem different, but are brought together by the same creative digital matrix. Editor and responsible for the monthly magazine DIGIMAG (www.digicult.it/digimag), and of podcast DIGIPOD (www.digicult.it/podcast), Marco Mancuso works as consultant for the press office and often as curator and promoter of events tied to culture and electronic arts. -------------------- A project by: Cultural Association Count Down Organization: Consolo Produzioni e consulenza Co-production: Rebelot Consolo produzioni & consulenza Resp: Bibo Consolo tel. +39 02 34938090 - 02 34938326 fax +39 02 34932551 bibo at consoloproduzioni.it www.consoloproduzioni.it ---------------------- Marco Mancuso Director - Digicult Produzioni -------------------------------- Ripa di Porta Ticinese 39 20143 Milan - Italy Mob. +39.340.8371816 -------------------------------- www.digicult.it www.digicult.it/digimag www.digicult.it/podcast info at digicult.it From oliver at memefest.org Mon May 8 12:24:30 2006 From: oliver at memefest.org (Oliver Vodeb) Date: Mon, 8 May 2006 12:24:30 +0200 (CEST) Subject: [NetBehaviour] (call) Memefest deadline for submission is May 20th! Message-ID: <2051.193.77.133.72.1147083870.squirrel@memefest.org> MEMEFEST 2006- MARKING HALF A DECADE OF CREATION, SUBVERSION, AND RESISTENCE! Memefest, the International Festival of Radical Communication- born in Slovenia and rapidly reaching a critical mass worldwide- is proud to announce its fifth annual competition. Once again, Memefest is encouraging students, professionals, writers, artists, designers, thinkers, philosophers, and counter-culturalists to submit their work to our panel of renowned judges. This year, jury members will include Richard Barbrook, esteemed author, research pioneer, radio vigilante, and critic of neo-liberalism, along with radical designers and activists Sandy Kaltenborn, Kernow Craig, Paul Shoebridge and Jason Grant, Clinical Psychologist and "Bag news" blog author Dr. Michael Shaw and design critic Kenneth Fitzgerald. Students who work with the written word can respond to Richard Barbrook's own article The High-Tech Gift Economy, which makes the ominous but relevant claim that, because of the realities of market capitalism, the utopia of an anarcho-communist gift economy on the internet is a deluding fiction. Artists and graphic designers can create static and interactive works in response to The Declaration Towards a Global Ethic, a call to "spiritual arms" and the creation of a collective consciousness. Non-students, and those whose work doesn't fit in the box of conventional communications, can enter the visionary Beyond category, where the name of the game is challenging mainstream practices and beliefs! Absolutely anything innovative, either written or visual, is acceptable, so long as it challenges mainstream modes of communication. Check out some examples and the winners from the 2005 and 2004 sites at http://beyond.memefest.org Beyond is open to non-students as well! Memefest occurs almost completely online at www.memefest.org, and all entries will be available for full access and commentary in the site galleries. In 2005, Memefest received almost 500 entries from participants of every continent on the globe ('cept Antarctica). We hope to get bigger, and to spread more of those good infectious ideas, so keep thinking- and producing. Check out the beta version of our 2006 web site for more information: http://www.memefest.org Deadline for submissions is May 20th 2006. Subvert, Create, Enjoy! Memefest http://www.memefest.org www.memefest.org Contact us: memefest at memefest dot org From oliver at memefest.org Mon May 8 12:26:20 2006 From: oliver at memefest.org (Oliver Vodeb) Date: Mon, 8 May 2006 12:26:20 +0200 (CEST) Subject: [NetBehaviour] (call) Memefest deadline for submission is May 20th! Message-ID: <2061.193.77.133.72.1147083980.squirrel@memefest.org> MEMEFEST 2006- MARKING HALF A DECADE OF CREATION, SUBVERSION, AND RESISTENCE! Memefest, the International Festival of Radical Communication- born in Slovenia and rapidly reaching a critical mass worldwide- is proud to announce its fifth annual competition. Once again, Memefest is encouraging students, professionals, writers, artists, designers, thinkers, philosophers, and counter-culturalists to submit their work to our panel of renowned judges. This year, jury members will include Richard Barbrook, esteemed author, research pioneer, radio vigilante, and critic of neo-liberalism, along with radical designers and activists Sandy Kaltenborn, Kernow Craig, Paul Shoebridge and Jason Grant, Clinical Psychologist and "Bag news" blog author Dr. Michael Shaw and design critic Kenneth Fitzgerald. Students who work with the written word can respond to Richard Barbrook's own article The High-Tech Gift Economy, which makes the ominous but relevant claim that, because of the realities of market capitalism, the utopia of an anarcho-communist gift economy on the internet is a deluding fiction. Artists and graphic designers can create static and interactive works in response to The Declaration Towards a Global Ethic, a call to "spiritual arms" and the creation of a collective consciousness. Non-students, and those whose work doesn't fit in the box of conventional communications, can enter the visionary Beyond category, where the name of the game is challenging mainstream practices and beliefs! Absolutely anything innovative, either written or visual, is acceptable, so long as it challenges mainstream modes of communication. Check out some examples and the winners from the 2005 and 2004 sites at http://beyond.memefest.org Beyond is open to non-students as well! Memefest occurs almost completely online at www.memefest.org, and all entries will be available for full access and commentary in the site galleries. In 2005, Memefest received almost 500 entries from participants of every continent on the globe ('cept Antarctica). We hope to get bigger, and to spread more of those good infectious ideas, so keep thinking- and producing. Check out the beta version of our 2006 web site for more information: http://www.memefest.org Deadline for submissions is May 20th 2006. Subvert, Create, Enjoy! Patricia Laboca Memefest http://www.memefest.org www.memefest.org Contact us: memefest at memefest dot org From joncates at criticalartware.net Tue May 9 06:44:36 2006 From: joncates at criticalartware.net (jonCates) Date: Mon, 8 May 2006 23:44:36 -0500 Subject: [NetBehaviour] [FRAY] Conference on SATURDAY MAY 13! Message-ID: [FRAY] Conference SATURDAY MAY 13 @ 2 PM http://fvnm.info/fray/2006.05.13 Film, Video & New Media Dept @ The School of the Art Institute of Chicago Room 1307 in the MacLean Building 112 S. Michigan Ave CHI IL .US FREE Join [FRAY] for discussions and presentations on connective and collaborative New Media and Digital Arts with Annette Barbier (UNREAL- ESTATES and Interactive Arts and Media Department Columbia College), Ryan Griffis (The Temporary Travel Office and The School of Art & Design University of Illinois at Champaign Urbana), Mark Hansen (Professor in English Language & Literature, Cinema & Media Studies; University of Chicago), Lynn Marie Kirby (California College of the Arts), Rob Ray (DEADTECH and dorkbot Chicago), Lincoln Schatz (The Upgrade! Chicago) and Daniel Tucker (AREA Chicago). The [FRAY] Conference consists of the following discussions: 2 PM - 4 PM Multiplicities Ryan Griffis (The Temporary Travel Office and The School of Art & Design University of Illinois at Champaign Urbana) Rob Ray (DEADTECH and dorkbot Chicago) Lincoln Schatz (The Upgrade! Chicago) The Multiplicities discussion focuses on connective + collaborative New Media + Digital Arts praxis in the context of internationalized efforts such as Ryan Griffis' The Temporary Travel Office, Rob Ray's initiation + running of dorkbot Chicago + Lincoln Schatz's development of The Upgrade! Chicago. The Temporary Travel Office, dorkbot Chicago + The Upgrade! Chicago are all effort to organize platforms or networks of New Media + Digital Arts praxis that foreground collaborations, sharing + international connectivities. As platforms, these systems act as connection points or hubs in an emerging + growing network of artistic activities. 4 PM - 6 PM Connectivities Annette Barbier (UNREAL-ESTATES and Interactive Arts and Media Department Columbia College) Mark Hansen (Professor in English Language & Literature, Cinema & Media Studies; University of Chicago) Lynn Marie Kirby (California College of the Arts) The Connectivities discussion directs our attention to New Media + Digital Arts projects that traverse multiple histories, theories + practices such as Annette Barbier's UNREAL-ESTATES, Mark Hansen's New Philosophy for New Media + Lynn Marie Kirby's Latent Light Excavations. Annette Barbier's collaborative works such as Path of the Dragon are playable New Media experiences that tell poetic + alternative histories of specific places. Mark Hansen's theoretical work on the multiple connections between + departures from philosophic traditions in New Media art emphasizes lived experiences + embodiment rather than mechanical metaphors for technology. Lynn Marie Kirby's Latent Light Excavations operate out of a poetics of space as well as an interest in digital processing + recording technologies to remember + reconnect to specific locations. Together these projects present varying takes on poetic + philosophic connections between specific human experiences of New Media. http://fvnm.info/fray/2006.05.13 Then, after the [FRAY] Conference join us for the... [FRAY] After (Party) Event ++ Performance Inside Out SATURDAY MAY 13 @ 9 PM - ON Chicago Art Department 1837 S. Halsted CHI IL .US FREE The Chicago Art Department hosts the [FRAY] After (Party) Event. the [FRAY] After (Party) Event event is co-presented by the Film, Video & New Media and Performance Departments. Students of the Film, Video & New Media and Performance Departments are organizing and curating Performance Inside Out, a program of performance in the context of New Media that will take place @ the Chicago Art Department and online during the After (Party) Event. The Chicago Art Department: http://chicagoartdepartment.org [FRAY]: http://fvnm.info/fray // jonCates # Assistant Professor - Film, Video & New Media # The School of the Art Institute of Chicago # http://www.fvnm.info From sondheim at panix.com Tue May 9 07:36:09 2006 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 9 May 2006 01:36:09 -0400 (EDT) Subject: [NetBehaviour] Philosophy (text so far) Message-ID: */ This is a text I've been working on; any larger would be unwieldy here. Images are at http://nikuko.blogspot.com . I hope to add another portion in a while, although the groundwork is already covered here. - Alan /* Philosophy 1 How to begin philosophy, how to begin the process of philosophizing, an activity, a form of labor, the philosopher and the production. Whether the philosophy is cast asunder, whether it is interpretable, that is, translatable; whether it remains intrinsic to the act of philosophizing, therefore bound. If bound, whether it is of the substance or thing or continuity of its creation, or whether it is of some other substance, some other, cast asunder; whether the production is one with its production; whether the producer is one with the production. Here beginning without return, without recourse to the return, beginning in the sense of an act of writing designating this particular production which is named 'Philosophy.' 2 Of such, without recourse to the return, because of evidence: one cannot return, or rather a return would be always and only from the present to the present, operable upon a remnant of the production, but only the remnant, which would be drawn into presence, or re-presence. It is evident that undoing is not that of doing, that one alters, that things have altered, that things have altered within one within the world; that one is altered within an altered or altering world. That the world is what is evident, that the world is without recourse, without return. That the world is therefore unbounded, bounded without the boundary or delineation of the return; that the present is this unbounded, continuous unbinding. The present is a filter. The return is nowhere, returns nowhere. 3 Of such, without foundation; the present has no foundation; neither within nor without, neither within the apparatus of writing nor without. Mathema- tics possesses no return; every mathematical statement is foundation; every mathematical statement exists and presences. Of mathematics and its production is identical; is unique; is inescapably equivalent. Identity and equivalence remain within product and production; are remnant within product and production. Mathematics is that within which identity appears and appears exactly within equivalence. The world is that which is without identity, with the appearance of identity, without equivalence, with the appearance of equivalence. The splitting of the world is the splitting of perception into classes of apparent identity and apparent equivalence whose boundaries remain within the present, are imminent; but whose boundaries are such as projections. The projection of a boundary is within the present. The history of a boundary is a projection. 4 Consider a toaster or electronic computer; consider anything which may or may not be present, presencing; this is of the order of philosophy, always already an acceptance; every reduction includes; or includes, at least as construct. Thus of the panoply, or rather panoply, which is present, presencing; then what of memory, of the enumeration, accountability of objects? In philosophy, these remain within the presence; they appear recuperable; they appear identical or equivalent; this is appearance, genidentity; this is always other. This is the giving of permission of philosophy the killing-ground or grounds of philosophy; the winding-sheet of assertion. A man or a woman, an organism, a being, a human being, universals, these presences accompanied by deductions, for what is a man or a woman if not recognized as such; if recognized for example as thing or flesh; if recognized as meat; if recognized only as thing or flesh as meat. As for recognition: a problem for cognitive psychology, for neurophysiology. As for the symbolic: transformation and transforming structures, structures undergoing continuous transformation with the appearance of equivalences. As for mediation: the appearance of extension of appearance of equivalences. Mediation: a presencing, a present. One is always already synchronic; one is never diachronic; one does not live in time; one does not extend in time; one is replete; is fullness; the world is panoply, fecund; the world is a world of potential; potential is incomplete. There is no completeness in the world. There is completeness in mathematics; there is no completeness in mathesis. Mathesis is of the present. Mathesis is presence, the ontology of presence. 5 As in digital manipulation of layers, the world is flattening by the subject; is always flattening; there is no depth; depth is an illusion; multiple viewpoints; apparent histories; apparent identities. The flattening of the world: the stitching of ontologies, suturing epistemologies. Thus the thetic, continuously working as the gesture works. The gesture is working language; language gestures, gesticulates. Language is always at a loss; hence the fury of language, presence of obscenities or thickening, escape routes, of interjections, phonemically other. Representation is the same; the same of the other; chiasmus: other of the same. It is a disturbance of flattening which is flattening. Disturbance is the apparency of discontinuity, anomaly; flattening is substantive; substance. To disturb - to nudge - is to initiate bifurcation, response. The limits of discontinuity are catatonias; analogic inerts; substance is limitless. Consider an epigenetic landscape: the flattening of the real. Consider elementary catastrophes and their extending sheets: disturbance. 6 In my work several decades ago (I mention this only in relation to Badiou), I wrote and write of farming-out; the perception of temporality, of progress, resulting in the collocation of disciplines, subjects, within which specialists take care of advance, increased knowledge, goods. Temporality tends towards complexity; cellular automata can grow in-conceivably chaotic within a few generations. The regular or reiterated which is death (certainly without recursion which leads to quantitative jumps) is unimaginable; it is the circumlocution, centrifugal forcing, of the world. The apparency of disturbance tends towards centering. "Now I must proceed without time."; with the perception of time; of what is known now, what is processed now, as opposed to; what was processed; what was processed then. What was conceived then; what I conceive now what was conceived then. This is a conceiving; a state of conceiving; the bundle of conceivings constitutes the world which appears undergoing transformation; always irreversible. But not irreversible in fact: from presencing, from presence there is nothing to return to; the state is unpresent, non-present; one says "the state has vanished" or "we've moved on." 7 "I conceive of the world as such-and-such." "What is it that is being conceived? What is conceiving?" 8 There is no Now; there is no philosophy of the Now. The present presence is smeared, fuzzy; it is degenerate; it was never generate. Philosophy is from present presencing, from this smearing; it is irrevocable; it cannot be constituted otherwise. The Absolute is embedded in time; there is no Absolute to return to; the embedding is within the present. The text is always its memory; the text - any text - is always memory. I speak and write concretely: this is such-and-such a writing which is only inscription, artifact; the artifact is present, before you; the artifact is presenting by virtue of your procurement. Everything, the world, artifact, product-production, appears as, exists within, reconstitution; the subject (who is always already embedded) recuperates, which is the definition of the subject; objects do not. To recuperate is to draw boundaries, definitions, negations: X = this; not-X = that. Not-X is always problematic; it's "that" may be fuzzy, complementary; chained; non-existent; indecipherable; generative or degenerate, degenerative. This is the difficulty of the monopole in ordinary language within an ordinary world; that is, what is termed the "lifeworld," or world of daily life. The lifeworld is presencing, as if a gift or given; there is no negative or negation; negation is a drawing. What occurs, occurs, is, is. Flattening is necessary construct; thus disturbance within flattening portends negation which is channeled within flattening. This is the sphere of daily life which appears extended. 9 Fiske: The "discovery of the law of gravitation, as well as the invention of such a superstition as the Hand of Glory, is at bottom but a case of association of ideas." I cannot comprehend Being; Being does not exist in my comprehension, nor in my understanding, nor in association, nor in empathy. Of beings, I understand association. Being is a taste, a connoisseurship of the world or collector of the world, tending towards the final object. If Being is not absolute, what is? It is as if what is given "is given"; it is not; the thetic tends towards the thetic; circumlocution occurs within the same flattening as the world at large; writing is such a tendency. The philosophy of sex, of sexuality, of love, of war, hate; the philosophy of culture; of media theory: all are farmed-out; all are within the provenance of disciplines, speciality. Art is the drawing of negation; art is a disturbance of association; art reveals the flattening and non-Being of the world; even within its presentiment of Being, non-Being. Art is corruption; preservation holds its own in the skein of decay. To create is to bifurcate; creation is discrete, the rasa no exception. The commonality of art is gesticulation; the commonality of art and language is gesture. As for sexuality: "Language is always at a loss; hence the fury of language, presence of obscenities or thickening" [5] - rupture is production; sexuality infects the social; the infection is the social. Jouissance and preservation: farmed-out to psychology; psychoanalytics; biogenetics; anthropology: this central drive whose centrifugal emotion colors everything; presents or re-presents the philosophical as determinative property, boundary, territory and its circumambulation. Sexuality has no belonging; philosophy is a speaking or carrying-out a longing for belonging, lengthening of situation, just as death dissolves belonging which rites recreate for the survivors. Obscenity is obscenity in its absence, its impossibility, of circumlocution, a symbolic axis of interiority. Obscenity is that which is spoken because it cannot be spoken; philosophy is an obscenity; a pornography; its speaking is a flattening; a circumdiction of disturbance; what is called a therapeutic or meditation; a dreamwork or working- through; what is symbolic labor. In labor exchange value and use value are equivalent; to think otherwise is to mistake ontology for content. The value of labor lies in reification; in "fitting" (Bohm); in the production of materials; of thought; operations within or across ontologies; emotions or prime numbers; bricks or philosophy. Obscenity is valuable in its valuelessness; it works, working through nothing; it is contrary or wayward, contradiction; obscenity occurs within the Sheffer stroke dual "neither A nor B"; in its elsewhere; in its range outside the organization and data-basing of labor and its production. 10 Of the absurdity of analysis of X: X-beneath-the-sign-of-Y- analyzed or mediated by Z: Z(Y(X)) for example; forgive the errors of category. A loss: Philosophy exists qua philosophy to the extent that Y is problematic; that Z turns away; turns the other face; that the tending of X; of the world; is towards Other. What can be said dissolves in speciality; in the interconnections among specialities; in the discourses of specializations; that is, in the discourses of analysts; perhaps in analytical discourses or discourse. The value of art is in opposition to the value of labor; art is active and potential laborlessness-in-produc- tion; obscenity underlies both; underlies philosophy; violence and sexuality underlie obscenity; obscenity underlies both. 11 By default we are stewards of the earth. An irresolute contradiction: beginning and ending of philosophy, absence of, not absented, Being; philosophy of this labor, this presence, this present: but: philosophy not of psychology, not of sexuality; neither the tropology nor the speciality; therefore the body present and absent; desire present and absent; mathesis present and absent: but: the remoteness of philosophy; remoteness of mathematics; remoteness of fundamental ontologies; within beings without Being. Therefore "by default": given that there is none, that there is none other; our ethos: subsummation of the other; recuperation of the other within the same; recuperation of the same within the other. Sheffer dual: "neither A nor B"; Sheffer: "not both A and B"; the fundamental "jectivity" - projection and introjection - expulsion and incorporation - exculpation and absolution (the register of ethos) - of organism in relation, in dialog, dialectic, with the world: imminent perceived environment - the project of organism, project of the environment vis-a-vis organism. The given without the giver, given without the gift, limitless, unbounded: the present. Stewardship by default: the given of the world, the wager of local zero-sum. Foundation of belief in relation to "what is to be done": Second jectivity, the overlay of ethos, Spirit, what passes for foundation. The foundation of belief is in passing. Is in passing as such. Belief is nothing if not of consequence; the consequence of belief is stewardship. 12 The basis of stewardship is decision. Decision is bifurcation, digital. Bifurcation is fundamental: the Schrodinger cat paradox depends on it. >From analog continuous waveform to digital. The suturing of the digital: flattening; flattening by the organism in relation to the organism and its functioning. Suturing: the mathematical operation of integration. The other side of flattening: Contrast increase: the mathematical operation of differentiation. Differentiation is the basis of survival Differentiation is a disturbance of the digital within the analog. From disturbance, suturing. Worlding is dialog-dialectic among flattening and disturbance. 13 Here philosophy no longer speaks: I no longer speak. For what is being spoke is, can only be, speech broken by the world. Speech by its very present-presencing is always already broken; philosophy breaks on speech. 14 "Of such, without recourse to the return, because of evidence: one cannot return, or rather a return would be always and only from the present to the present, operable upon a remnant of the production, but only the remnant, which would be drawn into presence, or re-presence.'' The return is inconceivable, a conceiving; the return: from heroic travel; from death to birth; from wound to heal; from anomaly to suture; from digital to analog; from (mythology of the) death drive to (mythology of the) death drive; from arousal to satiation. The return is as-if, fiction. The return loops; there is never a return; the return re-presents the world; all re-presentation of the world is the appearance of return. To return is to re-possess; possessions are repossessions. The loop of the return is the process of reification; it transforms the appearance of inherent value into exchange; within mathesis, it is capital. Capital is seeing the world; it is eternal presence. Eternal return is always eternal presence; it is the presence of as-if-I-had-known within the I-know; return is the foundation of culture. 15 Return is the foundation of culture; desire is the foundation of culture; language is the foundation of culture; sexuality is the foundation of culture; product-production is the foundation of culture; disturbance is the foundation of culture; differentiation is the foundation of culture; negation is the foundation of culture; there is no foundation of culture as such; there is no cultural foundation. (If the world were not a stew, philosophy would be axiomatic; if philosophy were axiomatic, there would be no philosophy. The exhaustion of the absolute is the absolute of exhaustion.) 16 To clear the house: the necessity of God/Spirit/Meaning; abstracted capitalized universals. These are misrecognitions, misapplications; from the specific to the general; from the imminent to the immanent; from many to one; from one to One. Occamic pragmatism; eliminate them. They are of service (they do not "serve") intrinsically; they comfort; they provide a matrix (as-if from matrix to Matrix); the appearance of transcendence; the therapeutic of warding-off death. They contradict flattening as tropes of disturbance. They appear from elsewhere, elsewhen; they appear elsewise; an introjected Other. Beware of capitals; of Capital. The projection of capitals returns as meaning; returns the loop; implies foundation (as-if from foundation to Foundation). They recuperate, exculpate, death (as-if from death to Death). They are the marrow of human culture. Farm them out; construct theologies, emblems; consider them (capital) Emblematic. Thus the symbolic emerges (from pre-linguistic, from proto-linguistic, from "chora") as-if from the Emblematic; as-if the Emblematic situates the symbolic vis-a-vis the human. From "situates" to "Situates," situation to "Situation"; Situation is generated by the Emblematic. To follow-through is to follow through with difficulty; with the problematic of verification. Adopt what works; otherwise adapt. "What works" = "what works for you." 17 >From meanings to meaning to Meaning; from beings to being (copula included) to Being; from spirits to spirit to Spirit. But the last already implies an ontological split, disturbance, fueled by the foreknowledge of death; by problematic causal explanations of lifeworld events; by the recuperation, exculpation, of random tragedies. From humans to spirits is the production of meaning extended to the imminent. From imminent to immanent is father than the eye can see. 18 Flattening is being in the world; it is, references (what is, here, references) the style of the world. Depth absorbs disturbance, literally circumlocutes, circumscribes. The totality of circumscriptions of disturbances constitute a cultural textuality. The calling-forth of the Emblematic follows suit, exists within linguistic-psychoanalytic registers. The Emblematic is constituted by the virtual; from the virtual (as-if) to the Virtual. The virtual is always already within the world; technology, from tacit knowledge through electronic avatar, augments it. Augmentation filters (appears to filter) flattening; appears to distort; appears to generate depth (ontological fecundity), multiply-connected manifolds (epistemological fecundity). The virtual is inner speech, historicity and fecundity of interiority; philosophy is always already virtual; the discourse of the virtual is philosophical. 19 Every symbol is a ligament of avatar; every referent is a gesture; every gesture procures the body; every body is a speaking body; every body is a spoken body; every body is spoken-for. 20 Organism inhabits the symbolic; the symbolic is not a matter of consciousness; a manner of consciousness; the symbolic is a manner of worlding; of inhabitation. The provenance of the symbolic is not solely human; the provenance of stewardship lies within the symbolic of the human. "By default we are stewards of the earth": precisely because of the extension of human power; of the vectorization of human culture. Vectorization: the physical extension of culture, the sprawl. 21 Distinctions among protocols and interfaces; every interface is protocol; every protocol interfaces; each is pole ("poles") the other; each participates in flattening. What is external to protocol: inconceivable content, subjectivity; what is internal: invisibility, objectivity. From GPS through VLF radio: the measurement of the world, its skein. What is required for visibility, what technology, organism, protein? Protocols extend perceptual tacit knowledge; functionality. Of etiquette let it be said it is first and foremost exclusionary. Cybernetic feedback designates. Protocols distinguish, differentiation and integration in dialectic. The symbolic remains unread; the symbolic is transparent, readable. For the first time a three-dimensional map of the second planet from the sun is available for visual search with or without placenames given a desktop configuration of sufficient power. Protocols are the mute inverse of stewardship; they do not serve; they serve-to. Interfaces are not end-points; they bridge ontologies, continue the flow. Mind locates nowhere; is located nowhere; extensions extend without center, centering. Mind locates within presencing present; mind locates nowhen; is located nowhen. The purpose of philosophy is to pare; to pare even the ladder or the propositions. Philosophy has no purpose; it is not an exhibition; art is exhibition and venue; philosophy chatters; philosophy is doing and reading philosophy is a continuation of doing. Reading philosophy is the pretense of interface; doing philosophy problematizes protocols. To do philosophy is not to have done with philosophy. 22 "I have promised you a journey which is a journey of no return; a journey of conceptualization or imagination; a journey within the imaginary. There is no return in return; there are no loops in looping; what fits has always fit; what does not fit remains incommensurate. If I integrate: flattening and the apparition of death (which never appears); if I differentiate: disturbance and the reality of organism (which always appears; always is apparent). This philosophy - this of all philosophy - tends towards particulation, particulate matter; tends towards emission; tends towards gathering." Reverse Sheffer stroke and its dual: from out there, possibly from A or B, the appearance of A or B; B; from out there, the appearance of A and B. From a distance: the disturbance. In the neighborhood: flattening and absorption. The abacus of infinitely fine grain appears to the base infinity; the abacus of extraordinary differentiation signifies presence of the framework. What was once dialectic clearly has no resolution or leap; no tendency towards bootstrapping elsewhere. Instead: continuous dialog, information, absolutely mute: indiscernible processes. The world is infinitely invisible. 23 Infinitely invisible: What is seen on the surface of granite for example hides interior grains. The granularity of the world is always already inaccessible; art serves to make symbol of substance; of the surface of substance; of the cloak or masquerade. Art is farming-out; physical analysis is farming-out; microscopy is farming-out. Microscopes/telescopes reveal everything and nothing; occurrences continue on ontologically-cohering n-dimensional manifolds. Everything is what it appears to be; nothing is what it appears to be; everything is leveled, intertwined, intermingled, mingled, muxed. Ontology only goes so far to the portal of universal origin, "big bang" and inflation, just as increased accelerator energy may conceivably generate "new" and unexpected phenomena forever - the only limitation is economics (Brillouin). Nothing satisfies; ontologies may be enumerated, epistemologies extended to theoretically-infinite tolerances; it is all the same - not ennui (that surely is different) or boredom (that surely is different as well) or defuge (the same). One might say this is a "condition of the age." Of course there is no thing-in-itself; there are always already others. [24 forthcoming] From racter at gmail.com Tue May 9 08:08:20 2006 From: racter at gmail.com (jake elliott) Date: Tue, 9 May 2006 01:08:20 -0500 Subject: [NetBehaviour] threadcloud call for contribution Message-ID: pls forgive x-posting. this is an open call to contribute to threadcloud at http://threadcloud.info ===about threadcloud=== threadcloud is social artware for collective curatorial activity in distributed space. the project is developed by 03 skripty kittenz in chicago: jake elliott + tamas kemenczy + siobhan renfroe. it is part of the [FRAY] series of events hosted by the dept. of Film, Video and New Media at the School of the Art Institute of Chicago. :the threadcloud system is split into 02 components: 01: artcloud (web application front-end) anyone can access the artcloud at threadcloud.info and anonymously submit links to digital artworks. the artcloud enables users to describe artworks that have been submitted + descriptively connect them with one another. 02: threadcrab (grid gallery) the grid gallery is the presentation layer for threadcloud. it is operated by an automatic software preparator named threadcrab, who accesses sites with forum or comment functionality (aka blogs, livejournals and online message boards), and installs references to the artwork along with tags, descriptions and relationships drawn from the artcloud's database. :threadcloud is social artware: threadcloud is an attempt at a self-reflexive + critical social software platform presented as software art. threadcloud's criticality w/r/t social software is articulated through its emphasis on anonymity, it's avoidance of hierarchy, and its reliance on unsolicited insertion into pre-existing, digitally-mediated communities via the threadcrab. ===about fray=== [FRAY] is a series of interwoven events organized by the Film, Video and New Media department (FVNM) at The School of the Art Institute of Chicago (SAIC). [FRAY] is focussed on time, screen and code based experimental New Media art. [FRAY] consists of the following interrelated aspects: a conference, discussions and presentations, screenings and clusters of projects running during the Spring 2006 semester. thank you for yr time! From marc.garrett at furtherfield.org Tue May 9 14:01:31 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 09 May 2006 13:01:31 +0100 Subject: [NetBehaviour] WIPO carves up the Internet (and the broadcast spectrum). In-Reply-To: References: Message-ID: <4460849B.5030209@furtherfield.org> WIPO carves up the Internet (and the broadcast spectrum) By James Love. This article discusses a new law or 'right' regarding intellectual property proposed by' a tiny handful of big corporate players'. The new right seeks to push beyond copyright law and copyright holders 'rights' to further the existing concentration of publishing and broadcast media in the hands of a few large companies and corporate networks. As is traditional in this field the measures proposed appear to be grossly unfair and hopefully unworkable. Re-posted from [Commons-Law] mailing list. Don't bother reading this unless the words "new intellectual property right" and "the Internet" seem important when put together, because it is a twisted and complicated story. Even the key players are struggling to figure out what is going on. But like a lot of twisted and complicated things, it is important. The World Intellectual Property Organization (WIPO) is a specialized UN agency, headquartered in Geneva, Switzerland. This week it is holding a contentious five-day negotiation on a new Treaty, the purpose of which is to provide a new "protection" for "broadcasting and webcasting organizations." What does this mean? WIPO is debating whether or not to create a new intellectual property right in information that is distributed over television, radio, cable television, or through any wired or wireless computer network, including the Internet. This is something different from copyright. Indeed, it is designed to benefit people who cannot get a copyright, because a work belongs to someone else (the person or group that created it), or because the information is in the public domain. The new right is not a "copyright," but a "broadcaster" or "webcaster" right. It is a bad idea when applied to television or radio, but a disaster if applied to the Internet. more... http://www.metamute.org/en/node/7699 From marc.garrett at furtherfield.org Tue May 9 14:07:32 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 09 May 2006 13:07:32 +0100 Subject: [NetBehaviour] Electronic smog. In-Reply-To: References: Message-ID: <44608604.1020700@furtherfield.org> Electronic smog. By Geoffrey Lean, Environment Editor. Published: 07 May 2006. The curse of the mobile phone age: around your home there are countless gadgets whose electrical fields, scientists now warn, are linked to depression, miscarriage and cancer. Invisible "smog", created by the electricity that powers our civilisation, is giving children cancer, causing miscarriages and suicides and making some people allergic to modern life, new scientific evidence reveals. The evidence - which is being taken seriously by national and international bodies and authorities - suggests that almost everyone is being exposed to a new form of pollution with countless sources in daily use in every home. Two official Department of Health reports on the smog are to be presented to ministers next month, and the Health Protection Agency (HPA) has recently held the first meeting of an expert group charged with developing advice to the public on the threat. more... http://news.independent.co.uk/environment/article362557.ece From marc.garrett at furtherfield.org Tue May 9 14:19:18 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 09 May 2006 13:19:18 +0100 Subject: [NetBehaviour] easyclimatechange. In-Reply-To: References: Message-ID: <446088C6.3030701@furtherfield.org> easyclimatechange. Cheap Flights - Great For Holidays - Terrible For The Planet! http://easyclimatechange.com/ From marc.garrett at furtherfield.org Tue May 9 14:21:32 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 09 May 2006 13:21:32 +0100 Subject: [NetBehaviour] Mapchester. In-Reply-To: References: Message-ID: <4460894C.9020300@furtherfield.org> Mapchester. "When bands like the Happy Mondays stalked the Hacienda, Manchester was dubbed Madchester; now, a new generation of phreaks are in town, renaming the city Mapchester, showing that it isnt just music that puts the city on the map."' What: Mapchester is a collaborative 'wikimap' project, a test case for OpenStreetMap that focuses on one city. It will involve a Mapping Weekender, when Manchester is mapped in a weekend! A number of spin off projects will then take place during the Futuresonic festival, 20-23 July 2006 (http://www.futuresonic.com//) under the Mapchester banner, and the data generated will be used in a test-case festival guide. How: Mapchester kicks off with a Mapping Weekender: Seeking volunteers to join us as we map Manchester in a weekend. Similar to the the IoW Workshop, but in Manchester. Why: The geographical data generated will be free to view, edit and use via OpenStreetMap. Mapchester was first proposed at the PLAN workshop (http://www.open-plan.org//), as a test-case for how a city could be mapped and a guide for a festival created on collaborative and open principles. When: Saturday 13th and Sunday 14th May, 2006 Where: The nice people at Manchester Digital Development Agency are providing a space for base camp: Mapchester HQ (MDDA), Lower Ground Floor, 117-119 Portland Street, Manchester M1 6ED. They are also going to help signing people up to take part. http://wiki.openstreetmap.org/index.php/Mapchester From marc.garrett at furtherfield.org Tue May 9 14:26:13 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 09 May 2006 13:26:13 +0100 Subject: [NetBehaviour] "Shrug-detecting" software recognizes your disinterest. In-Reply-To: References: Message-ID: <44608A65.6070001@furtherfield.org> "Shrug-detecting" software recognizes your disinterest. In another blundering step towards empowering our future robotic overlords with the ability to recognize when we're being insolent, a group of computer vision researchers at the University of Illinois have invented "shrug-detecting" software that allows a webcam-equipped computer to pick up on the subtle shoulder movements indicative of confusion or disinterest. more... http://linkme2.net/7y From marc.garrett at furtherfield.org Tue May 9 14:29:46 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 09 May 2006 13:29:46 +0100 Subject: [NetBehaviour] Rituals of Grief Go Online. In-Reply-To: References: Message-ID: <44608B3A.9040406@furtherfield.org> Rituals of Grief Go Online. By WARREN ST. JOHN Published: April 27, 2006. Like many other 23-year-olds, Deborah Lee Walker loved the beach, discovering bands, making new friends and keeping up with old ones, often through the social networking site MySpace.com, where she listed her heroes as "my family, and anyone serving in the military ? thank you!" So only hours after she died in an automobile accident near Valdosta, Ga., early on the morning of Feb. 27, her father, John Walker, logged onto her MySpace page with the intention of alerting her many friends to the news. To his surprise, there were already 20 to 30 comments on the page lamenting his daughter's death. Eight weeks later, the comments are still coming. "Hey Lee! It's been a LONG time," a friend named Stacey wrote recently. "I know that you will be able to read this from Heaven, where I'm sure you are in charge of the parties. Please rest in peace and know that it will never be the same here without you!" Just as the Web has changed long-established rituals of romance and socializing, personal Web pages on social networking sites that include MySpace, Xanga.com and Facebook.com are altering the rituals of mourning. Such sites have enrolled millions of users in recent years, especially the young, who use them to expand their personal connections and to tell the wider world about their lives. more... http://linkme2.net/7z From marc.garrett at furtherfield.org Tue May 9 14:37:35 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 09 May 2006 13:37:35 +0100 Subject: [NetBehaviour] . . . . : b l i p : . . . . . . . . . . . . . . . . . . . . . . . . . . In-Reply-To: References: Message-ID: <44608D0F.2020407@furtherfield.org> . . . . : b l i p : . . . . . . . . . . . . . . . . . . . . . . . . . . - creative arts, science and technology forum - - supported by Arts Council England, University of Sussex and University of Brighton http://www.blip.me.uk Apologies for any cross postings but please forward to any interested parties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creative Cyborgs How have computers become an increasingly significant part of our imaginative and physical being? Come face-to-face with natural born cyborgs as we explore how computer technology impacts on us and our creativity. When: Tuesday 16 may [7pm - 9.30 pm] Where: The Dana Centre SW7 Entry: Free, but please reserve a place by contacting the Dana centre on tickets at danacentre.org.uk or phone 0207 9424040. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . We have invited a mix of leading artists, musicians and philosophers to illustrate and discuss the impact of technology on us and our creativity. Paul Granjon, creator of the 'Cybernetic Parrot Sausage' and 'Sexed robots', will humorously explore the darker side of our relationship with technology in Zlab transported; Jazz trumpeter Tom Arthurs and Ollie Bown (Icarus) will be performing live with new performance software based on behavioural robotics controllers. Their mix of live and computer-generated sound provides broad scope for a visual response from squint and brittski who have developed a visual counterpart to the duos explorations through a commission from Lighthouse Paras Kaul aka ?the brain wave chic? will be demonstrating her use of EEG technologies in brain wave controlled animation and audio. There will also be an exhibition of work from the Computational Models of Creativity in the Arts workshop. Including Woven wall of sound (Tim Blackwell and Janis Jefferies); Milson Move (Ernest Edmunds); Aikon (Frederic Fol Leymarie, Patrick Tresset); Deptford.tv (Adnan Hadzi); Changing Weights (Ron Herrema); Fugue (Gordana Novakovic, Dr. Peter Bentley, Rainer Linz, Anthony Ruto); and Genophone (James Mandelis) alongside some work by Paul Brown and footage of the Senster by Nick Lambert and Catherine Mason. The technologically-enabled artistic content will be framed by a specially commissioned film from philosophers Andy Clark, author of 'Natural born cyborgs', and Mike Wheeler discussing the fundamental role of tools in human behaviour. Clark argues that humans became cyborgs the moment they picked up their first tool - when he is using a tennis racket Bjorn Borg is as much a cyborg as the Terminator. In association with London Centre for Arts and Cultural Enterprise, Goldsmiths College, Birkbeck College, University of Sussex, the Computer Arts Society and Lighthouse. . . alice eldridge . . . . . . . . . . . . . . . . . . . . . . . . alicee at sussex.ac.uk . . . . . . . . . . . . . . . . . http://www.ecila.org . . . . . . . . . . . . . . . . . From carlos.katastrofsky at gmx.net Tue May 9 20:33:53 2006 From: carlos.katastrofsky at gmx.net (carlos katastrofsky) Date: Tue, 09 May 2006 20:33:53 +0200 Subject: [NetBehaviour] welcometothejungle Message-ID: welcometothejungle http://katastrofsky.cont3xt.net/jungle randomness is the subconscious of machines. dreaming at night, when power is off, they can't find a way to access their logic operations. so everything that remains is randomness, generated by rays of energy from outer space. far below the power that is needed to turn the machine (or at least parts of it) on, these tiny amounts of energy generate dreams in anorganic brains... but how can one get access to these dreams? filtering possibilities through randomness allows a machine to express itself. if you look close enough, you will see the hidden code lying underneath... ---------------- http://katastrofsky.cont3xt.net carlos dot katastrofsky at gmx dot net From marc.garrett at furtherfield.org Wed May 10 00:07:58 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 09 May 2006 23:07:58 +0100 Subject: [NetBehaviour] Futuresonic 2006 In-Reply-To: <44608D0F.2020407@furtherfield.org> References: <44608D0F.2020407@furtherfield.org> Message-ID: <446112BE.8090603@furtherfield.org> Futuresonic 2006 20-23 July, Manchester First Acts Announced!! http://www.futuresonic.com The 2006 festival takes place over three days traversing music and the arts, involving multiple and often unusual spaces. It takes in headline gigs, breaks musical acts, maps the city, premieres ground breaking technologies, ships in some of the world's most innovative artists and musicians, and gives Manchester a weekend-long urban experience not to forget... Futuresonic Live is all about the music. It's headlined by the undisputed cover star of minimalism, Christian Fennesz; supported by Warp Records' new supergroup, the amazing Battles; all the leading lights of the nascent dubstep scene combined in one killer showcase, Digital Mystikz, Skream, Kode 9, Plastician; the scuzzy electro-punk euphoria of Berlin's female duo Cobra Killer; the hottest act around right now, mysterious grime-folk agitators Various Production; and much, much more. http://10.futuresonic.com/futuresonic_live.html Urban Play is all about taking over the city and using the technology that surrounds us for creative ends. It features world-first collaborative software projects, art exhibitions, walking tours, hit- and-run buskers, new musical instruments the likes of which have never been seen, conferences exploring the rise and impact of shar! ed, open source and social technologies - and more. http://10.futuresonic.com/urban_play.html How To Get Involved... Just days to go before the 10th May deadline for the EVNT Competition, dont miss this chance to win funding to stage an event within the Futuresonic festival; submissions to the EVNT Showcase open till 22nd May: http://10.futuresonic.com/evnt/ See also, the Mapchester Mapping Weekend taking place this weekend: http://10.futuresonic.com/mapchester.html www.futuresonic.com From sondheim at panix.com Wed May 10 00:39:24 2006 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 9 May 2006 18:39:24 -0400 (EDT) Subject: [NetBehaviour] 29 and information Message-ID: The following ends the text which may be found in full at: http://www.asondheim.org/philosophy.txt ; images may be found at http://nikuko.blogspot.com/ 24 "The condition of the age." "Organism inhabits the symbolic; the symbolic is not a matter of consciousness; a manner of consciousness; the symbolic is a manner of worlding; of inhabitation." Of steward and the symbolic, the emergence of ecology. The fundamental ground of ecology: non-existent, function in relation to ethos. Ethos is always already consensual, boot-strapped; ethos is implicated in, implicates, the Emblematic. The ecological presupposes states of innocence, states of the pre-symbolic; language corrupts, is corrupted; violence coheres to language. The steering-mechanism of the ecological is survival; you might argue as well for the symmetry of beauty; for the inherency (rights, behaviors, cultures) of organisms; for any functional attribution (medical discoveries, cleaner air): these are framed, frameworked, farmed-out. What can be drawn from all of this? What lessons? That the world possesses an Ought: that X or Y ought to survive? Every X or Y is contested. That I agree, that I agree violently, is irrelevant; only that my violence might impinge on your design. I desire the presencing of a world with few intruders; I will argue that, but I cannot found that. That I argue that, is happenstance; is a decision in which belief, not Belief, plays a role. The trick is to drive out transcendence, ignore immanence, violate the slightest appearance of the Absolute; the trick is the sublimation of the sublime. Do I need to argue this? Must one fight? 25 Do animals have rights? Do humans? What constitutes the "have"? What constitutes inherency, granting? What designates the social? What designates the "natural-social"? Rights are ad hoc; situational; communal; group-identified; legislated; unjust. I cannot appeal to justice; to justice = Justice. Must I fight? 26 Such issues are articulated; self-organize; within a structuralist territorialization; disappearing outside or beyond (they are beyond) any emblematic. When I = ego = Ego appears within this, this short-circuits. The I is always present; now it is surface, ""my" violence" "on "your" design". This is normal philosophy, non-paradigmatic; philosophical biography is not far behind. The text corners the text; self-references; deconstructs. Retreat. (I emphasize the shame of writing, the written-tawdry, the embarrassment of presence. Let production produce production. I withdraw.) 27 Beyond or external to mathematics, mathesis, 0 and 1 are situational; they are discursive tokens, floating signifiers. What one presents, the other exculpates; what one withdraws, the other absolves. 0 is already a multiplicity; just look at it. Articulation leads quickly to power sets, cellular automata chaos, differentiations, growth: differentiation to the degree-zero of substance, the analogic. What is ruptured at close sight, smoothes at farther; both are latent, developed much as a photographic plate. Set-theoretical paradoxes are the rubble of mathematics; the mathematics of ideal forms remains in light of them. The continuum hypothesis is subject only to choice outside of the continuum hypothesis; someone does something one way or another with mathesis, axiomatics, infinities. Mathematical ontology is the structure of the world; sets of parameters define all that there is; such parameters may be ab nihilo, virtual, real, stochastic, chaotic, fuzzy; given certain dimensions, certain tolerances, they exhaust. A message from elsewhere is a message by virtue of structure and interpretation. A lesson: the I withdrawn in favor of; as a result of; as a consequence of; the eye. And the eye withdrawn, withdraws. 28 Philosophy as philosophy of organism-situated-in-the-world, as human- thus situation; philosophy elsewise as that of ultimate species: both employ the emblematic or Emblematic. What is to be done with the human? Farmed-out the answers are in part ethos-dependent, ethos dependent on disciplinary values. Ultimate species: To the extent that philosophy is concerned with ulteriority, exteriority, the being of the world, beings of the world; then is philosophy intrinsic; then is the Emblematic always already employed; limit phenomena are Emblematic phenomena: give a name to universal containment / containment of the universal. Philosophy is nothing; philosophy does not veer; philosophy is veered. Philosophy is concerned with nothing; organisms are concerned; concern is a characteristic of organism; negation is a characteristic of concern; concern is a characteristic of negation. It is the concern of organisms that is filtered into philosophy, farmed-out, of living. What is the concern which is filtered? The concern is a disturbance. The concern is either circumlocution or its problematic; recognition or misrecognition of the same. The concern is the deconstruction of circumlocution; circumlocution, circumscription ==> a presentation of the world as-if Emblematic. This philosophy is the withdrawal from (not of) the Emblematic; the withdrawal is a tendency towards defuge, towards discomfort and its problematic. Defuge is that which is simultaneously absorbed and negated, simultaneously cathected and decathected; defuge is the shame of the organism, the transformation of the pornography of the world, through usage, into waste. The inverse of the Emblematic is defuge, which presences presents no name, no characterology, no tropology; the being of granite is the being of the organism upon reflection. Reflection is the doing of philosophy, its accoutrements. Reflection is reflection-upon; "upon" does not require an intentional object, state, or process; "upon" may be decathected. What is neutral is of no interest altogether. 29 "How to begin philosophy, how to begin the process of philosophizing, an activity, a form of labor, the philosopher and the production." Nothing can be done that has not been done, here. Nothing can be cleared that has not been cleared, here. Having begun, how to continue; of summary or conclusion: how to avoid both, the result rag-tag description, farmed-out explanation, epistemological flattening, local ontologies, adjudication and circumlocution of the Emblematic, the Emblematic found wanting. The tread of writing visible, indiscretions; appearance of textuality, fear of self-reference, defuge. There is nothing here to guide by stars. There is nothing of faith, nothing for the faithful. The world is the world as such, thetic, mute, flattened. One speaks, writes, as if something has been accomplished; nothing has been accomplished, neither declarative nor performative. The granularity of the world, pixellation, dominates those texts which might otherwise nourish the dark night of the soul. No soul, no spirit, no variegated ontologies, local ontologies, fecundity of local epistemologies, framing. One says one thing; one says another; puns undermine both; belief is of little consequence; belief = consequence = Belief. Consider this a writing of the world; rewriting of the world; writing worlding; writing of presence, present, present writing. This is the construction of this. Within the future anterior: this will have been appearing; this will have appeared; this is appearing. (This is online writing; this is being-online; this is a procurement of a description of the world; by organism; by veer or swerve; by disturbance; this is disturbance. This is history.) 30 (By flattening I do not mean flattening; by disturbance I mean disturbance of meaning; all meaning, the procurement of meaning, is disturbance. Within the future anterior, this will have been completed.) [none forthcoming] From marc.garrett at furtherfield.org Wed May 10 03:07:53 2006 From: marc.garrett at furtherfield.org (marc) Date: Wed, 10 May 2006 02:07:53 +0100 Subject: [NetBehaviour] welcometothejungle In-Reply-To: References: Message-ID: <44613CE9.8050102@furtherfield.org> Hi Carlos, >but how can one get access to these dreams? I was wondering...are these drawings actual data - or a creative representation of...as dreams? marc > welcometothejungle > http://katastrofsky.cont3xt.net/jungle > > randomness is the subconscious of machines. dreaming at night, when > power is off, they can't find a way to access their logic operations. > so everything that remains is randomness, generated by rays of energy > from outer space. > far below the power that is needed to turn the machine (or at least > parts of it) on, these tiny amounts of energy generate dreams in > anorganic brains... > but how can one get access to these dreams? filtering possibilities > through randomness allows a machine to express itself. if you look > close enough, you will see the hidden code lying underneath... > > ---------------- > http://katastrofsky.cont3xt.net > carlos dot katastrofsky at gmx dot net > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From newmediapoet at yahoo.com Wed May 10 12:23:20 2006 From: newmediapoet at yahoo.com (Jason Nelson) Date: Wed, 10 May 2006 03:23:20 -0700 (PDT) Subject: [NetBehaviour] where we create: come voyeur and submit Message-ID: <20060510102320.44698.qmail@web54615.mail.yahoo.com> The Where We Create Project is up and running. But I need more submissions. So have a look around...drop some comments in, play the voyeur and see where others work and create. the url: http://www.newformsreview.com/wherewecreate/ Then submit your pictures and text to: wherewecreate at gmail.com details (cause I'm too persistant for anyones good) 1. a roughly 300 by 300 pixels or around there photo (S) of where you work, where you create, 2. some text about the place where you work, anything really, but hopefully something descriptive, interesting. 3. your details, name, location, and a few urls. cheers, Jason --------------------------------- Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Wed May 10 17:48:20 2006 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 10 May 2006 11:48:20 -0400 (EDT) Subject: [NetBehaviour] My review of Jacques Roubaud which doesn't do it justice Message-ID: Jacques Roubaud, The form of a city changes faster, alas, than the human heart, One Hundred-Fifty Poems, 1991-1998, translated by Keith and Rosmarie Waldrop, 2006. Gabe Gudding wrote "Dalkey's looking for reviewers for a new edition of Jacques Roubaud's work translated by the Waldrops. See below for information -- and for the contact info at Dalkey in the event you're interested in reading and reviewing this coolio book. -- Gabe" - and if Gabe called it coolio I thought it was and it is and everyone should read it, absolutely. Roubaud's a member of Oulipo and the book of course reflects that; either Roubaud or the book or poetic form tour Paris and the result is a landscape both bucolic and mesmeric; street-names abound, I'd say, galore, and there are monuments as well as contradiction among cafes. I generally don't like reading poetry, and Oulipo is odd since my own interests tend towards the lurid, hysteric, urgency; and the group is generally anything but; I find the form, based on French or English or whatever combined with mathesis or other structures, often getting in the way, although it (the form's)'s fascinating both as ideal and as hopelessly churning about in the neighborhood, the result of the random or heuristic characteristics of one or another language. It's like finding the longest word with only y's for vowels in English, well syzygy, as if this says something universal. So this goes on, on one hand, and it's wonderfully playful like Exercises in Style by Queneau, the book reflects him (Queneau, of course Roubaud, that should go without saying). The book made me happy; few books do that, except for Buddhist texts, and this doesn't reflect Buddhist thought but would provide a great accompani- ment. I'd like to say the Waldrops did a good job translating - the book reads wonderfully in English - my "native tongue" - but this is the only problem with it, the book, that I find problematic, which I do, that the French isn't given. I don't think for a second any language is translatable, so having the so-called original (forget the decon here) with the translation - yes, I know additional expense etc. - would be literally invaluable. And more so in this case, since there are puns, phrases constructed from street names (and sometimes these are translated, and sometimes not, but who knows whether the original might not have veered into English at these points?), sonnets... - and I would have been able at the least to sound these out! And probably more or less read them in the original. The section that moved me the most - that is one of the most brilliant pieces of writing in any language - and I can only reference here of course the English again (I really don't like this, my native tongue, but that's another story - look at Tahitian grammar and you'll see why) - anyway - this is the section entitled Square des Blancs-Manteaux: Meditation on Death, in Sonnets, According to the Protocol of Joseph Hall, a series of XVIII poems whose titles are taken from Hall's 1607 The Art of Divine Meditation. And these poems come closer to death, to the rasping irregularity and miserable salvation of death, than anything else I've read, or at least than I can recall reading. But then I recall Donne and the field's open again. Here's a sample of some lines from one of the sonnets, " "The Entrance" which of course is the first: Death's entrance, as you enter in, dissent, Decenter Death's dementia and her sense, From Death's Senses, absent thee and resent Consenting to Death's constant Constancy. By Death passed by, repent and be content When Death is pending, her Lamp and her stamp, Clamber toward Death, approach and accent her, Thing yourself Death's indecency and temple. Death readying to carry you away Transport Death in amphorae, deport Death Aggress your Death, baseless and faceless Death And when in dread of Death, make haste: unlace, But bow down when Death is discredited Think how All-wearied Death gives touch, gives bed. This is as untypical as any of the sonnets which are as untypical as any of the other materials in the book. Again, take a look at this book which seems it will be released on July 18, 2006, and will cost $13.95 and will be available from Dalkey Archive Press - www.dalkeyarchive.com - you might want to look at their other publications as well - it's a totally great press. I'll next review sometime soon The Cinema Dreams Its Rivals, Media Fantasy Films from Radio to the Internet, by Paul Young; I'm still with it. - Alan From geert at nznl.com Wed May 10 19:53:08 2006 From: geert at nznl.com (Geert Dekkers) Date: Wed, 10 May 2006 19:53:08 +0200 Subject: [NetBehaviour] nznl.com digest, May 04, 2006 - May 10, 2006 Message-ID: <7A7BDFEB-D9E7-41AE-A7BC-4A5B72646038@nznl.com> nznl.com digest May 04, 2006 - May 10, 2006 Posts 1439 - 1445 http://nznl.com 1439. May 04, 2006 STUDY FOR BLOB, 2010, STUDY web page http://nznl.com/index.php?dag=20060504 1440. May 05, 2006 SPILL, 2010, SPILL web page http://nznl.com/index.php?dag=20060505 1441. May 06, 2006 PROBLEMS IN IDENTIFYING, 2010, STUDY FOR NZNL.COM WORKER #1 web page http://nznl.com/index.php?dag=20060506 1442. May 07, 2006 STUDY FOR A FACE FOR NZNL.COM WORKER #1, 2010, STUDY flash movie http://nznl.com/index.php?dag=20060507 1443. May 08, 2006 FURTHER INVESTIGATIONS INTO THE INTERFACE AND PROPERTIES OF NZNL.COM WORKER #1, 2010, STUDY flash movie http://nznl.com/index.php?dag=20060508 1444. May 09, 2006 INTERLUDE, 2010, INTERLUDE fireworks/photoshop file http://nznl.com/index.php?dag=20060509 1445. May 10, 2006 NZNL.COM EXHIBITION HALL IN LANDSCAPE, 2010, LANDSCAPE, NZNL.COM EXHIBITION HALL MODEL fireworks file http://nznl.com/index.php?dag=20060510 From carlos.katastrofsky at gmx.net Wed May 10 21:19:31 2006 From: carlos.katastrofsky at gmx.net (carlos katastrofsky) Date: Wed, 10 May 2006 21:19:31 +0200 Subject: [NetBehaviour] welcometothejungle In-Reply-To: <44613CE9.8050102@furtherfield.org> References: <44613CE9.8050102@furtherfield.org> Message-ID: hi, ... a kind of psychoanalysis. i tried to do some practical - aesthetical research on freud et.al. quoting http://www.kevinwilson.info/dream/freud_dreams.php : "Freud believed the dream to be composed of two parts. The manifest and the latent content. The manifest content can be thought of as what a person would remember as soon as they wake - what they would consciously describe to someone else when recalling the dream [that's what the pictures are to me]. Freud suggested that the manifest content possessed no meaning whatsoever because it was a disguised representation of the true thought [in my opinion this is the code] underlying the dream." so, to me, these pics are the representation of dreams, determined by the code lying underneath with a certain amount of randomness (in freudian terms maybe the id) which is - altough - not a true randomness. it's pseudo- randomness and thereby determined, too. carlos On Wed, 10 May 2006 03:07:53 +0200, marc wrote: > Hi Carlos, > > >but how can one get access to these dreams? > > I was wondering...are these drawings actual data - or a creative > representation of...as dreams? > > marc > >> welcometothejungle >> http://katastrofsky.cont3xt.net/jungle >> >> randomness is the subconscious of machines. dreaming at night, when >> power is off, they can't find a way to access their logic operations. >> so everything that remains is randomness, generated by rays of energy >> from outer space. >> far below the power that is needed to turn the machine (or at least >> parts of it) on, these tiny amounts of energy generate dreams in >> anorganic brains... >> but how can one get access to these dreams? filtering possibilities >> through randomness allows a machine to express itself. if you look >> close enough, you will see the hidden code lying underneath... >> >> ---------------- >> http://katastrofsky.cont3xt.net >> carlos dot katastrofsky at gmx dot net >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour at netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > From geert at nznl.com Wed May 10 20:15:28 2006 From: geert at nznl.com (Geert Dekkers) Date: Wed, 10 May 2006 20:15:28 +0200 Subject: [NetBehaviour] [Nettime-nl] nznl.com digest, May 04, 2006 - May 10, 2006 Message-ID: <000101c6745d$b78cb3f0$0100000a@hoogt.local> nznl.com digest May 04, 2006 - May 10, 2006 Posts 1439 - 1445 http://nznl.com 1439. May 04, 2006 STUDY FOR BLOB, 2010, STUDY web page http://nznl.com/index.php?dag=20060504 1440. May 05, 2006 SPILL, 2010, SPILL web page http://nznl.com/index.php?dag=20060505 1441. May 06, 2006 PROBLEMS IN IDENTIFYING, 2010, STUDY FOR NZNL.COM WORKER #1 web page http://nznl.com/index.php?dag=20060506 1442. May 07, 2006 STUDY FOR A FACE FOR NZNL.COM WORKER #1, 2010, STUDY flash movie http://nznl.com/index.php?dag=20060507 1443. May 08, 2006 FURTHER INVESTIGATIONS INTO THE INTERFACE AND PROPERTIES OF NZNL.COM WORKER #1, 2010, STUDY flash movie http://nznl.com/index.php?dag=20060508 1444. May 09, 2006 INTERLUDE, 2010, INTERLUDE fireworks/photoshop file http://nznl.com/index.php?dag=20060509 1445. May 10, 2006 NZNL.COM EXHIBITION HALL IN LANDSCAPE, 2010, LANDSCAPE, NZNL.COM EXHIBITION HALL MODEL fireworks file http://nznl.com/index.php?dag=20060510 -------------- next part -------------- ______________________________________________________ * Verspreid via nettime-nl. Commercieel gebruik niet * toegestaan zonder toestemming. is een * open en ongemodereerde mailinglist over net-kritiek. * Meer info, archief & anderstalige edities: * http://www.nettime.org/. * Contact: Menno Grootveld (rabotnik at xs4all.nl). From marc.garrett at furtherfield.org Thu May 11 12:38:01 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 11 May 2006 11:38:01 +0100 Subject: [NetBehaviour] The Code Breakers =?utf-8?q?=E2=80=93_a_BBC_World_Documentary_on_?= =?utf-8?q?FOSS_and_Development=2CDocument_Actions=2E?= In-Reply-To: <7A7BDFEB-D9E7-41AE-A7BC-4A5B72646038@nznl.com> References: <7A7BDFEB-D9E7-41AE-A7BC-4A5B72646038@nznl.com> Message-ID: <44631409.1070308@furtherfield.org> Coming Soon: The Code Breakers ? a BBC World Documentary on FOSS and Development Document Actions A two-part documentary, ?Code Breakers? will be aired on BBC World TV starting on 10 May 2006. Code Breakers investigates how poor countries are using FOSS applications for development, and includes stories and interviews from around the world. The famous digital divide is getting wider. A two-part documentary, "The Code Breakers," to be aired on BBC World starting 10 May 2006 examines whether free/open source software (FOSS) might be the bridge? FOSS contains 'source code' that can be used, copied, studied, modified and redistributed without restriction. It has been around for over 20 years but most PC owners are not aware that the Internet search engines and many computer applications run on FOSS. "It's not that FOSS has had a bad press, it has had no press because there is no company that 'owns' it," says executive producer Robert Lamb. "But we found that in the computer industry and among the afficionados, it is well known and its virtues well understood." The crew of the independent producers who made the film went to nearly a dozen countries around the world to see how the adoption of FOSS presents opportunities for industry and capacity development, software piracy reduction, and localization and customization for diverse cultural and development needs. Stories from "The Code Breakers" include computer and Internet access for school children in Africa, reaching the poor in Brazil, tortoise breeding programmes in the Galapagos, connecting villages in Spain, and disaster management in Sri Lanka. The documentary also includes interviews from key figures around the world. more... http://www.apdip.net/news/fossdoc From marc.garrett at furtherfield.org Thu May 11 12:46:59 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 11 May 2006 11:46:59 +0100 Subject: [NetBehaviour] Data Vapour 100506 In-Reply-To: <7A7BDFEB-D9E7-41AE-A7BC-4A5B72646038@nznl.com> References: <7A7BDFEB-D9E7-41AE-A7BC-4A5B72646038@nznl.com> Message-ID: <44631623.4040404@furtherfield.org> Data Vapour 100506. Postings, as you may have noticed, have slowed a little at Dataisnature due to other things going on outside of the computer screen, things will speed up again in the next few days - heres another stream of vapour: Marius continues to inspire us with his enormous productivity and good work. Recently returning from the Generator.X audio-visual tour in Troms? he is now at OFFF in Barcelona with the other Proce55ing heavyweights putting on workshops, while in between he launches another blog, Code and Form! The blog aims at documenting his teaching and will be a good resource for Proce55ing disciples no doubt. Ilikegravity, ?Accounts from real space? is a blog annotating design ideas, concepts and experiments. Catching my eye are the Recursive Type experiments ? you can see a video of the drawing process here, and 20seconds_Drawn_AM_Rain, where the drawing is the result of a sound visualisation (enlarged drawing here) ? both sets of works are done in Flash using Actionscript. http://dataisnature.com/?p=310 From marc.garrett at furtherfield.org Thu May 11 12:57:41 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 11 May 2006 11:57:41 +0100 Subject: [NetBehaviour] Obsessive hobbies #1: LEGO. In-Reply-To: <44631623.4040404@furtherfield.org> References: <7A7BDFEB-D9E7-41AE-A7BC-4A5B72646038@nznl.com> <44631623.4040404@furtherfield.org> Message-ID: <446318A5.40902@furtherfield.org> Obsessive hobbies #1: LEGO. Eric Harshbarger is serious. About LEGO. He does ?Professional LEGO Sculpting and Mosaic Building?, with some serious building credits to his name. He also has an obvious obsessive streak, most likely a prerequisite for any dedicated LEGO builder. Harshbarger?s LEGO mosaic of Calista Flockhart uses a quarter million LEGO bricks of the diminutive Modulex variety with letters. Using time-honored ASCII graphic techniques, he was able to turn his multiple bags of bricks into a physical ASCII mosaic, using different letters to create shades of gray. Modulex turns out to be a LEGO curiosity, as Harshbarger explains: One has to admire the sheer tenacity of anyone willing to assemble an ASCII mosaic out of bricks so small they can barely be handled without special tools. But ultimately the question should be asked: Why Calista Flockhart? Why a photograph? The representational approach seems a waste of (a lot of) good bricks. more... http://www.generatorx.no/20060106/obsessive-hobbies-1-lego/ From marc.garrett at furtherfield.org Thu May 11 13:00:37 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 11 May 2006 12:00:37 +0100 Subject: [NetBehaviour] Helium balloon aerial photography. In-Reply-To: <44631623.4040404@furtherfield.org> References: <7A7BDFEB-D9E7-41AE-A7BC-4A5B72646038@nznl.com> <44631623.4040404@furtherfield.org> Message-ID: <44631955.1070500@furtherfield.org> Helium balloon aerial photography. So, you?ve got an itching desire to inflate 150 helium balloons, but have no idea what to do with them afterwards? Well, readers Stefan and Michel decided to build a simple aluminum frame to mount a cheap digital camera and do some aerial photography. Instead of building a complex timing system they just attached a strong motor from a security camera. It?s powered by a AA and is geared really low so it only triggers the shutter every 12 seconds. They deployed the rig from the fortifications surrounding Wilemstad in the Netherlands. There are several pictures of the city (and the occasional envious child) on their site. If you follow the ?continue reading? link you?ll see a couple more pictures of the camera mount. More... http://www.hackaday.com/entry/1234000287073684/ From llacook at yahoo.com Thu May 11 16:22:43 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Thu, 11 May 2006 07:22:43 -0700 (PDT) Subject: [NetBehaviour] Megumi and the White Car Message-ID: <20060511142243.8356.qmail@web35608.mail.mud.yahoo.com> That white car has been sitting there for quite some time. Swinging a sledge hammer over my head, the bright chock of weight splitting stone poofs up from the front porch. I went back to Ohio. That day we left cinderblock rubble in front of the house; they say the English have bad teeth. Is any of this true? You'd hate to leave it just lying there. Eating must be very hard for them, all that porous stone in riptide angles. That white car just sitting there for quite some time is our neighbors; I can see it from this window, but that means I'm denied it's use. When Caleb apologizes spontaneously to her, he becomes a man, and the little boy with a pinched face lashing and spitting at everything he sees is gone. He'll be back, but now we know her shadow. Darker rides, darker rides, and the little boy with a pinched heart. I repeat myself across the room, bursting May leaves with a sap not even you knew would come. I've come to look for America. Your bad teeth deny you the sustenence and the sentience to bleach lopped halls with loops from my origination, my divinity, and the sanguine. That black car that's never been on this block is our use; we smashed the front steps and dragged them off behind the trees http://www.lewislacook.org/xanaxpop/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Yahoo! Messenger with Voice. PC-to-Phone calls for ridiculously low rates. -------------- next part -------------- An HTML attachment was scrubbed... URL: From llacook at yahoo.com Thu May 11 16:22:43 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Thu, 11 May 2006 07:22:43 -0700 (PDT) Subject: [NetBehaviour] Megumi and the White Car Message-ID: <20060511142243.8356.qmail@web35608.mail.mud.yahoo.com> That white car has been sitting there for quite some time. Swinging a sledge hammer over my head, the bright chock of weight splitting stone poofs up from the front porch. I went back to Ohio. That day we left cinderblock rubble in front of the house; they say the English have bad teeth. Is any of this true? You'd hate to leave it just lying there. Eating must be very hard for them, all that porous stone in riptide angles. That white car just sitting there for quite some time is our neighbors; I can see it from this window, but that means I'm denied it's use. When Caleb apologizes spontaneously to her, he becomes a man, and the little boy with a pinched face lashing and spitting at everything he sees is gone. He'll be back, but now we know her shadow. Darker rides, darker rides, and the little boy with a pinched heart. I repeat myself across the room, bursting May leaves with a sap not even you knew would come. I've come to look for America. Your bad teeth deny you the sustenence and the sentience to bleach lopped halls with loops from my origination, my divinity, and the sanguine. That black car that's never been on this block is our use; we smashed the front steps and dragged them off behind the trees http://www.lewislacook.org/xanaxpop/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Yahoo! Messenger with Voice. PC-to-Phone calls for ridiculously low rates. -------------- next part -------------- An HTML attachment was scrubbed... URL: From netwurker at hotkey.net.au Fri May 12 00:53:01 2006 From: netwurker at hotkey.net.au (_vvire.us_) Date: Fri, 12 May 2006 08:53:01 +1000 Subject: [NetBehaviour] _social.[soft.ware]n.counters_ Message-ID: <7.0.1.0.1.20060512085228.01bae2b8@hotkey.net.au> ________________________________________ bl[inf]o.od_fum_bling 08:06am 12/05/2006 ________________________________________ .blood.f_um_bling.of.social.[soft.ware]n.counters. .[commercial.hitting.in.st_ra[f]t_ification.wa.v(id)s: ....releases.kneeding.x.posure(read:n.dependent).luv.the.[l]ew[d]e.t_u_b(grrl)e ....(re)cord>label_bound+h(m)o(olah)g_tied_died.arc-Up+(remove+d.sist{a})bounce-Down . . .blood.f[r]umb[(ding.)a]ling.of.move.ment.n_c[b(lo)]o[dy.c]unt.ers. .count.body_:1:_lymp[et]node.tension.bu[ff(u)|]cketting .count.body_:2:_blood.traipsing.w[r]ink.l[ac]ed.sur[ly]faces .count.body_:3:_n.[tri]fect[a]ion.via.dicho[ked]t[folks.on:(off.speed)]omies . . . .counting.of[f].the.b[l]o[o]dy.partings.on.b[y]urning.flame.fingas. -- ___________________________________________ _eerie.t[ass.hymn.E.l]ation_ 02:11pm 07/05/2006 ___________________________________________ . . ..|| -||||--.c_R.a.c_[sw{ab}(h)or(e)d]k[night.r.i.p.p]ing.pliant.bondage.l.i_p[.u.]s ---.-blood.sn[|l]o[ading.mon.tues.]wed.in.in.oh.[n(s)o(b{no.supportive.chink.}b{l}ing)]cents....... --|||c_O.v.e.r.mine+pushing.ur.cove[(g.a.r{gh}).r.(.o.).].t(.t.e_n).liar.face[ts(li{t}p{it}ping)]: ||--|--t[m]ired.assi[(fly.bl.own{ed})hy]m[en|u.t]ilation.d.cay[man.t_e.a.(.t.i.n.g_u)rs].gr[e]ates --|||-ur.co[(d)e.(e).r(.i.e).ruption.la.]ughing.h[l]eav[N.bread.(e)vo(lution.s)mit(10)]ing: |||||-.-ant.i_since.(g)rit(t)y.[dis.Tr(aught.t)oy.aH(elen.p{b}a{i}les)]breadth.+. .||.|s_H.[w]a.l.l.o.w[.ed.].st[(|l)oner(gr)]abbing.d[e.m.]e[n.t.]pths |.||.u+[w(|b)]i.p_e[d.a(l)part].W.W.t.rid[of.u+s_t.{.h.}.)ick({l}y).u.in.ur.d.filer.b_A.c.k ||.. .. . -- ____________________________________ Re: le[ase]dge.wurk 07:30am 06/05/2006 ____________________________________ ----------------------f[l]eet.[slo_]m_o[tak(ma)u]ves --c.runching.fat.vegetation.g.rub[by.m.eat.concept]s --------------[sha]doze.breathing.in.post.logic.heat -------------spew[W].brutal.medi[a]t[2(e)l]at(e)ions ...........[muscle ...........[juice ...........[breeding ...........[x ...........[n.err.gee. ...........[ [re:lax.shoulders.+.anti-clenched.thought.strides] [head.full.+mind.st(r)aid(ers.of.the.desexual.arcs)] [pushing.dream.pulls+albino.hea_dish.open.mouthed.off_magery_screaming] [n.duce.mp.tee.ness=e.qualls=rupturing.cognitive.ar.chi(ng).text.urs(+dripping.mine)] [aqua.flowing.geo./me.tr(y)ics+double.wrinkled.lined.fobbishness] xxxxxxxx c[(l)on(e)ned.cept]_run_ch[modding] xxxxxxx -- ____________________________________________________________ _[-f]air.rhe[a].tales vs nonversat[comprehens]ion_ 08:00pm 03/05/2006 ____________________________________________________________ x/perience/version/ing: [fact: death/of/a/sale(hunt)s/man --forest.vent(oe)u(v)re+vicious.red.fissuring-- --rest.event.outing.vivid.need.scissoring-- rea[/d:(ua)]lity/of/transposition/sickness [myth(OS): a.cute.loss(y)/thru/body/waver/ing] --loose-leafed.limb.|x|.tension(s)-- --ghost-lean+kill.b[l|m]o[o]dy.tenses-- r/oiling/t[urner]echtonic/s/k[r]y/scr/apes -- _thick.memoir.cableing.nost[||neur]algia.bloody_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . From sondheim at panix.com Fri May 12 01:49:08 2006 From: sondheim at panix.com (Alan Sondheim) Date: Thu, 11 May 2006 19:49:08 -0400 (EDT) Subject: [NetBehaviour] BIOS: The Poetics of Life in Digital Media (7/1/2006, 9/14/06-9/16/06) call for papers / performances (fwd) Message-ID: Announcing BIOS: The Poetics of Life in Digital Media, hosted by the Center for Literary Computing at West Virginia University in Morgantown, WV. September 14-16, 2006. BIOS: The Poetics of Life in Digital Media is an interdisciplinary symposium on the re-invention of life in digital media. The term BIOS captures capture boundary-crossing and hybridization of human and machine. For the ancient Greeks, BIOS referred to particular forms of life rather than life in general (zoe). BIOS therefore, was the form of life specific to the development of human society and political culture. Understanding BIOS means understanding how humans adapt nature into culture. In computer science, by contrast, BIOS means something quite different: the basic input output system, the lowest level of code that allows a computer to run. BIOS is burnt into computer hardware and enables the machine to boot and run software programs and media. The two meanings of BIOS resonate with each other as basic requirements for a social system, whether in civic space or in cyberspace. BIOS will combine talks and creative work / performances. We already plan a rich and exciting schedule. Proposals are welcome on any area within the topic. Keywords/subtopics include but are not limited to: electronic literature; hypertext; embodiment; media specific analysis; net.art; digital performance; complexity and emergence; the limits of computability; posthumanism and cyborgs; virtual reality; artificial life; biotechnology; cyberfeminism; biopower; social software; ... Innovative formats and approaches are welcome. We will also consider remote/tele-presentations. Webcasts/podcasts of the event and an DVD archive will be available. Send proposals of no longer than 200 words to clc at mail.wvu.edu by July 1, 2006. BIOS is organized and hosted by the Center for Literary Computing, and co-organized by the Electronic Poetry Center / Digital Media Studies program at SUNY-Buffalo. The symposium is associated with the E-Poetry series of festivals and symposia. From sondheim at panix.com Fri May 12 08:14:45 2006 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 12 May 2006 02:14:45 -0400 (EDT) Subject: [NetBehaviour] Exibition: em/bedded, Santa Monica, CA, May 27-June 24 (fwd) Message-ID: Please come! Exibition: em/bedded MAY 27?-JUNE 24, 2006 A MULTI-MEDIA INSTALLATION BY ALAN SONDHEIM with LESLIE THORNTON Guest curated by TYLER STALLINGS em/bedded brings together video projections of cyborgian, mutating, sexual bodies and the artifacts of battlefields soaked in banal horror. Together, they offer a distorted beauty of the disasters of war and the pleasures of love. RECEPTION: SATURDAY, MAY 27 6:00-9:00 P.M. WITH PERFORMANCE Saturday Night at 8:00 P.M. FREE TRACK 16 GALLERY BERGAMOT STATION 2525 MICHIGAN AVE. BLDG. C1 SANTA MONICA, CA 90404 P 310 264 4678 F 310 264 4682 reception at track16.com www.track16.com TRACK 16 GALLERY & SMART ART PRESS TRACK 16 GALLERY & SMART ART PRESS BERGAMOT STATION 2525 MICHIGAN AVE. BLDG. C1 SANTA MONICA CALIFORNIA For press inquiries into the project contact guest curator Tyler Stallings at 714.552.1313 www.smartartpress.com May 27-June 24, 2006Reception: Saturday, May 27, 6:00-9:00 p.m. Performance: Saturday, May 27, 8:00 p.m. Free About the installation In his first solo exhibition in California, Alan Sondheim, along with filmmaker Leslie Thornton, will transform Track 16 Gallery's cavernous main gallery into the multi-media installation, em/bedded. Sondheim brings together video projections of cyborgian, mutating, sexual bodies and the artifacts of battlefields soaked in banal horror. Together, they offer a distorted beauty of the disasters of war and the pleasures of love. Guest curated by Tyler Stallings. Scattered amongst the video projections of furiously moving dancers, of sexual confrontations, of computer generated "avatars," there will be distorted graphics of bodies, spaces, and amppings; antennae, battlefield telephones, off-kilter combat tents, photographs of battleships, trenches, and bodies, souvenirs taken from Japanese soldiers, old microscope slides with pathogens, and antique book editions of du Maurier's Trilby, Confessions of a Magnetiseur, a Japanese pre-Meiji book of black and white block prints of Westerners, Volney's Ruins of Empire, and Albert Dreyfuss Five Years of My Life. Together they all suggest attempts at communication amidst fortifications created around language and confinement. Integral to the installation will be a large tent that contains Leslie Thornton's recent video work, Let Me Count the Ways: Minus 10, Minus 9, Minus 8, Minus 7, Minus 6. In this work, Thornton explores the social effects of new technologies and media, but here she pushes even further into autobiographical territory to suggest the ways in which we are all implicated in these changes. Juxtaposing aerial footage of pre-9/11 New York City; scientific data on genetic mutation; audio testimony about the bombing of Hiroshima, and a home movie of her father, an engineer on the Manhattan Project, as he is dispatched to that city, Thornton creates a dense and compelling meditation on violence. Like nomads, Sondheim and Thornton create an ensemble of videos and the physical remains of history that traverse the landscape of memory and time. The work occurs in the far future - mutations, extinctions, broken spaces of information. The work occurs in the past - organisms huddled as if protected against the fury of the world, primitive electrical machines tuned into atmosphere and universe. In em/bedded, the distorted bodies are our own of course, in the present, of course. em/bedded offers no solution - there isn't any - but presents a distorted beauty of its own within an image storm that is a continuous splay, spew, emission, of violence, sexuality, and cloned grotesques. About the performance at 8:00 p.m. Alan Sondheim will present em/bedded (assembled performance) (45 mins. approximately). It consists of a laptop performance that deals with political, sexual, and cyber issues. He runs video/audio/text segments from a laptop in combinatory fashion, typing a real-time commentary at screen bottom. The result is an extended body, the digital problematized by analog, purity by error, language by language-stumbling. He uses various avatars who "live" in a world that has collapsed into pixel- annihilation. He's embedded with the enemy; he's embedded with friendly fire. About the artists and the curator Alan Sondheim's work is trans-media; his emphasis is on writing, theory, and digital performance. His books include the anthology Being on Line: Net Subjectivity (Lusitania, 1996), Disorders of the Real (Station Hill, 1988), echo (alt-X digital arts, 2001), Vel (Blazevox 2004-5), Sophia (Writers Forum, 2004), Orders of the Real (Writers Forum, 2005), and The Wayward (Salt, 2004) as well as numerous other chapbooks, ebooks, and articles. His video and film have been widely exhibited. Sondheim co-moderates several pioneering email lists, including Cybermind, Cyberculture and Wryting. Since 1994, he has been working on an Internet Text, a continuous meditation on philosophy, psychology, language, body, and virtuality. In 1999, Sondheim was the 2nd Virtual Writer in Residence for the Trace online writing community (Nottingham-Trent University, England). In 2004, he was a resident of the Center for Literary Computing and the Virtual Environments Laboratory at West Virginia University, and in 2005 he was resident artist/ writer at Grand Central Art Center in Santa Ana. He produced two CDs at the latter (his older records have been reissued by ESP-Disk and Fire Museum). In 2001, Sondheim assembled a special issue of the America Book Review on Codework, which was seminal in its genre. He is currently working with the Swiss dancer/ choreographer Foofwa d'Imobilite on new work premiered in Switzerland and Italy in summer 2006; he is also preparing several new cds and records for release, as well as a series of texts dealing with the phenomenology of the analog and digital. Sondheim lives in Brooklyn, New York. Text and image of his work can be found a the following URLS: http://www.asondheim.org/ http://nikuko.blogspot.com Leslie Thornton is an internationally acclaimed media artist working in film, video, photography and installation. Her conceptually rigorous and lush work explores the outer parameters of ethnographic and narrative form, and consistently breaks new ground. She was born in Knoxville, Tennessee. She studied with filmmakers Hollis Frampton, Paul Sharits, Stan Brakhage and Richard Leacock. Her numerous awards include the Maya Deren Lifetime Achievement Award, the first Alpert Award in the Arts for media and grants and fellowships from the Rockefeller Foundation, the NEA, NYSCA, NYFA, and The Jerome Foundation. Thornton's film and media works have been exhibited worldwide, in such venues as The Museum of Modern Art, the Whitney Biennial Exhibition, Centre George Pompidou, capcMus??e Bordeaux, and at the Pacific Film Archives. Festivals include The Rotterdam International Film Festival, The New York Film Festival and the film festivals of Oberhausen, Graz, Mannheim, Berlin, Austin, Toronto, Tokyo and Seoul. Thornton is Professor of Modern Culture and Media at Brown University. She lives and works in New York City and Providence, Rhode Island. Tyler Stallings, the guest curator for em/bedded, is an artist, curator, and writer. He has been the chief curator at Laguna Art Museum since 1999. His curatorial projects focus on contemporary art and popular culture. Past exhibitions that he has organized include: The Juxtapoz School: An Art Movement (upcoming); Whiteness, A Wayward Construction (2003); Surf Culture - The Art History of Surfing (2002); Cyborg Manifesto, or the Joy of Artifice (2001); Sandow Birk's "In Smog and Thunder: Historical Works from the Great War of California" (2000); Ruben Ortiz Torres: Desmothernismo (1998); Kara Walker: African't(1997); Robert Williams: New Work (1997); among others. He is also the co-editor of the anthology, Uncontrollable Bodies: Testimonies of Identity and Culture (Seattle: Bay Press, 1994). Stallings is also an artist who has shown in Los Angeles, New York, and Europe. Concurrent with em/bedded, Stallings has a solo exhibition of his new paintings at Newspace Gallery in Los Angeles, May 9-June 17, 2006. em/bedded has also been made possible by additional collaborations with Azure Carter, Foofwa d'Imobilite, and Thomas Zummer. Thanks as well to Sandy Baldwin, Francis van Scoy, and both the Center for Literary Computing and the Virtual Environments Laboratory at West Virginia University in Morgantown. From d- at netzfunk.org Fri May 12 09:54:18 2006 From: d- at netzfunk.org (=?ISO-8859-1?Q?d=B0=B0?=) Date: Fri, 12 May 2006 09:54:18 +0200 Subject: [NetBehaviour] site^insight project In-Reply-To: <200605120623.k4C6NoN11835@ns.ivanpope.com> References: <200605120623.k4C6NoN11835@ns.ivanpope.com> Message-ID: <3ca4bf516892b2b067588795babe7887@netzfunk.org> SITE INSIGHT PROJECT (9-23 may 2006, A+A Gallery, Venice - Italy) The aim of Site^Insight project is to present a discourse on space through a fragmented reflection on a series of specific places and situations, with different levels of analysis and different media (gardening, assemblage, graphic and radical maps, video-reflection, aural devices). The exhibition will present the works of three artists (Rugo, Zuabi, Walker) and an artistic collective (Netzfunk.org) that will precisely deal with the constitutive conditions of: the art gallery and its ?white cube? ideology, the auditorium as a place where knowedge appears as a performative act of rhetoric articulation, the imagery and stereotypes deriving from social-economic and power configurations of Europe, the mapping stratification process of Occupied Territories and the Israeli-Palestinian conflict. Investigating the relationships between actual sites and the imagery of social and culturalscapes, Site^Insight will focus on the emergence of a process of knowledge defined by the juxtaposition between that which is known about that particular site and that which is unknown, or better, the unforeseeable that emerges from the stability of things known. In other words, the main purpose of this project is to focus precisely on the somehow disconnected aspects of these specific spatial situations and the ideological apparatus behind the common sense of socio-political and cultural commonplaces. In this perspective, Site^Insight project, avoiding to directly understand what a commonplace is, will rather try to investigate what is involved in the creation of a speculative comprehension of the actuality of certain commonplaces. http://www.siteinsightproject.org HTTP://NETZFUNK.ORG PROJECTS AT SITE^INSIGHT PROJECT: + Veneto vs China 1991-2005, Visualization of a clash of civilization [Info-visualization] http://www.siteinsightproject.org/china_vs_veneto.php + Supermarket Europe [assemblage] http://www.siteinsightproject.org/supermarket_europe.php + My favourite Abughraib links [installation] http://www.siteinsightproject.org/abu_ghraib.php ************************ ITALIAN VERSION ************************ Cari netzfunkers (5), cellule attive (2) o dormienti (3), simpatizzanti (3.786) e naviganti tutti (2.005.042.213). Netzfunk [http://www.netzfunk.org] e' in viaggio verso Venezia per esporre 3 lavori all'esibizione Site^insight [http://www.siteinsightproject.org] che si terra' alla Galleria "A + A" in Calle Malipiero 3073 San Marco dall'8 al 22 Maggio 2006. Le opere presentate in questa occasione saranno: + Veneto vs China 1991-2005, Visualization of a clash of civilization [Info-visualization] http://www.siteinsightproject.org/china_vs_veneto.php + Supermarket Europe [assemblage] http://www.siteinsightproject.org/supermarket_europe.php + My favourite Abughraib links [installation] http://www.siteinsightproject.org/abu_ghraib.php Con questi progetti la rete Netzfunk continua a lavorare nel contesto dell'arte visuale vista come strumento per esplorare narrative e svelare strutture di potere. La lotta economica tra Cina e Veneto, l'estremizzazione dell'immaginario occidentale dietro lo spettacolo delle torture di Abu Ghraib, lo strapotere dei supermercati nello spazio europeo sono i "casi di studio" che vogliamo affrontare in questa occasione. Vi invitiamo caldamente a visitare l'esposizione e speriamo di vedervi a Venezia. -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 3594 bytes Desc: not available URL: From info at x-arn.org Fri May 12 10:00:07 2006 From: info at x-arn.org (ARN) Date: Fri, 12 May 2006 10:00:07 +0200 Subject: [NetBehaviour] DATAPAINTING Message-ID: <44644087.60005@x-arn.org> DATA PAINTING Each picture is a dynamic composition which results from a program. In programs, some parameters vary randomly or according to data suitable for the moment and the technical context in which the picture generation takes place. Each picture is thus a representation in the field of possibles ones created by the code. Each picture is then an element of an infinite and disordered series. Click on pictures to explore these series. http://www.datapainting.com/ -- From cahen.x at levels9.com Fri May 12 11:51:51 2006 From: cahen.x at levels9.com (xavier cahen) Date: Fri, 12 May 2006 11:51:51 +0200 Subject: [NetBehaviour] pourinfos Newsletter / 05-17 to 05-11-2006 Message-ID: <44645AB7.2080405@levels9.com> pourinfos.org l'actualit? du monde de l'art / daily Art news ----------------------------------------------------------------------- infos from May 11, 2006 to May 17, 2006 (included) ------------------------------------------------------------------- (mostly in french) Hello, pourinfos has a new interface : -A new interface : increasingly simpler and readable. -A new search engine : fine and powerful. -A calendar general in banner page -A specific and exclusive calendar by column (on each column) instructions of the calendar: small green icon: day of beginning of the event announce underline in green: event in progress small small red icon: day of end of the event announce striped: finished event - Localization of the physical places : follow the link "localiser sur un plan" (at the end of the announcement.. At this moment, only for Europe... sorry) - machine translation by annoucement (French/English) - A news newsletter with its prospective scheduling by date. Enjoy it! Xavier Cahen @ 001 (11/05/2006) Exhibition : installation multimedia "Tsagaan Yavara?", artist's collectif Gigacircus, Sers, France. http://pourinfos.org/index.php?art=3005 ------------------------------------------------------------------- @ 002 (11/05/2006) Various : Life, the wind (Lanore), collection of poems, Matthias Vincenot, Paris, France. http://pourinfos.org/index.php?art=33047 ------------------------------------------------------------------- @ 003 (11/05/2006) Exhibition : Hubert Renard, galeriesuperh?rosvitrinelat?rale, Paris, France. http://pourinfos.org/index.php?art=33070 ------------------------------------------------------------------- @ 004 (11/05/2006) Exhibition : #15 ? SLICK ?, La galerie artcore/johan Tamer-Morael, Paris, France. http://pourinfos.org/index.php?art=33072 ------------------------------------------------------------------- @ 005 (11/05/2006) Exhibition : ?ve Cadieux, Am?lie-Laurence Fortin, Caroline Gagn?, La station, Nice, France. http://pourinfos.org/index.php?art=33074 ------------------------------------------------------------------- @ 006 (11/05/2006) Exhibition : International New Art in Paris Now , La galerie mamia bretesch? , Paris, France. http://pourinfos.org/index.php?art=33075 ------------------------------------------------------------------- @ 007 (11/05/2006) Screnning : White chart with CHODOROV, Thursday May 11 2006, Chapelle de l'Ecole nationale sup?rieure d'art de Bourges, Bourges, France. http://pourinfos.org/index.php?art=33079 ------------------------------------------------------------------- @ 008 (11/05/2006) Publication : Hed?yat, Behi Djanati Ata?, le jeudi 11 mai, Filigranes Editions, Le Comptoir des Mots, Paris, France. http://pourinfos.org/index.php?art=33087 ------------------------------------------------------------------- @ 009 (11/05/2006) Exhibition : Kal?idozask, Catherine Zask chez Artazart, Paris, France. http://pourinfos.org/index.php?art=33102 ------------------------------------------------------------------- @ 010 (11/05/2006) Program : May, news of Fresh Theorie, Paris, France. http://pourinfos.org/index.php?art=33106 ------------------------------------------------------------------- @ 011 (11/05/2006) Exhibition : Ma?der Fortun? course , Association Acte de Naissance, La Galerie L'H du Si?ge, Valenciennes, France. http://pourinfos.org/index.php?art=33108 ------------------------------------------------------------------- @ 012 (11/05/2006) Exhibition : SCHUTZ, La Guardia?, Esmod, Paris, France. http://pourinfos.org/index.php?art=33111 ------------------------------------------------------------------- @ 013 (11/05/2006) Various : Allan Kaprow, Pierre Restany, short recordings, Les Riches Douaniers, France. http://pourinfos.org/index.php?art=33113 ------------------------------------------------------------------- @ 014 (11/05/2006) Formation : DISPLAY MON AMOUR _ workshop lab, CACT_centro d?arte contemporanea ticino, Bellinzona , Switzerland. http://pourinfos.org/index.php?art=33114 ------------------------------------------------------------------- @ 015 (11/05/2006) Publication : May 2006, les presses du r?el, Dijon, France. http://pourinfos.org/index.php?art=33115 ------------------------------------------------------------------- @ 016 (11/05/2006) Call : 23rd Kassel Documentary Film & Video Festival 2006, Kassel, Germany. http://pourinfos.org/index.php?art=33123 ------------------------------------------------------------------- @ 017 (11/05/2006) Call : FilmLichter 06, International Short Film Festival Detmold, Detmold, Germany. http://pourinfos.org/index.php?art=33124 ------------------------------------------------------------------- @ 018 (11/05/2006) Call : calml for contribution, travaux exp?rimentaux , La Revue Le Sofa, France. http://pourinfos.org/index.php?art=33125 ------------------------------------------------------------------- @ 019 (12/05/2006) Exhibition : Open studio, "Trans-Belleville-Express" Association des Ateliers d'Artistes de Belleville, Paris, France. http://pourinfos.org/index.php?art=2951 ------------------------------------------------------------------- @ 020 (12/05/2006) Meetings : Dominique Fourcade, Reading, Friday May 12, 2006, international center of Marseilles poetry, Marseille, France. http://pourinfos.org/index.php?art=3011 ------------------------------------------------------------------- @ 021 (12/05/2006) Exhibition : Medical Love, Romain Slocombe, Galerie Hors Sol, Paris, France. http://pourinfos.org/index.php?art=33077 ------------------------------------------------------------------- @ 022 (12/05/2006) Exhibition : weekend Gifts of artists, Beleville, Paris, France. http://pourinfos.org/index.php?art=33081 ------------------------------------------------------------------- @ 023 (12/05/2006) Screening : White chart with Polly Maggoo, Festival Reflets, Marseille, France. http://pourinfos.org/index.php?art=33107 ------------------------------------------------------------------- @ 024 (12/05/2006) Formation : workshop Processing, 12 juin 2006, M?dias-Cit?, Saint-Medard en jalles, France. http://pourinfos.org/index.php?art=33112 ------------------------------------------------------------------- @ 025 (13/05/2006) Exhibition : Vincent Epplay, Le Transpalette, Association Emmetrop, Bourges, France. http://pourinfos.org/index.php?art=2911 ------------------------------------------------------------------- @ 026 (13/05/2006) Exhibition : White chart in Domenica Grain, La Briqueterie, Amiens, France. http://pourinfos.org/index.php?art=2961 ------------------------------------------------------------------- @ 027 (13/05/2006) Performance: Observable transitory numerical poetry, Saturday May 13, 2006, Espace multim?dia Gantner, Bourogne, France. http://pourinfos.org/index.php?art=3028 ------------------------------------------------------------------- @ 028 (13/05/2006) Program : springs contemporary Contemporaries 2006, Sixteen artists to Thermes, Evian-les-Bains, France. http://pourinfos.org/index.php?art=33031 ------------------------------------------------------------------- @ 029 (13/05/2006) Screening : Meetings, Between d?struction and hypnosis, Saturday May 13, movie theater 220, Br?tigny-sur-Orge, France. http://pourinfos.org/index.php?art=33037 ------------------------------------------------------------------- @ 030 (13/05/2006) Exhibition : concerts, 13 and May 14, 2006, Clichy la Garenne, France. http://pourinfos.org/index.php?art=33073 ------------------------------------------------------------------- @ 031 (13/05/2006) Exhibition : Julie C. Fortier et S?bastien Vonier, Centre d'art de Pontmain, Pontmain, France. http://pourinfos.org/index.php?art=33101 ------------------------------------------------------------------- @ 032 (13/05/2006) Exhibition : ONE SHOT BY... ANNA ?DAHL, Galerie Nuke, Paris, France. http://pourinfos.org/index.php?art=33104 ------------------------------------------------------------------- @ 033 (13/05/2006) Meetings : Panorama conferences, Saturday 13 Sunday May 14, EICAR, Paris, France. http://pourinfos.org/index.php?art=33119 ------------------------------------------------------------------- @ 034 (14/05/2006) Exhibition : sub situ, Exposition collective, Paris, France. http://pourinfos.org/index.php?art=33038 ------------------------------------------------------------------- @ 035 (16/05/2006) Meetings : Paysages sonores et phonographie animali?re, Yannick Dauby, mardi 16 mai ? 20h30, Espace multim?dia Gantner , Bourogne, France. http://pourinfos.org/index.php?art=3044 ------------------------------------------------------------------- @ 037 (16/05/2006) Screening : WHITE CHART WITH DEBORAH PHILLIPS, on Tuesday May 16, aux Vo?tes, Paris, France. http://pourinfos.org/index.php?art=33078 ------------------------------------------------------------------- @ 038 (16/05/2006) Meetings : Rebecca, takes off your dress, you are not promised in marriage more, by Diane Watteau, on May 16, 2006, Which forces to think, seminars 2006, cycle psychoanalysis, Maison populaire, Montreuil, France. http://pourinfos.org/index.php?art=33120 ------------------------------------------------------------------- @ 039 (17/05/2006) Meetings : the Factory of the order: 104 street of Aubervilliers, Wednesday May 17 2006, Maison de l'architecture en ?le-de-France, Paris, France. http://pourinfos.org/index.php?art=33117 ------------------------------------------------------------------- @ 040 (17/05/2006) Meetings : les Puits du d?sir OOO, mercredi 17 mai, Montataire, France. http://pourinfos.org/index.php?art=33118 ------------------------------------------------------------------- @ 041 Apostils : The artist and his ?models? by Jean-Claude Moineau http://pourinfos.org/encours/item.php?id=3019 ------------------------------------------------------------------- From marc.garrett at furtherfield.org Sat May 13 02:40:02 2006 From: marc.garrett at furtherfield.org (marc) Date: Sat, 13 May 2006 01:40:02 +0100 Subject: [NetBehaviour] Congress may clamp down on MySpace. In-Reply-To: <44645AB7.2080405@levels9.com> References: <44645AB7.2080405@levels9.com> Message-ID: <44652AE2.4000701@furtherfield.org> Congress may clamp down on MySpace. New legislation from Congress would block access to social-networking sites like MySpace and Facebook in schools and libraries, including instant-messaging services. The bill known as the "The Deleting Online Predators Act" introduced by Rep. Michael G. Fitzpatrick, R-Pa., aims at protecting minors from online child predators. According to the bill, it "prohibits access to commercial social networking Web sites or chat rooms through which minors" can access obscene or indecent material, be subject to unlawful sexual advances or repeated offensive comments of a sexual nature from adults, or access harmful information. The bill terms a social-network Web site as one that allows users to create Web pages or profiles about themselves as well as offers communications including a forum, chat room, e-mail or instant messenger, while a chat room is termed a site that allows multiple users to communicate in real time via text. "Sites like MySpace and Facebook have opened the door to a new online community of social networks between friends, students and colleagues," Fitzpatrick said. "However, this new technology has become a feeding ground for child predators that use these sites as just another way to do our children harm." http://www.washtimes.com/upi/20060511-114314-2665r.htm/ From joncates at criticalartware.net Sat May 13 17:19:30 2006 From: joncates at criticalartware.net (jonCates) Date: Sat, 13 May 2006 10:19:30 -0500 Subject: [NetBehaviour] TODAY ++ TONIGHT == [FRAY] In-Reply-To: <1147527374.893211.204790@g10g2000cwb.googlegroups.com> References: <1147527374.893211.204790@g10g2000cwb.googlegroups.com> Message-ID: [FRAY] Conference SATURDAY MAY 13 @ 2 PM - 6 PM Film, Video & New Media Dept @ The School of the Art Institute of Chicago Room 1307 in the MacLean Building 112 S. Michigan Ave CHI IL .US FREE Join [FRAY] for discussions + presentations on connective + collaborative New Media + Digital Arts with Annette Barbier (UNREAL- ESTATES + Interactive Arts and Media Department Columbia College), Ryan Griffis (The Temporary Travel Office, YOUgenics + The School of Art & Design University of Illinois at Champaign Urbana), Mark Hansen (Professor in English Language & Literature, Cinema & Media Studies; University of Chicago), Lynn Marie Kirby (California College of the Arts), PILOT TV, Rob Ray (DEADTECH + dorkbot Chicago), Lincoln Schatz (OPEN-NODE + The Upgrade! Chicago) + Daniel Tucker (AREA Chicago). Then join us for... [FRAY] After (Party) Event ++ Performance Inside Out SATURDAY MAY 13 @ 9 PM - ON Chicago Art Department 1837 S. Halsted CHI IL .US FREE The Chicago Art Department hosts the [FRAY] After (Party) Event. The [FRAY] After (Party) Event event is co-presented by the Film, Video & New Media + Performance Departments. Also, Beatriz Albuquerque curates Performance Inside Out, a program of performance in the context of New Media by students of the Film, Video & New Media + Performance Departments @ the Chicago Art Department + online during the [FRAY] After (Party) Event. Performance works will be enacted, processed, streamed + remixed live + online. Performance Inside Out: http://fvnm.info/fray/PerformanceInsideOut The Chicago Art Department: http://chicagoartdepartment.org [FRAY]: http://fvnm.info/fray ABOUT [FRAY] [FRAY] is a series of interwoven events organized by the Film, Video & New Media department (FVNM) at The School of the Art Institute of Chicago (SAIC). [FRAY] is focussed on time, screen + code based experimental New Media art. [FRAY] consists of the following interrelated aspects: a conference, discussions, screenings + clusters of student initiated projects running during the Spring 2006 semester. http://fvnm.info/fray/2006.05.13 From sondheim at panix.com Sat May 13 17:25:30 2006 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 13 May 2006 11:25:30 -0400 (EDT) Subject: [NetBehaviour] When the plateau of flesh meets the fire of mathematics Message-ID: (also please see http://nikuko.blogspot.com - thanks, alan When the plateau of flesh meets the fire of mathematics http://www.asondheim.org/bllendd.mp4 7.5 meg "At this moment the flames rolled again into the room and then again retired. The whale and alligators were by this time suffering dreadful torments. The water in which they swam was literally boiling. The alligators dashed fiercely about endeavoring to escape, and opening and shutting their great jaws in ferocious torture; but the poor whale, almost boiled, with great ulcers bursting from his blubbery sides, could only feebly swim about, though blowing excessively, and every now and then sending up great fountains of spray. At length, crack went the glass sides of the great cases, and whale and alligators rolled out on the floor with the rushing and steaming water. The whale died easily, having been pretty well used up before. A few great gasps and a convulsive flap or two of his mighty flukes were his expiring spasm. One of the alligators was killed almost immediately by falling across a great fragment of shattered glass, which cut open his stomach and let out the greater part of his entrails to the light of day. The remaining alligator became involved in a controversy with an anaconda, and joined the melee in the centre of the flaming apartment." [...] "We believe that all the living curiosities were saved; but the giant girl, Anna Swan, was only rescued with the utmost difficulty. There was not a door through which her bulky frame could obtain a passage. It was likewise feared that the stairs would break down, even if she should reach them. Her best friend, the living skeleton, stood by her as long as he dared, but then deserted her, while as the heat grew in intensity, the perspiration rolled from her face in little brooks and rivulets, which pattered musically upon the floor. At length, as a last resort, the employees of this place procured a lofty derrick which fortunately happened to be standing near, and erected it alongside the Museum. A portion of the wall was then broken off on each side of the window, the strong tackle was got in readiness, the tall woman was made fast to one end and swung over the heads of the people in the street, with eighteen men grasping the other extremity of the line, and lowered down from the third story, amid enthusiastic applause." Urner, in the Tribune, quoted in Barnum, Forty Years' Recollections, Author's edition, 1872-3 From sondheim at panix.com Sat May 13 23:58:04 2006 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 13 May 2006 17:58:04 -0400 (EDT) Subject: [NetBehaviour] The Story Message-ID: The Story I drive a 2005 Jaguar S Type. Taking home 6 digit level in 18 months. Having a great time. It's a blast and I am a hero to the courts and to my clients. What an outstanding career to be in. I know God is on my side. At night I pray for my good fortune. I wonder how many will believe me, or how many will just find this "literature." I hate literature with a passion; it is not the force that drives this mighty civilization. Doing exactly what God tells me to do is working beautifully. I go to the court and locate all of the clients I can handle. Some say this is a court "of last resort." I say this is the difference between Law and Justice, between reason and the vigilante. For I mete out Justice which some find Law. I find all assets and employment. Funds arrive to my PO Box. It's like magic. I love it. I can take a holiday when ever I have a whim to do so. Hawaii and a 1050 footer to the Panama Canal this year. Yes, God has been good to me; my boat is one fifth of a mile long, less 30 feet. It is a wonderful length and I walk it during my meditation. For I do question the mathematics of this world, and my Jaguar and 1200 foot boat do not distract from my ultimate goal of solving this world's problem, while retaining an absent ontology which some may well considered entitled to the name of "Absolute." Here is what I have dreamed, closing the great chasm that lies between us: "Thereupon I descended until, as the ocean's surface came nearer and near- er, I discovered a tiny island lying almost directly underneath me. It was hardly big enough to make a dot on the biggest map, but a clump of trees grew in the central portion, while around the edges were jagged rocks protecting a sandy beach and a stretch of flower-strewn upland leading to the trees." Now it is clear that the island is that of mathematics, and the central portion is the refuge of axiomatics. I am certain as well that the clump of trees is the effusion of postulates necessary to remind us of our finitude in the grasp of idealities. Moreso, the jagged rocks are those of chaos and catastrophe theories forced from smooth manifolds, just as the flower-strewn upland references the set of those cellular automata whose patterning is inherently irregular. My house is filled with the latest plasma, RFID, and wireless technolo- gies, yet I do not seem happy, not even when I have completed mergers, foreclosures, or buyouts. I cannot reasonably deny that a central core, if such there be, is missing from my life. But when I close my eyes, or ride at high-speed in my Jaguar S, Something tells me it has all been worth it. My only question is: What, or who, is that Something? Where is happiness? When is joy? From szpako at yahoo.com Sun May 14 01:52:09 2006 From: szpako at yahoo.com (Michael Szpakowski) Date: Sat, 13 May 2006 16:52:09 -0700 (PDT) Subject: [NetBehaviour] Exibition: em/bedded, Santa Monica, CA, May 27-June 24 (fwd) In-Reply-To: Message-ID: <20060513235209.53760.qmail@web30311.mail.mud.yahoo.com> This sounds wonderful! if only :) warmest wishes michael --- Alan Sondheim wrote: > > > Please come! > > > Exibition: em/bedded > > > MAY 27?-JUNE 24, 2006 > > A MULTI-MEDIA INSTALLATION BY > > ALAN SONDHEIM > > with LESLIE THORNTON > Guest curated by TYLER STALLINGS > > em/bedded brings together video projections > of cyborgian, mutating, sexual bodies and the > artifacts of battlefields soaked in banal horror. > Together, they offer a distorted beauty of the > disasters of war and the pleasures of love. > > RECEPTION: > > SATURDAY, MAY 27 6:00-9:00 P.M. > WITH PERFORMANCE Saturday Night at 8:00 P.M. FREE > > TRACK 16 GALLERY > BERGAMOT STATION > 2525 MICHIGAN AVE. BLDG. C1 > SANTA MONICA, CA 90404 > P 310 264 4678 F 310 264 4682 > reception at track16.com > www.track16.com > > TRACK 16 GALLERY & SMART ART PRESS > > TRACK 16 GALLERY & SMART ART PRESS BERGAMOT STATION > 2525 MICHIGAN AVE. BLDG. C1 > SANTA MONICA > CALIFORNIA > > For press inquiries into the project contact guest > curator Tyler Stallings > at 714.552.1313 > > www.smartartpress.com > May 27-June 24, 2006Reception: Saturday, May 27, > 6:00-9:00 p.m. > Performance: Saturday, May 27, 8:00 p.m. Free > > About the installation > > In his first solo exhibition in California, Alan > Sondheim, along with > filmmaker Leslie Thornton, will transform Track 16 > Gallery's cavernous > main gallery into the multi-media installation, > em/bedded. Sondheim brings > together video projections of cyborgian, mutating, > sexual bodies and the > artifacts of battlefields soaked in banal horror. > Together, they offer a > distorted beauty of the disasters of war and the > pleasures of love. > > Guest curated by Tyler Stallings. > > Scattered amongst the video projections of furiously > moving dancers, of > sexual confrontations, of computer generated > "avatars," there will be > distorted graphics of bodies, spaces, and amppings; > antennae, battlefield > telephones, off-kilter combat tents, photographs of > battleships, trenches, > and bodies, souvenirs taken from Japanese soldiers, > old microscope slides > with pathogens, and antique book editions of du > Maurier's Trilby, > Confessions of a Magnetiseur, a Japanese pre-Meiji > book of black and white > block prints of Westerners, Volney's Ruins of > Empire, and Albert Dreyfuss > Five Years of My Life. Together they all suggest > attempts at communication > amidst fortifications created around language and > confinement. > > Integral to the installation will be a large tent > that contains Leslie > Thornton's recent video work, Let Me Count the Ways: > Minus 10, Minus 9, > Minus 8, Minus 7, Minus 6. In this work, Thornton > explores the social > effects of new technologies and media, but here she > pushes even further > into autobiographical territory to suggest the ways > in which we are all > implicated in these changes. Juxtaposing aerial > footage of pre-9/11 New > York City; scientific data on genetic mutation; > audio testimony about the > bombing of Hiroshima, and a home movie of her > father, an engineer on the > Manhattan Project, as he is dispatched to that city, > Thornton creates a > dense and compelling meditation on violence. > > Like nomads, Sondheim and Thornton create an > ensemble of videos and the > physical remains of history that traverse the > landscape of memory and > time. The work occurs in the far future - mutations, > extinctions, broken > spaces of information. The work occurs in the past - > organisms huddled as > if protected against the fury of the world, > primitive electrical machines > tuned into atmosphere and universe. In em/bedded, > the distorted bodies are > our own of course, in the present, of course. > em/bedded offers no solution > - there isn't any - but presents a distorted beauty > of its own within an > image storm that is a continuous splay, spew, > emission, of violence, > sexuality, and cloned grotesques. > > About the performance at 8:00 p.m. > > Alan Sondheim will present em/bedded (assembled > performance) (45 mins. > approximately). It consists of a laptop performance > that deals with > political, sexual, and cyber issues. He runs > video/audio/text segments > from a laptop in combinatory fashion, typing a > real-time commentary at > screen bottom. The result is an extended body, the > digital problematized > by analog, purity by error, language by > language-stumbling. He uses > various avatars who "live" in a world that has > collapsed into pixel- > annihilation. He's embedded with the enemy; he's > embedded with friendly fire. > > About the artists and the curator > > Alan Sondheim's work is trans-media; his emphasis is > on writing, theory, > and digital performance. His books include the > anthology Being on Line: > Net Subjectivity (Lusitania, 1996), Disorders of the > Real (Station Hill, > 1988), echo (alt-X digital arts, 2001), Vel > (Blazevox 2004-5), Sophia > (Writers Forum, 2004), Orders of the Real (Writers > Forum, 2005), and The > Wayward (Salt, 2004) as well as numerous other > chapbooks, ebooks, and > articles. His video and film have been widely > exhibited. Sondheim > co-moderates several pioneering email lists, > including Cybermind, > Cyberculture and Wryting. Since 1994, he has been > working on an Internet > Text, a continuous meditation on philosophy, > psychology, language, body, > and virtuality. In 1999, Sondheim was the 2nd > Virtual Writer in Residence > for the Trace online writing community > (Nottingham-Trent University, > England). In 2004, he was a resident of the Center > for Literary Computing > and the Virtual Environments Laboratory at West > Virginia University, and > in 2005 he was resident artist/ writer at Grand > Central Art Center in > Santa Ana. He produced two CDs at the latter (his > older records have been > reissued by ESP-Disk and Fire Museum). In 2001, > Sondheim assembled a > special issue of the America Book Review on > Codework, which was seminal in > its genre. He is currently working with the Swiss > dancer/ choreographer > Foofwa d'Imobilite on new work premiered in > Switzerland and Italy in > summer 2006; he is also preparing several new cds > and records for release, > as well as a series of texts dealing with the > phenomenology of the analog > and digital. Sondheim lives in Brooklyn, New York. > > Text and image of his work can be found a the > following URLS: > > http://www.asondheim.org/ http://nikuko.blogspot.com > > Leslie Thornton is an internationally acclaimed > media artist working in > film, video, photography and installation. Her > conceptually rigorous and > lush work explores the outer parameters of > ethnographic and narrative > form, and consistently breaks new ground. She was > born in Knoxville, > Tennessee. She studied with filmmakers Hollis > Frampton, Paul Sharits, Stan > Brakhage and Richard Leacock. Her numerous awards > include the Maya Deren > Lifetime Achievement Award, the first Alpert Award > in the Arts for media > and grants and fellowships from the Rockefeller > Foundation, the NEA, > NYSCA, NYFA, and The Jerome Foundation. Thornton's > film and media works > have been exhibited worldwide, in such venues as The > Museum of Modern Art, > the Whitney Biennial Exhibition, Centre George > Pompidou, capcMus??e > Bordeaux, and at the Pacific Film Archives. > Festivals include The > Rotterdam International Film Festival, The New York > Film Festival and the > film festivals of Oberhausen, Graz, Mannheim, > Berlin, Austin, Toronto, > Tokyo and Seoul. Thornton is Professor of Modern > Culture and Media at > Brown University. She lives and works in New York > City and Providence, > Rhode Island. > > Tyler Stallings, the guest curator for em/bedded, is > an artist, curator, and > writer. He has been the chief curator at Laguna Art > Museum since 1999. His > curatorial projects focus on contemporary art and > popular culture. Past > exhibitions that he has organized include: The > Juxtapoz School: An Art Movement > (upcoming); Whiteness, A Wayward Construction > (2003); Surf Culture - The Art > History of Surfing (2002); Cyborg Manifesto, or the > Joy of Artifice (2001); > Sandow Birk's "In Smog and Thunder: Historical Works > from the Great War of > California" (2000); Ruben Ortiz Torres: > Desmothernismo (1998); Kara Walker: > African't(1997); Robert Williams: New Work (1997); > among others. He is also the > co-editor of the anthology, Uncontrollable Bodies: > Testimonies of Identity and > Culture (Seattle: Bay Press, 1994). Stallings is > also an artist who has shown > in Los Angeles, New York, and Europe. Concurrent > with em/bedded, Stallings has > a solo exhibition of his new paintings at Newspace > Gallery in Los Angeles, May > 9-June 17, 2006. > > em/bedded has also been made possible by additional > collaborations with > Azure Carter, Foofwa d'Imobilite, and Thomas Zummer. > Thanks as well to > Sandy Baldwin, Francis van Scoy, and both the Center > for Literary > Computing and the Virtual Environments Laboratory at > West Virginia > University in Morgantown.> _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > From sondheim at panix.com Sun May 14 07:10:56 2006 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 14 May 2006 01:10:56 -0400 (EDT) Subject: [NetBehaviour] stretch / break : two choreographies Message-ID: stretch / break "Give me a break, Stretch." http://www.asondheim.org/gz.mp3 http://www.asondheim.org/gz2.mp3 http://www.asondheim.org/metall.mov gz = 1.3 meg gz2 = 2 meg metall = 2.5 meg gz, gz2 = electric guitar played with alpine zither positioning, guitar laid flat across the knees advantages: 1.5 octave reach on any string, indepedent bass/treble disadvantages: difficulty with complex chords gz, gz2 = dance object metal choreography metall = video avatar metal insertion object choreography preparatory to MRI, MRA From marc.garrett at furtherfield.org Tue May 16 18:34:17 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 16 May 2006 17:34:17 +0100 Subject: [NetBehaviour] BARCAMP II In-Reply-To: References: Message-ID: <4469FF09.3040408@furtherfield.org> BARCAMP II an UNconference for for ALL May 19 - 21, 2006 BarCamp is what happens when a handful of GEEKS decide they want to do a conference their own way. Result is an open grid for signing up impromptu presentations, breakout sessions popping up in hallways and at the COFFEE machine, and people setting up a temporary workspace where the writing of their CODE can be assisted by all kinds of newly met experts. Everyone is welcome to show up and sign up for a presentational time slot, so we're not sure what we'll be getting just yet, but we're sure it will be good. The last Amsterdam Barcamp was graced by Plazes, Drupal, Bryght, Jabber and AnyMeta, and now we still have a space filled with electricity, NETWORK and caffeine for anything to come. If you're interested in volunteering your cooking, cleaning, managing or herding skills, sign up on the wikipage. Or, have an opening drink with us: May 19th, 8 pm http://www.mediamatic.net/artefact-11268-en.html Location: Mediamatic, Post CS Gebouw, ground floor, Amsterdam. Mediamatic Foundation - Postbus 17490 - 1001 JL Amsterdam - The Netherlands t +31 (0)20 6389901 - f +31 (0)206387969 - http://www.mediamatic.net From sondheim at panix.com Wed May 17 04:10:18 2006 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 16 May 2006 22:10:18 -0400 (EDT) Subject: [NetBehaviour] Away & show Message-ID: Hi - I'll be away and somewhat out of touch for the next three weeks - the show information in LA is at http://www.track16.com/exhibitions/embedded/index.html - come if you can - Please write me of course, but it may take a day or two to get back. Thanks, Alan From geert at nznl.com Wed May 17 17:52:23 2006 From: geert at nznl.com (Geert Dekkers) Date: Wed, 17 May 2006 17:52:23 +0200 Subject: [NetBehaviour] nznl.com digest, May 11, 2006 - May 17, 2006 Message-ID: <801E2679-86AD-4093-BFFE-66EB62661DDF@nznl.com> nznl.com digest May 11, 2006 - May 17, 2006 Posts 1446 - 1452 http://nznl.com rss feed at http://nznl.com/geert/nznl.xml 1446. May 11, 2006 INTESTINAL FRANTICALLY, 2010, PLAN FOR A NZNL.COM EXHIBITION HALL SEWAGE SYSTEM fireworks file http://nznl.com/index.php?dag=20060511 1447. May 12, 2006 TRANSISTOR DIAGRAM, 2010, NZNL.COM EXHIBITION HALL TRANSISTOR DIAGRAM fireworks file http://nznl.com/index.php?dag=20060512 1448. May 13, 2006 UNTITLED INTERLUDE, 2010, (PORTRAIT OF NZNL.COM WORKER #2 AS DATABASE CONNECTION) web page http://nznl.com/index.php?dag=20060513 1449. May 14, 2006 STUDY FOR A DARK CLOUD ABOVE THE NZNL.COM EXHIBITION HALL, 2010, INTERACTIVE STUDY web page http://nznl.com/index.php?dag=20060514 (not for msie) 1450. May 15, 2006 UNDERGROUND, 2010, STUDY FOR A NZNL.COM EXHIBITION HALL SEWAGE SYSTEM http://nznl.com/index.php?dag=20060515 1451. May 16, 2006 HYPOSTASIS (NZNL.COM EXHIBITION HALL ENTERING SELF-CONSCIOUSNESS), 2010, PERFORMANCE FOR THE NZNL.COM EXHIBITION HALL web page http://nznl.com/index.php?dag=20060516 1452. May 17, 2006 UNDERGROUND CONNECTIONS (AFTER RENE DANIELS), 2010, NZNL.COM EXHIBITION HALLS, CONNECTIONS http://nznl.com/index.php?dag=20060517 From geert at nznl.com Wed May 17 18:16:08 2006 From: geert at nznl.com (Geert Dekkers) Date: Wed, 17 May 2006 18:16:08 +0200 Subject: [NetBehaviour] [Nettime-nl] nznl.com digest, May 11, 2006 - May 17, 2006 Message-ID: <000a01c679cd$34c6d3e0$0100000a@hoogt.local> nznl.com digest May 11, 2006 - May 17, 2006 Posts 1446 - 1452 http://nznl.com rss feed at http://nznl.com/geert/nznl.xml 1446. May 11, 2006 INTESTINAL FRANTICALLY, 2010, PLAN FOR A NZNL.COM EXHIBITION HALL SEWAGE SYSTEM fireworks file http://nznl.com/index.php?dag=20060511 1447. May 12, 2006 TRANSISTOR DIAGRAM, 2010, NZNL.COM EXHIBITION HALL TRANSISTOR DIAGRAM fireworks file http://nznl.com/index.php?dag=20060512 1448. May 13, 2006 UNTITLED INTERLUDE, 2010, (PORTRAIT OF NZNL.COM WORKER #2 AS DATABASE CONNECTION) web page http://nznl.com/index.php?dag=20060513 1449. May 14, 2006 STUDY FOR A DARK CLOUD ABOVE THE NZNL.COM EXHIBITION HALL, 2010, INTERACTIVE STUDY web page http://nznl.com/index.php?dag=20060514 (not for msie) 1450. May 15, 2006 UNDERGROUND, 2010, STUDY FOR A NZNL.COM EXHIBITION HALL SEWAGE SYSTEM http://nznl.com/index.php?dag=20060515 1451. May 16, 2006 HYPOSTASIS (NZNL.COM EXHIBITION HALL ENTERING SELF-CONSCIOUSNESS), 2010, PERFORMANCE FOR THE NZNL.COM EXHIBITION HALL web page http://nznl.com/index.php?dag=20060516 1452. May 17, 2006 UNDERGROUND CONNECTIONS (AFTER RENE DANIELS), 2010, NZNL.COM EXHIBITION HALLS, CONNECTIONS http://nznl.com/index.php?dag=20060517 -------------- next part -------------- ______________________________________________________ * Verspreid via nettime-nl. Commercieel gebruik niet * toegestaan zonder toestemming. is een * open en ongemodereerde mailinglist over net-kritiek. * Meer info, archief & anderstalige edities: * http://www.nettime.org/. * Contact: Menno Grootveld (rabotnik at xs4all.nl). From llacook at yahoo.com Thu May 18 22:37:47 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Thu, 18 May 2006 13:37:47 -0700 (PDT) Subject: [NetBehaviour] New Audio: Gliss Message-ID: <20060518203747.6052.qmail@web35502.mail.mud.yahoo.com> Gliss :: A new bit of displacement in your new sonar-based spatiality: http://www.lewislacook.org/yr_lights_r_on/index.html *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2?/min or less. -------------- next part -------------- An HTML attachment was scrubbed... URL: From llacook at yahoo.com Thu May 18 22:37:47 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Thu, 18 May 2006 13:37:47 -0700 (PDT) Subject: [NetBehaviour] New Audio: Gliss Message-ID: <20060518203747.6052.qmail@web35502.mail.mud.yahoo.com> Gliss :: A new bit of displacement in your new sonar-based spatiality: http://www.lewislacook.org/yr_lights_r_on/index.html *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2?/min or less. -------------- next part -------------- An HTML attachment was scrubbed... URL: From james at jwm-art.net Fri May 19 00:19:25 2006 From: james at jwm-art.net (james at jwm-art.net) Date: Thu, 18 May 2006 22:19:25 +0000 Subject: [NetBehaviour] The Story In-Reply-To: Message-ID: <283stuyx.1147990765.5270280.james@jwm-art.net> I imagine it's a really nice sunny day, with a gentle breeze to keep him from getting too hot on his boat. And of course, not a perfectly cloudless sky, one or two just here, and maybe just there. But down here in kent, england, in the evening, for a factory worker (sorry don't mean to go on about it) sweating it out on his bike riding up and down hills, on and off roads, there are many clouds. some grey, some pink or yellow or orange from the sun low in the sky. And this morning before my alarm awoke me at five, I dreamt of a little irritating young man who aggrevated me no end. I chucked him against walls slamming his head and back hard against them trying to get him off and away from me the little blighter. He shrunk some until less than two feet tall, but clung on tighter still to my hand and wrist, with his tiny bony claw like little hands digging in between my bones. I shook him around violently, all the while shouting and swearing at each other - "you little bastard, get the fuck off me!!" "nwha nwha han hwn hgwhwhj hej eje ekekeker kt rjt rjer wrk wer r rjerw jr!!!!!" and woke up. I would like to extol the virtues of being in the countryside but cannot find a way to express this satisfactorly, especially to those strange alien beings who live in towns and cities and listen to gnarls barkely. The end. Regards, The Earl Of Sto****uth. On 13/5/2006, "Alan Sondheim" wrote: > > > >The Story > > >I drive a 2005 Jaguar S Type. Taking home 6 digit level in 18 months. >Having a great time. It's a blast and I am a hero to the courts and to my >clients. What an outstanding career to be in. I know God is on my side. At >night I pray for my good fortune. I wonder how many will believe me, or >how many will just find this "literature." I hate literature with a >passion; it is not the force that drives this mighty civilization. Doing >exactly what God tells me to do is working beautifully. I go to the court >and locate all of the clients I can handle. Some say this is a court "of >last resort." I say this is the difference between Law and Justice, >between reason and the vigilante. For I mete out Justice which some find >Law. I find all assets and employment. Funds arrive to my PO Box. It's >like magic. I love it. I can take a holiday when ever I have a whim to do >so. Hawaii and a 1050 footer to the Panama Canal this year. Yes, God has >been good to me; my boat is one fifth of a mile long, less 30 feet. It is >a wonderful length and I walk it during my meditation. For I do question >the mathematics of this world, and my Jaguar and 1200 foot boat do not >distract from my ultimate goal of solving this world's problem, while >retaining an absent ontology which some may well considered entitled to >the name of "Absolute." Here is what I have dreamed, closing the great >chasm that lies between us: > >"Thereupon I descended until, as the ocean's surface came nearer and near- >er, I discovered a tiny island lying almost directly underneath me. It was >hardly big enough to make a dot on the biggest map, but a clump of trees >grew in the central portion, while around the edges were jagged rocks >protecting a sandy beach and a stretch of flower-strewn upland leading to >the trees." > >Now it is clear that the island is that of mathematics, and the central >portion is the refuge of axiomatics. I am certain as well that the clump >of trees is the effusion of postulates necessary to remind us of our >finitude in the grasp of idealities. Moreso, the jagged rocks are those of >chaos and catastrophe theories forced from smooth manifolds, just as the >flower-strewn upland references the set of those cellular automata whose >patterning is inherently irregular. > >My house is filled with the latest plasma, RFID, and wireless technolo- >gies, yet I do not seem happy, not even when I have completed mergers, >foreclosures, or buyouts. I cannot reasonably deny that a central core, if >such there be, is missing from my life. But when I close my eyes, or ride >at high-speed in my Jaguar S, Something tells me it has all been worth it. >My only question is: What, or who, is that Something? Where is happiness? >When is joy? > > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From netwurker at hotkey.net.au Fri May 19 02:26:02 2006 From: netwurker at hotkey.net.au (_vvire.us_) Date: Fri, 19 May 2006 10:26:02 +1000 Subject: [NetBehaviour] _commen.animal.sense_ Message-ID: <7.0.1.0.1.20060519102530.01b72828@hotkey.net.au> http://www.abc.net.au/news/newsitems/200605/s1641217.htm http://www.cnn.com/2006/TECH/science/05/09/dolphins.names.reut/index.html _thick.memoir.cableing.nost[||neur]algia.bloody_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . From james at jwm-art.net Fri May 19 03:26:44 2006 From: james at jwm-art.net (james at jwm-art.net) Date: Fri, 19 May 2006 01:26:44 +0000 Subject: [NetBehaviour] offspray: short audio composition Message-ID: Hello, And the weather today is gloomy. http://www.jwm-art.net/misc/offspray.mp3 a slow beatless electronic composition with a slightly gloomy outlook. from James W. Morris //====================================================== // this information is irrelevant to musical qualities of composition technical data { width=2minutes20seconds; height=2.2megabytes; mp3_encoding_software=lame; recording_software=ardour_gtk; audio_engine=JACK_Audio_Connection_Kit; softsynthofchoice=zynsubaddfx; effectsrack=jackrack; fxset=LADSPA; misc[]={xawtv,alsamixer,freqtweak,fluxbox,debian}; }; //====================================================== From cahen.x at levels9.com Fri May 19 10:16:38 2006 From: cahen.x at levels9.com (xavier cahen) Date: Fri, 19 May 2006 10:16:38 +0200 Subject: [NetBehaviour] pourinfos Newsletter / 05-18 to 05-24-2006 Message-ID: <446D7EE6.5010504@levels9.com> pourinfos.org l'actualit? du monde de l'art / daily Art news ----------------------------------------------------------------------- From Thursday May 18, 2006 to Wednesday May 24, 2006 (included) ------------------------------------------------------------------- (mostly in french) @ 001 Today is Shanghai time #2, Shanghai, China. http://pourinfos.org/index.php?art=33187 ------------------------------------------------------------------- @ 002 Call : Series : Series: the detail, Incident.net, France. http://pourinfos.org/index.php?art=33186 ------------------------------------------------------------------- @ 003 Call : International Video,and Short Film Festival, Pescara, Italiy. http://pourinfos.org/index.php?art=33185 ------------------------------------------------------------------- @ 004 Call : State of Exception ,recent short videos and films, Studio 27, San Francisco, Usa. http://pourinfos.org/index.php?art=33184 ------------------------------------------------------------------- @ 005 Call : Festival of short film, on the topic of ?the Man machine?, Association Fais Des Bulles, MJC Pichon, Nancy, France. http://pourinfos.org/index.php?art=33183 ------------------------------------------------------------------- @ 006 Various : FESTIVAL RADIOPHONIQUE EPSILONIA. http://pourinfos.org/index.php?art=33182 ------------------------------------------------------------------- @ 007 Various : "June Events 06" / Dance festival : "June Events 06", Atelier de Paris-Carolyn Carlson, Cartoucherie, Paris, France. http://pourinfos.org/index.php?art=33181 ------------------------------------------------------------------- @ 008 Publication : Presentation of the artistic duet Art Orient? objet and their monographic catalogue, Wednesday May 24, 2006, editions CQFD, place du Carrousel, Paris, France. http://pourinfos.org/index.php?art=33180 ------------------------------------------------------------------- @ 009 Publication : Influence, Nuke Magazine #3, Nuke, at colette, Paris, France. http://pourinfos.org/index.php?art=33179 ------------------------------------------------------------------- @ 010 Formation : Professional licence (L3) Trades of the edition, speciality Design graphic and multi-media, Universit? Rennes 2 - Haute Bretagne, Rennes, France. http://pourinfos.org/index.php?art=33178 ------------------------------------------------------------------- @ 011 Exhibition : ETERNITY A NOT TIME TO SIT DOWN, Jean-Louis Accettone, Saturday May 20, 2006, L.A.A.C., Dunkerque, France. http://pourinfos.org/index.php?art=33177 ------------------------------------------------------------------- @ 012 Screening : videos artists in Beauvais, est-ce une bonne nouvelle, Conseil G?n?ral de l'Oise, Beauvais, France. http://pourinfos.org/index.php?art=33176 ------------------------------------------------------------------- @ 013 Screening : experimental films, on June 8, 2006, WINDOW, Paris, France. http://pourinfos.org/index.php?art=33175 ------------------------------------------------------------------- @ 014 Screening : Films of Russian artists in Barbizon, on Monday June 5, Paris, France. http://pourinfos.org/index.php?art=33174 ------------------------------------------------------------------- @ 015 Meetings : "d?sir d'impr?vu", studiometis avec VJ Selector et DJ Tube, MJC centre g?rard Blotnikas,Thursday May 18, 2006, Chilly-Mazarin, France. http://pourinfos.org/index.php?art=33173 ------------------------------------------------------------------- @ 016 Meetings : Do you love Brahms? / Dopebase , 26 and di May 27, 2006, laB-o sonore - Mus?e d'Art Contemporain de Lyon, Lyon, France. http://pourinfos.org/index.php?art=33172 ------------------------------------------------------------------- @ 017 Meetings : Allez, maintenant on rigole HA HA ! HA HA ! HA HA, Yvan Le Bozec , Saturday May 20, 2006, Semiose ?ditions, librairie Florence L?wy , Paris, France. http://pourinfos.org/index.php?art=33171 ------------------------------------------------------------------- @ 018 Meetings : An introduction to Derrida, Thierry Vigier, Which force to think, Tuesday May 23, 2006, Maison populaire, Montreuil, France. http://pourinfos.org/index.php?art=33170 ------------------------------------------------------------------- @ 019 Meetings : Nathalie Quintane et St?phane B?rard, Tuesday May 23, 2006, Librairie l'Histoire de l'Oeil, Marseille, France. http://pourinfos.org/index.php?art=33169 ------------------------------------------------------------------- @ 020 Meetings : The French cultural policy: end of cycle and/or new stakes?, Wednesday June 7, 2006, th??tre du rond point, Paris, France. http://pourinfos.org/index.php?art=33168 ------------------------------------------------------------------- @ 021 Meetings : FORUM OF DISCUSSION _ACTIONS COLLECTIVE, on May 23, 2006, Ecole nationale sup?rieure des beaux-arts, Paris, France. http://pourinfos.org/index.php?art=33167 ------------------------------------------------------------------- @ 022 Meetings : e-comedie 2006, panoplie.org, espace rabelais, Montpellier, France. http://pourinfos.org/index.php?art=33166 ------------------------------------------------------------------- @ 023 Meetings : GUILLAUME DESANGES TO the FRAC PACA, Saturday May 20, Marseille, France. http://pourinfos.org/index.php?art=33165 ------------------------------------------------------------------- @ 024 Meetings : Meetings: conference, the friends invite?, Christophe Kihm, Thursday May 18, 2006, Auditorium du LAAC, Jardin de Sculptures, Dunkerque, France. http://pourinfos.org/index.php?art=33164 ------------------------------------------------------------------- @ 025 Meetings : White chart with Incident.net 2nd part, Thursday May 18, Centre Pompidou, Paris, france. http://pourinfos.org/index.php?art=33163 ------------------------------------------------------------------- @ 026 Exhibition, Matthieu Jacquemin, APONIA, Villiers-sur-Marne, France. http://pourinfos.org/index.php?art=33162 ------------------------------------------------------------------- @ 027 Exhibition : A song of loves, Abbaye Royale de Fontevraud, Fontevraud l'Abbaye, France. http://pourinfos.org/index.php?art=33161 ------------------------------------------------------------------- @ 028 Exhibition : Protokolle, Muntadas, StuttgartW?rttembergischer Kunstverein Stuttgart - WKV, Stuttgart, Germany. http://pourinfos.org/index.php?art=33160 ------------------------------------------------------------------- @ 029 Exhibition : Opening of a new space, Anthony McCall,You and I, Horizontal, LIA Lieu d?Images et d?Art, Site sommital de la Bastille, Fort de la Bastille, Grenoble, France. http://pourinfos.org/index.php?art=33159 ------------------------------------------------------------------- @ 030 Exhibition : Appearance and the Abyss, Ina Bierstedt, Bettina Carl, J?rgen Erkius, Sofia Hulten, Alena Meier et,Wladimir Winter, Immanence, Paris, France. http://pourinfos.org/index.php?art=33158 ------------------------------------------------------------------- @ 031 Exhibition : Gian Paolo Minelli, Marie Velardi, Hoio, attitudes - espace d'arts contemporains, Geneva, Switzerland. http://pourinfos.org/index.php?art=33157 ------------------------------------------------------------------- @ 032 Exhibition : Diario/8, Maison des Artistes, Cagnes, France. http://pourinfos.org/index.php?art=33156 ------------------------------------------------------------------- @ 033 Exhibition : Two words and Fourteen Words at Cargo 21, Paris, France. http://pourinfos.org/index.php?art=33155 ------------------------------------------------------------------- @ 034 Exhibition : Denis H?rault, LENDROIT, editions d'artistes, Rennes, France. http://pourinfos.org/index.php?art=33154 ------------------------------------------------------------------- @ 035 Exhibition : Chapiter 3, Abbaye de Maubuisson, Saint-Ouen-l'Aum?ne, France. http://pourinfos.org/index.php?art=33153 ------------------------------------------------------------------- @ 036 Exhibition : Bit.flow, Julius Popp, Galerie Jocelyn Wolff, Paris, France. http://pourinfos.org/index.php?art=33152 ------------------------------------------------------------------- @ 037 The artist and his ?models?. Jean-Claude Moineau http://pourinfos.org/encours/item.php?id=3019 L?artiste et ses "mod?les". Jean-Claude Moineau http://pourinfos.org/encours/item.php?id=3020 From b at bobig.com Fri May 19 21:22:01 2006 From: b at bobig.com (bobig) Date: Fri, 19 May 2006 21:22:01 +0200 Subject: [NetBehaviour] Hip hop attitude : K700i videos Message-ID: http://fake-artist.net/anything/?p=96 ...probl?me....blablabla..?a sent vachement bon From llacook at yahoo.com Fri May 19 23:09:06 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Fri, 19 May 2006 14:09:06 -0700 (PDT) Subject: [NetBehaviour] When I Think Of My President :: More Output, Only Now It Has A Name Message-ID: <20060519210906.50675.qmail@web35508.mail.mud.yahoo.com> when i think of my president her vagina a faceless flood the cat on it's back with it's belly in the air typing always on the parenthesis i have to think about the texture scorpio scorpio scorpio i upend in quenching i murmur to her silence worries she's bouncing this way again lumbering get down on your knees you want the corners to meet to be present in meetings i heart eclipse we're all terrified the bus cracks into view disconnection the ruin of the world they're crabby this morning they're afraid of boredom this lack of prejudice grated to the degree of rupture electronic literature with lies in his eating the infection YOU'LL ROT IN HELL FOR THIS driving down the shoulder atomic and slim good dope i seep smoke warning noise elongates your wealth, spirit-walking the failure of safety you molt the toil off lurking on the mailing list synthesizing images the lurid bedroom pendulous the echo of phonemes and whatever it is that wants to destroy me into unrest these grains of rapture i pause tempests i ate her out the black saint and the sinner lady deaf kids missing ribs away never enough text hate me for my defiance over her eyes rapidly simulating haze flute lures us into and it never seemed at once to i wrecked your life programmed mindless http://www.lewislacook.org/xanaxpop/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. -------------- next part -------------- An HTML attachment was scrubbed... URL: From llacook at yahoo.com Fri May 19 23:09:06 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Fri, 19 May 2006 14:09:06 -0700 (PDT) Subject: [NetBehaviour] When I Think Of My President :: More Output, Only Now It Has A Name Message-ID: <20060519210906.50675.qmail@web35508.mail.mud.yahoo.com> when i think of my president her vagina a faceless flood the cat on it's back with it's belly in the air typing always on the parenthesis i have to think about the texture scorpio scorpio scorpio i upend in quenching i murmur to her silence worries she's bouncing this way again lumbering get down on your knees you want the corners to meet to be present in meetings i heart eclipse we're all terrified the bus cracks into view disconnection the ruin of the world they're crabby this morning they're afraid of boredom this lack of prejudice grated to the degree of rupture electronic literature with lies in his eating the infection YOU'LL ROT IN HELL FOR THIS driving down the shoulder atomic and slim good dope i seep smoke warning noise elongates your wealth, spirit-walking the failure of safety you molt the toil off lurking on the mailing list synthesizing images the lurid bedroom pendulous the echo of phonemes and whatever it is that wants to destroy me into unrest these grains of rapture i pause tempests i ate her out the black saint and the sinner lady deaf kids missing ribs away never enough text hate me for my defiance over her eyes rapidly simulating haze flute lures us into and it never seemed at once to i wrecked your life programmed mindless http://www.lewislacook.org/xanaxpop/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. -------------- next part -------------- An HTML attachment was scrubbed... URL: From gif at 220hex.org Sat May 20 11:55:19 2006 From: gif at 220hex.org (220hex) Date: Sat, 20 May 2006 11:55:19 +0200 Subject: [NetBehaviour] Piksel06 - CALL for PARTICIPATION Message-ID: <200605201155.20496.gif@220hex.org> ================================ -- Piksel06 - festival -- october 12-15 2006 -- Piksel06 - exhibition -- october 13-27 2006 -- call for participation -- deadline august 1. 2006 ================================ Piksel[1] is an annual event for artists and developers working with free and open source audiovisual software. Part workshop, part festival, it is organised in Bergen, Norway, by the Bergen Centre for Electronic Arts (BEK) [2] and involves participants from more than a dozen countries exchanging ideas, coding, presenting art and software projects, doing workshops, performances and discussions on the aesthetics and politics of free and open source software. This years event - Piksel06 ? continues the exploration of audiovisual code and it's myriad of expressions, but also brings in open hardware as a new focus area. At Piksel06 we will expand the exhibition part and build upon the open hardware theme, which represents a potential for a new paradigm shift of vital importance for independent artistic expression in the digital domain. Piksel06 is done in collaboration with HKS art centre[3] which will be the main location for this years events. Piksel is organised by BEK and a community of core participants including members of collectives dyne.org, goto10.org, sustainablesource.net, hackitectura.net, riereta.net, drone.ws, gephex.org and others. ================================ open CALL for PARTICIPATION The previous Piksel events has primarily focused on live art/audiovisual performance and interactive installations, but for Piksel06 we also introduce open hardware and hardware hacking as new themes. For the exhibition and other parts of the program we are interested in submissions in the following categories: 1. Installations Projects related to the open hardware theme including but not restricted to: circuit bending, reverse engineering, repurposing, modding and DIY electronics preferably programmed by and running on free and open source software. 2. Audiovisual performance Live art realised by the use of free and open source software. We specially encourage live coding and DIY hardware projects to apply. 3. Software/Hardware Innovative DIY hardware and audiovisual software tools or software art released under an open licence. Please send documentation material - preferably as a URL to online documentation with images/video to piksel06 at bek.no Deadline - august 1. 2006 Please use the online submit form at: http://www.piksel.no/piksel06/subform.html Alternatively use this form for submitting ================================ 1. Project name. 2. Email adr. 3. Project URL 4. Name of artist(s). 5. Short bio/CV 6. Category 7. Short statement about the work(s) 8. List of software used in the creation/presentation of the work(s) ================================ Or send by snailmail to: BEK att: Gisle Froysland C. Sundtsgt. 55 5004 Bergen Norway More info: http://www.piksel.no/piksel06 piksel06 is produced in cooperation with Kunsthoegskolen in Bergen dep The Academy of Fine Arts, Hordaland Kunstsenter. Supported by Bergen Kommune, Norsk Kulturfond, BergArt and Vestnorsk Filmfond. links: [1] http://www.piksel.no [2] http://www.bek.no [3] http://www.kunstsenter.no ================================ From sondheim at panix.com Sun May 21 00:33:49 2006 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 20 May 2006 18:33:49 -0400 (EDT) Subject: [NetBehaviour] Oh Joy! Message-ID: Oh Joy! Oh Joy! Of God's Everylasting Fame! I dance the Jig to Glorify His Name! Come Join with me for Holy Fun: Salvation Firm is Just begin! http://www.asondheim.org/jig.mpg "---Mr. Begbie goes forth into the depths of a London slum, where the serpent and the tiger, the fang and the claw nature of humanity are in the ascendent, and there, where a Salvation Army barracks lays siege and wins miraculous triumphs, he finds 'The Puncher,' 'Old Born Drunk,' 'Rags and Bones,' and the rest." - Burgwin, Practical Evangelism ( new images etc. also at http://nikuko.blogspot.com ) From rich at counterwork.co.uk Sun May 21 18:40:48 2006 From: rich at counterwork.co.uk (rich white) Date: Sun, 21 May 2006 17:40:48 +0100 Subject: [NetBehaviour] making nothing out of something Message-ID: <000801c67cf5$53b4fe00$96291f3e@counterwork> Decontextualisation Of The Art Object rich white Decontextualisation is a term I have been using in my work to describe what happens to an artwork when its context or value has been removed or transferred to another non-art object. The purpose of this is to demonstrate a possible way that value is created and communicated. My aim in using decontextualisation is to create something that bears no relation to anything. I wish to create an artwork that is aware of its cultural, visual and psychological standing and uses this awareness to negate all attempts at clarifying, classifying and identifying its origin, use and value. I have currently only made tentative steps towards producing this work and through this I have come to realise the complexity and practical impossibilities of the idea. What I will illustrate here are the processes and methods by which I can allude to this process through metaphor, analogy and psychological suggestion, and why I feel this is an interesting field to explore...( more: http://www.counterwork.co.uk/writing/decontext.htm ) rich http://www.counterwork.co.uk 07812444612 From sondheim at panix.com Sun May 21 21:28:21 2006 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 21 May 2006 15:28:21 -0400 (EDT) Subject: [NetBehaviour] Various New/s Message-ID: Various New/s The first two files were made with a 1960s 12-chord Oscar Schmidt auto- harp. ah.mp3 uses traditional chording and has been somewhat filtered. ai.mp3 is raw and recognizes the chromatic scale of the instrument as a potential field for structural manipulation. Structure here consists of: repetition or partial repetitions: similar or parallel chromatic bundles flows of rhythmic sub-structures and rhythmic accents timbre sequences arpeggios. The result is an uncanny tour-de-force concentrated on the history of post-classical music in the past century. http://www.asondheim.org/ah.mp3 http://www.asondheim.org/ai.mp3 http://www.asondheim.org/delta.mpg short video of Delta 3 presentation in an all-American presentation of: balloons flags freeway, cars, and trucks big rocket http://www.asondheim.org/philosophy - this format and presentation has been created by Dirk Vekemans and is the best way I know to present the text online (thank you!). From sondheim at panix.com Sun May 21 22:17:10 2006 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 21 May 2006 16:17:10 -0400 (EDT) Subject: [NetBehaviour] Automata - please comment; I'm over my head here - thanks, Alan Message-ID: (please comment if you can unpack the below - thanks, Alan) Automata I'm reading a book describing automata in practical terms - Automata Theory: An Engineering Approach, Igor Aleksander and F. Keith Hanna, Crane Russak, 1975. This is prior to Wolfram's main work of course on cellular automata; it's classical theory. In any case, as far as I can tell, given states and transitions, there is no indication _how long_ any particular transition will take; i.e. this isn't queuing theory. So one might consider the transitions occurring in present - as if digital-in-present, collapsed across what might otherwise be temporal, analogic. Given Wolfram's reformulation in A New Kind of Science, I wonder about the ontology (mathematical, even within an engineering approach) and epistem- ology (perhaps fundamentally discrete mathematics). Automata may at times be partitioned into independent automata; the substitution property is important here and seems to have implications for labeling. Again I'm thinking in terms of temporal collapse, flattening. In any case: "Formally, a partition of the set of states of an automaton has the substitution property if and only if each of its boxes maps into a single block under all possible inputs." And: "The crucial significance of an automaton and an SP partition is that as far as next-state mappings are concerned [...], the states within a block could be considered as a _single state_ and an automaton could be found which behaves in the same way as the original automaton, but with only one state per block. This property is used directly in state minimization, as will be seen later." Further: "Given an SP partition of the states of an automaton, each block of which is completely output consistent, every such block may be replaced by a single state, providing a state-minimal automa- ton." At this point, I'm well over my head (I've not reproduced the mathematical apparatus of course). The two points I want to make are: the possibility of state-minimal automatons as a rough model for language (think of the emblematic), and the collapse of temporality in relation to presencing present. To push this analogy etc. into the realm of absurdity - consider a state- minimal automaton network or sememe (holarchy); if we average across the transitions as infinitesimals, can anything be located in relation to the appearance of time (as well as subjective time); second, consider one of the chaotic cellular automata described by Wolfram; if we average across the 'landscape' as it develops, can we consider this the origin of the analogic? I realize neither my mathematics nor my grasp of automata concepts is particularly strong, but I wanted to throw this out (not literally) for comment - Alan From szpako at yahoo.com Mon May 22 03:13:08 2006 From: szpako at yahoo.com (Michael Szpakowski) Date: Sun, 21 May 2006 18:13:08 -0700 (PDT) Subject: [NetBehaviour] two new movies Message-ID: <20060522011308.91289.qmail@web30311.mail.mud.yahoo.com> Two new movies: http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi/2006/05/21#post91 best m. From marc.garrett at furtherfield.org Mon May 22 14:23:25 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 22 May 2006 13:23:25 +0100 Subject: [NetBehaviour] Yes - we are back on a new server :-) In-Reply-To: <200605201155.20496.gif@220hex.org> References: <200605201155.20496.gif@220hex.org> Message-ID: <4471AD3D.6050806@furtherfield.org> Sorry for the delay everyone... Moving everything over to a new server took a bit longer and was little more traumatic than predicted... marc From turbulence at turbulence.org Wed May 17 21:34:50 2006 From: turbulence at turbulence.org (Turbulence) Date: Wed, 17 May 2006 15:34:50 -0400 Subject: [NetBehaviour] UPGRADE! BOSTON: ERYK SALVAGGIO Message-ID: <000001c679e9$033d2ec0$6601a8c0@t5x1c0> < UPGRADE! BOSTON: ERYK SALVAGGIO > WHEN: June 1, 7:00-9:00 p.m. WHERE: Art Interactive, 130 Bishop Allen Drive, at the corner of Prospect Street, Cambridge. [Red Line to Central Square] Join us for a presentation by net artist Eryk Salvaggio followed by a dialogue between Eryk and Brooke A. Knight. As usual, the atmosphere will be warm and the fake oreos and conversation will flow. ABOUT ERYK SALVAGGIO: Called "The Harry Potter of the Digital Avant Garde" by the Dutch Press, Eryk Salvaggio has been creating internet art since he was 17 years old. His work has been compared to "a more human Andy Warhol," and strictly adheres to his own "6 Rules Toward a New Internet Art." This formula has led to articles in the New York Times* as well as mentions in ArtForum, alongside several international exhibitions and talks. Turbulence commissioned Salvaggio's "American Internet" in 2002, and he curated "Duchamp's Ideal Children's Children: Net.Art's Brat Pack" for Turbulence's Guest Curator series in 2003. He's currently working on "MySpaces," a piece about the projection of self onto social networking sites such as friendster and myspace, and a degree in New Media and Journalism at the University of Maine. Artist and educator BROOKE A. KNIGHT has been working with digital media for over a dozen years. His current interests include webcams, the landscape, and text in all forms. Knight is Assistant Professor in the Department of Visual and Media Arts at Emerson College, Boston. He received his MFA in photography from CalArts in 1995. Links: *September 11, 2001 -- http://anatomyofhope.net/wtc/2/ American Internet -- http://www.turbulence.org/Works/Eryk/ai/index.html Duchamp's Ideal Children's Children: Net.Art's Brat Pack -- http://www.turbulence.org/curators/salvaggio/index.html MySpaces -- http://cordova.asap.um.maine.edu/~salvaggioe/autobot.html Eryk Salvaggio -- http://www.salsabomb.com Brooke A. Knight -- http://www.brookeknight.com/ << UPGRADE! BOSTON: NANCY NISBET AND AMBER FRID-JIMENEZ >> WHEN: June 29, 7:00-9:00 p.m. WHERE: Art Interactive Upgrade! Boston' schedule is available here: http://www.turbulence.org/upgrade/archive.html If you no longer wish to receive these notices, please reply to this email with "UNSUBSCRIBE" in the subject line. Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org New American Radio: http://somewhere.org Networked_Performance Blog: http://turbulence.org/blog Upgrade! Boston: http://turbulence.org/upgrade -------------- next part -------------- A non-text attachment was scrubbed... Name: boston_logo.gif Type: image/gif Size: 1175 bytes Desc: not available URL: From turbulence at turbulence.org Sun May 21 20:33:18 2006 From: turbulence at turbulence.org (Turbulence) Date: Sun, 21 May 2006 14:33:18 -0400 Subject: [NetBehaviour] Turbulence Spotlight: "Logozoa" by Robert Kendal Message-ID: <000801c67d05$0c2270d0$6601a8c0@t5x1c0> May 21, 2006 Turbulence Spotlight: "Logozoa" by Robert Kendall http://turbulence.org/spotlight/kendall/index.htm Words change everything. We create poems and stories to free the world from itself, to reveal the many feral faces of life. But ironically these liberating words are usually imprisoned on the page or computer screen. Out in the "real" world of day-to-day activity, we use words more crassly. We put labels and signs on things to tame them-identify, categorize, explain, instruct, proclaim ownership. What if instead the labels could liberate the everyday world from the literal, proclaim rather than cover up the mysteries? What if they could become Logozoa-textual organisms that infest the literal with metaphor and give impetuous life and breath to meaning? Lo.go.zo.a n [fr. Gk logos word + zoia animals] (2005) 1 : word animals: textual organisms 2 : a phylum or subkingdom of linguistic entities that are represented in almost every kind of habitat and include aphorisms, anti-aphorisms, maxims, minims, neokoans, sayings, left-unsaids, proverbialisms, poemlets, microtales, instant fables, and other varieties of conceptual riffs Find out what happens when you let word animals roam your daily life. Download Logozoa, print them onto your own stickers, and let them loose in your home or neighborhood. Visit the Logozoo to see photos of Logozoa in their natural habitat. To help ensure that these unique creatures do not go the way of so many once-endangered, now-extinct species, photograph your Logozoa and send them to the Logozoo. Explore the Soothcircuit, a unique colony of Logozoa that responds to your questions with insights and prognostications. BIOGRAPHY Robert Kendall has been writing electronic poetry since 1990. He is the author of the book-length hypertext poem "A Life Set for Two" (Eastgate Systems) and other electronic works published at BBC Online, Iowa Review Web, Cortland Review, Eastgate Hypertext Reading Room, Cauldron & Net, and other Web sites. His electronic poetry has been exhibited at many venues in the United States, Europe, South America, Asia, and Australia, and he has given interactive readings of his work in many cities. Kendal's printed book of poetry, "A Wandering City," was awarded the Cleveland State University Poetry Center Prize, and he has received a New Jersey State Council on the Arts Fellowship, a New Forms Regional Grant, and other awards. He has taught electronic poetry and fiction for the New School University's online program since 1995. Kendall runs the literary Web site "Word Circuits" and the ELO's "Electronic Literature Directory," and is co-developer of "Word Circuits Connection Muse," a hypertext tool for poets and fiction writers. He has written many articles about electronic literature for national publications, such as Poets & Writers Magazine, and he lectures frequently on the topic. For more Turbulence Spotlights, please visit http://turbulence.org/spotlight Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org New American Radio: http://somewhere.org Networked_Performance Blog: http://turbulence.org/blog Upgrade! Boston: http://turbulence.org/upgrade From marc.garrett at furtherfield.org Mon May 22 18:41:05 2006 From: marc.garrett at furtherfield.org (marc) Date: Mon, 22 May 2006 17:41:05 +0100 Subject: [NetBehaviour] Welcome back to Netbehaviour Everyone :-) In-Reply-To: <4471AD3D.6050806@furtherfield.org> References: <200605201155.20496.gif@220hex.org> <4471AD3D.6050806@furtherfield.org> Message-ID: <4471E9A1.8000106@furtherfield.org> Hi all Netbehaviourists, Just to get the message across (again). We have been going through some major changes, moving everything over to a new server. Because of this, various messages that were sent on this list, between may 14th until now, may have been lost or bounced back at you. So, if those emails are still appropriate - send them again. Thank you for your patience. Now we are ghetting back to sorting out all the other issues with the change-over, sheesh.... marc From james at jwm-art.net Mon May 22 22:42:14 2006 From: james at jwm-art.net (james at jwm-art.net) Date: Mon, 22 May 2006 20:42:14 +0000 Subject: [NetBehaviour] ai ahuh Message-ID: wcnt-1.2/jwmsynth //------------------------------------------------------------------------ // // ai_uhuh.wc: // // re-arranges a recording of a 1960s 12-chord Oscar Schmidt autoharp // played by Alan Sondheim. // // get the recording at http://www.asondheim.org/ai.mp3 // // ((and convert it to a wav (using mpg321) (or something))) // // wcnt - wav composer not toilet // // download it at wcnt.sourceforge.net (linux not windows) // // the output of this file processed by wcnt is available at // the following location: // // http://www.jwm-art.net/misc/ai_uhuh.mp3 // // this file at the following location: // // http://www.jwm-art.net/misc/ai_uhuh.wc // //------------------------------------------------------------------------ samplerate 44100 bpm 120 signature 4/4 time_map time1 meter_map meter_map bpm_map bpm_map time1 constant one value 1.0 one //------------------------------------------------------------------------ riff riff1 quarter_value 64 notelist note name c-1 pos 0 len 28 vel 1.0 note name d0 pos 32 len 12 vel 1.0 note name c0 pos 48 len 32 vel 1.0 note name a-2 pos 84 len 21 vel 1.0 note name c0 pos 112 len 12 vel 1.0 note name f0 pos 128 len 42 vel 1.0 note name c1 pos 176 len 12 vel 1.0 note name d0 pos 192 len 12 vel 1.0 note name c-2 pos 224 len 12 vel 1.0 notelist riff1 riff riff1z quarter_value 64 notelist note name c0 pos 0 len 11 vel 1.0 note name d0 pos 12 len 11 vel 1.0 note name c0 pos 32 len 11 vel 1.0 note name c-1 pos 48 len 11 vel 1.0 note name d0 pos 64 len 11 vel 1.0 note name c0 pos 84 len 11 vel 1.0 note name e0 pos 96 len 11 vel 1.0 note name e0 pos 112 len 11 vel 1.0 note name c-1 pos 128 len 11 vel 1.0 note name f0 pos 144 len 11 vel 1.0 note name c0 pos 160 len 11 vel 1.0 note name g0 pos 176 len 11 vel 1.0 note name c0 pos 192 len 11 vel 1.0 note name a0 pos 208 len 11 vel 1.0 note name d-1 pos 224 len 11 vel 1.0 note name c0 pos 240 len 11 vel 1.0 notelist riff1z sequencer seq1 track riff_node riff riff1 bar 0 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 1 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 2 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 3 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 4 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 5 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 6 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 7 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 8 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 9 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 10 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 11 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 12 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 13 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 14 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 15 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 16 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 17 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 18 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 19 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 20 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 21 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 22 transpose 0 start_len 0 end_len 0 riff_node riff riff1 bar 23 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 24 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 25 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 26 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 27 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 28 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 29 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 30 transpose 0 start_len 0 end_len 0 riff_node riff riff1z bar 31 transpose 0 start_len 0 end_len 0 track in_bar time1 out_bar in_bar_trig time1 out_bar_trig in_pos_step_size time1 out_pos_step_size in_beats_per_bar time1 out_beats_per_bar in_beat_value time1 out_beat_value velocity_response_time 5 seq1 pattern_trig strig1 in_trig seq1 out_note_on_trig pattern 1000 strig1 pattern_trig strig2 in_trig seq1 out_note_on_trig pattern 0100 strig2 pattern_trig strig3 in_trig seq1 out_note_on_trig pattern 0010 strig3 pattern_trig strig4 in_trig seq1 out_note_on_trig pattern 0001 strig4 // set frequency for sample to playback at: osc_clock osc1 in_note_on_trig strig1 out_trig in_note_slide_trig seq1 out_note_slide_trig in_play_state off in_frequency seq1 out_frequency in_freq_mod1 zzsinwav out_output in_freq_mod2 off octave_offset 4 tuning_semitones 0.06 portamento_time 150.0 response_time 8.0 freq_mod1_size 8.0 freq_mod2_size 1 osc1 osc_clock osc2 in_note_on_trig strig2 out_trig in_note_slide_trig seq1 out_note_slide_trig in_play_state off in_frequency seq1 out_frequency in_freq_mod1 zzsinwav out_output in_freq_mod2 off octave_offset 2 tuning_semitones 0.07 portamento_time 150.0 response_time 8.0 freq_mod1_size 8.0 freq_mod2_size 1 osc2 osc_clock osc3 in_note_on_trig strig3 out_trig in_note_slide_trig seq1 out_note_slide_trig in_play_state off in_frequency seq1 out_frequency in_freq_mod1 zzsinwav out_output in_freq_mod2 off octave_offset 1 tuning_semitones 0.8 portamento_time 150.0 response_time 0.125 freq_mod1_size 0.125 freq_mod2_size 1 osc3 osc_clock osc4 in_note_on_trig strig4 out_trig in_note_slide_trig seq1 out_note_slide_trig in_play_state off in_frequency seq1 out_frequency in_freq_mod1 zzsinwav out_output in_freq_mod2 off octave_offset 0 tuning_semitones 0.9 portamento_time 150.0 response_time 0.125 freq_mod1_size 0.125 freq_mod2_size 1 osc4 clock fmclock in_freq_mod1 off freq 0.000083725 freq_mod1_size 1.0 fmclock clock fmclockb in_freq_mod1 off freq 0.000083725 freq_mod1_size 1.0 fmclockb sine_wave fmsinewave in_phase_trig fmclock out_phase_trig in_deg_size fmclock out_deg_size recycle_mode off on_trig_reset_phase off phase_cycles 1.0 fmsinewave sine_wave fmsinewaveb in_phase_trig fmclockb out_phase_trig in_deg_size fmclockb out_deg_size recycle_mode off on_trig_reset_phase off phase_cycles 1.0 fmsinewaveb clock zzclok in_freq_mod1 off freq 0.12725 freq_mod1_size 1.0 zzclok sine_wave zzsinwav in_phase_trig zzclok out_phase_trig in_deg_size zzclok out_deg_size recycle_mode off on_trig_reset_phase off phase_cycles 1.0 zzsinwav //--------------------------------------------------------- // the sample: // // ai.wav is 235.259 seconds, 10374912 samples wavfilein ai_wav filename samples/ai.wav root_note c0 ai_wav clock fq1 in_freq_mod1 off freq 261.626 freq_mod1_size 1.0 fq1 clock fq2 in_freq_mod1 off freq 262.626 freq_mod1_size 1.0 fq2 clock fq3 in_freq_mod1 off freq 263.626 freq_mod1_size 1.0 fq3 clock fq4 in_freq_mod1 off freq 264.626 freq_mod1_size 1.0 fq4 rnd_trigger rst1 in_trig osc1 out_phase_trig probability 0.95 not_probability 0.125 rst1 rnd_trigger rst2 in_trig osc2 out_phase_trig probability 0.00625 not_probability 0.125 rst2 rnd_trigger rst3 in_trig osc3 out_phase_trig probability 0.75 not_probability 0.125 rst3 rnd_trigger rst4 in_trig osc4 out_phase_trig probability 0.0125 not_probability 0.125 rst4 sampler sampler1 in_play_trig rst1 out_trig in_stop_trig off in_start_pos_mod fmsinewave out_output in_deg_size fq1 out_deg_size wavfile ai_wav play_dir fwd play_mode wrap jump_mode play start_pos_min 125000 start_pos_max 10000000 loop_mode bi loop_start_pos 2000 loop_end_pos 332546 loop_is_offset on bi-directional_offset 0 anti_clip_samples 50 anti_clip_each_end on zero_search_range 15 degsize_amount 0.0 sampler1 sampler sampler2 in_play_trig rst2 out_trig in_stop_trig off in_start_pos_mod fmsinewave out_output in_deg_size fq2 out_deg_size wavfile ai_wav play_dir fwd play_mode wrap jump_mode play start_pos_min 125000 start_pos_max 10000000 loop_mode bi loop_start_pos 2000 loop_end_pos 332544 loop_is_offset on bi-directional_offset 0 anti_clip_samples 50 anti_clip_each_end on zero_search_range 15 degsize_amount 1.0 sampler2 sampler sampler3 in_play_trig rst3 out_trig in_stop_trig off in_start_pos_mod fmsinewaveb out_output in_deg_size fq3 out_deg_size wavfile ai_wav play_dir fwd play_mode wrap jump_mode play start_pos_min 125000 start_pos_max 10000000 loop_mode bi loop_start_pos 2000 loop_end_pos 332464 loop_is_offset on bi-directional_offset 0 anti_clip_samples 50 anti_clip_each_end on zero_search_range 15 degsize_amount 1.0 sampler3 sampler sampler4 in_play_trig rst4 out_trig in_stop_trig off in_start_pos_mod fmsinewaveb out_output in_deg_size fq4 out_deg_size wavfile ai_wav play_dir fwd play_mode wrap jump_mode play start_pos_min 125000 start_pos_max 10000000 loop_mode bi loop_start_pos 2000 loop_end_pos 332454 loop_is_offset on bi-directional_offset 0 anti_clip_samples 50 anti_clip_each_end on zero_search_range 15 degsize_amount 1.0 sampler4 multiplier dl1 in_signal sampler1 out_l in_modifier one out_output dl1 multiplier dr1 in_signal sampler1 out_r in_modifier one out_output dr1 multiplier dl2 in_signal sampler2 out_l in_modifier one out_output dl2 multiplier dr2 in_signal sampler2 out_r in_modifier one out_output dr2 multiplier dl3 in_signal sampler3 out_l in_modifier one out_output dl3 multiplier dr3 in_signal sampler3 out_r in_modifier one out_output dr3 multiplier dl4 in_signal sampler4 out_l in_modifier one out_output dl4 multiplier dr4 in_signal sampler4 out_r in_modifier one out_output dr4 echo lecho1 in_signal dl1 out_output in_gain_mod off in_feedback recho1 out_wet_output in_feedback_mod off delay_time 591.5 gain 0.75 gain_modsize 0.0 feedback 0.4825 feedback_modsize 0.0 wet/dry 1.0 lecho1 echo recho1 in_signal dr1 out_output in_gain_mod off in_feedback lecho1 out_wet_output in_feedback_mod off delay_time 427.5 gain 0.75 gain_modsize 0.0 feedback 0.4825 feedback_modsize 0.0 wet/dry 1.0 recho1 echo lecho2 in_signal dl2 out_output in_gain_mod off in_feedback recho2 out_wet_output in_feedback_mod off delay_time 381.5 gain 0.475 gain_modsize 0.0 feedback 0.4825 feedback_modsize 0.0 wet/dry 1.0 lecho2 echo recho2 in_signal dr2 out_output in_gain_mod off in_feedback lecho2 out_wet_output in_feedback_mod off delay_time 287.5 gain 0.475 gain_modsize 0.0 feedback 0.4825 feedback_modsize 0.0 wet/dry 1.0 recho2 echo lecho3 in_signal dl3 out_output in_gain_mod off in_feedback recho3 out_wet_output in_feedback_mod off delay_time 112.5 gain 0.75 gain_modsize 0.0 feedback 0.4825 feedback_modsize 0.0 wet/dry 1.0 lecho3 echo recho3 in_signal dr3 out_output in_gain_mod off in_feedback lecho3 out_wet_output in_feedback_mod off delay_time 78.5 gain 0.75 gain_modsize 0.0 feedback 0.4825 feedback_modsize 0.0 wet/dry 1.0 recho3 echo lecho4 in_signal dl4 out_output in_gain_mod off in_feedback recho4 out_wet_output in_feedback_mod off delay_time 52.5 gain 0.475 gain_modsize 0.0 feedback 0.4825 feedback_modsize 0.0 wet/dry 1.0 lecho4 echo recho4 in_signal dr4 out_output in_gain_mod off in_feedback lecho4 out_wet_output in_feedback_mod off delay_time 25.5 gain 0.475 gain_modsize 0.0 feedback 0.4825 feedback_modsize 0.0 wet/dry 1.0 recho4 wcnt_signal sdl1 in_signal dl1 out_output level 0.35 sdl1 wcnt_signal sdr1 in_signal dr1 out_output level 0.35 sdr1 wcnt_signal sdl2 in_signal dl2 out_output level 0.1235 sdl2 wcnt_signal sdr2 in_signal dr2 out_output level 0.1235 sdr2 wcnt_signal sdl3 in_signal dl3 out_output level 0.35 sdl3 wcnt_signal sdr3 in_signal dr3 out_output level 0.35 sdr3 wcnt_signal sdl4 in_signal dl4 out_output level 0.1235 sdl4 wcnt_signal sdr4 in_signal dr4 out_output level 0.1235 sdr4 combiner smix_l signals synthmod name sdl1 synthmod name sdl2 synthmod name sdl3 synthmod name sdl4 signals mean_total off smix_l combiner smix_r signals synthmod name sdr1 synthmod name sdr2 synthmod name sdr3 synthmod name sdr4 signals mean_total off smix_r wcnt_signal cl1 in_signal smix_l out_output level 0.475 cl1 wcnt_signal cr1 in_signal smix_r out_output level 0.475 cr1 wcnt_signal cl2 in_signal lecho1 out_output level 0.475 cl2 wcnt_signal cr2 in_signal recho1 out_output level 0.475 cr2 wcnt_signal cl3 in_signal lecho2 out_output level 0.475 cl3 wcnt_signal cr3 in_signal recho2 out_output level 0.475 cr3 wcnt_signal cl4 in_signal lecho3 out_output level 0.475 cl4 wcnt_signal cr4 in_signal recho3 out_output level 0.475 cr4 wcnt_signal cl5 in_signal lecho4 out_output level 0.475 cl5 wcnt_signal cr5 in_signal recho4 out_output level 0.475 cr5 combiner mix_l signals synthmod name cl1 synthmod name cl2 synthmod name cl3 synthmod name cl4 synthmod name cl5 signals mean_total off mix_l combiner mix_r signals synthmod name cr1 synthmod name cr2 synthmod name cr3 synthmod name cr4 synthmod name cr5 signals mean_total off mix_r // amplify stereo_amp amp1 in_l mix_l out_output in_r mix_r out_output in_amp_eg one out_output in_amp_mod off left_amplitude 32000 right_amplitude 32000 amp_mod_size 0.0 clip_level 32767 amp1 wavfile_out wav1 in_left amp1 out_left in_right amp1 out_right in_bar time1 out_bar in_bar_trig time1 out_bar_trig filename ai_ahuh.wav start_bar 0 end_bar 96 wav1 // setup how long to process: wcnt_exit wcnt_exit_module in_bar time1 out_bar exit_bar 96 wcnt_exit_module //------------------------------------------------------------------------ // End Of File _jwm 2006. //------------------------------------------------------------------------ wcnt-1.2/jwmsynth From marc.garrett at furtherfield.org Wed May 24 02:01:16 2006 From: marc.garrett at furtherfield.org (marc) Date: Wed, 24 May 2006 01:01:16 +0100 Subject: [NetBehaviour] Why We Published the AT&T Docs In-Reply-To: <20060522011308.91289.qmail@web30311.mail.mud.yahoo.com> References: <20060522011308.91289.qmail@web30311.mail.mud.yahoo.com> Message-ID: <4473A24C.2080201@furtherfield.org> Why We Published the AT&T Docs. By Evan Hansen 02:00 AM May, 22, 2006 A file detailing aspects of AT&T's alleged participation in the National Security Agency's warrantless domestic wiretap operation is sitting in a San Francisco courthouse. But the public cannot see it because, at AT&T's insistence, it remains under seal in court records. The judge in the case has so far denied requests from the Electronic Frontier Foundation, or EFF, and several news organizations to unseal the documents and make them public. AT&T claims information in the file is proprietary and that it would suffer severe harm if it were released. Based on what we've seen, Wired News disagrees. In addition, we believe the public's right to know the full facts in this case outweighs AT&T's claims to secrecy. As a result, we are publishing the complete text of a set of documents from the EFF's primary witness in the case, former AT&T employee and whistle-blower Mark Klein -- information obtained by investigative reporter Ryan Singel through an anonymous source close to the litigation. The documents, available on Wired News as of Monday, consist of 30 pages, with an affidavit attributed to Klein, eight pages of AT&T documents marked "proprietary," and several pages of news clippings and other public information related to government-surveillance issues. more... http://www.wired.com/news/technology/0,70947-0.html?tw=wn_technology_1 From llacook at yahoo.com Wed May 24 15:04:02 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Wed, 24 May 2006 06:04:02 -0700 (PDT) Subject: [NetBehaviour] I Wish We Had An Open Source President Message-ID: <20060524130402.67053.qmail@web35503.mail.mud.yahoo.com> I wish we had an Open Source president. I'd edit him in Eclipse. I'd set a breakpoint... http://xanaxpop.lewislacook.org/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2?/min or less. -------------- next part -------------- An HTML attachment was scrubbed... URL: From llacook at yahoo.com Wed May 24 15:04:02 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Wed, 24 May 2006 06:04:02 -0700 (PDT) Subject: [NetBehaviour] I Wish We Had An Open Source President Message-ID: <20060524130402.67053.qmail@web35503.mail.mud.yahoo.com> I wish we had an Open Source president. I'd edit him in Eclipse. I'd set a breakpoint... http://xanaxpop.lewislacook.org/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2?/min or less. -------------- next part -------------- An HTML attachment was scrubbed... URL: From llacook at yahoo.com Wed May 24 16:33:59 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Wed, 24 May 2006 07:33:59 -0700 (PDT) Subject: [NetBehaviour] New Book by Lewis LaCook: Xanax Pop, Volume 1 Message-ID: <20060524143359.78919.qmail@web35511.mail.mud.yahoo.com> http://www.lewislacook.org/books/xanaxpop_vol1.pdf At long last, I'm happy to say that the first year of my poetry blog Xanax Pop is available as a pdf download. This collects the blog's first incarnation, when I wrote the poems on my Palm IIIxe handheld computer and entries were uploaded during synchronization. Xanax Pop's current incarnation can be viewed at http://xanaxpop.lewislacook.org/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Love cheap thrills? Enjoy PC-to-Phone calls to 30+ countries for just 2?/min with Yahoo! Messenger with Voice. -------------- next part -------------- An HTML attachment was scrubbed... URL: From llacook at yahoo.com Wed May 24 16:33:59 2006 From: llacook at yahoo.com (Lewis LaCook) Date: Wed, 24 May 2006 07:33:59 -0700 (PDT) Subject: [NetBehaviour] New Book by Lewis LaCook: Xanax Pop, Volume 1 Message-ID: <20060524143359.78919.qmail@web35511.mail.mud.yahoo.com> http://www.lewislacook.org/books/xanaxpop_vol1.pdf At long last, I'm happy to say that the first year of my poetry blog Xanax Pop is available as a pdf download. This collects the blog's first incarnation, when I wrote the poems on my Palm IIIxe handheld computer and entries were uploaded during synchronization. Xanax Pop's current incarnation can be viewed at http://xanaxpop.lewislacook.org/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Love cheap thrills? Enjoy PC-to-Phone calls to 30+ countries for just 2?/min with Yahoo! Messenger with Voice. -------------- next part -------------- An HTML attachment was scrubbed... URL: From geert at nznl.com Wed May 24 17:34:53 2006 From: geert at nznl.com (Geert Dekkers) Date: Wed, 24 May 2006 17:34:53 +0200 Subject: [NetBehaviour] nznl.com digest, May 18, 2006 - May 24, 2006 Message-ID: <92759F72-8916-49FB-94AF-0EF9C7D83DD6@nznl.com> nznl.com digest May 18, 2006 - May 24, 2006 Posts 1453 - 1459 http://nznl.com rss feed at http://nznl.com/geert/nznl.xml 1453. May 18, 2006 FACE, 2010, FACE web page http://nznl.com/index.php?dag=20060518 1454. May 19, 2006 CUBE, 2010, CUBE quartz composer quicktime movie (mac os 10.4 only) http://nznl.com/index.php?dag=20060519 1455. May 20, 2006 WALL SOCKET, 2010, PLASTER OF PARIS, ACRYLICS fireworks/photoshop file http://nznl.com/index.php?dag=20060520 1456. May 21, 2006 NOTES ON AN INSTALLATION FOR ALAN SONDHEIM, 2010, TV SCREENS, COMPUTERS, COMPUTER MONITORS, NETWORKING CABLING, POWER LEADS web page http://nznl.com/index.php?dag=20060521 1457. May 22, 2006 READING ALAN SONDHEIM, 2010, FURTHER NOTES FOR AN INSTALLATION web page http://nznl.com/index.php?dag=20060522 1458. May 23, 2006 8 TVS (FOR ALAN), 2010, 8 TVS fireworks/photoshop file http://nznl.com/index.php?dag=20060523 1459. May 24, 2006 INTERLUDE, 2010, INTERLUDE web page http://nznl.com/index.php?dag=20060524 Geert Dekkers http://nznl.com http://nznl.net http://nznl.org From geert at nznl.com Wed May 24 18:00:33 2006 From: geert at nznl.com (Geert Dekkers) Date: Wed, 24 May 2006 18:00:33 +0200 Subject: [NetBehaviour] [Nettime-nl] nznl.com digest, May 18, 2006 - May 24, 2006 Message-ID: <000301c67f4b$300eaa20$0100000a@hoogt.local> nznl.com digest May 18, 2006 - May 24, 2006 Posts 1453 - 1459 http://nznl.com rss feed at http://nznl.com/geert/nznl.xml 1453. May 18, 2006 FACE, 2010, FACE web page http://nznl.com/index.php?dag=20060518 1454. May 19, 2006 CUBE, 2010, CUBE quartz composer quicktime movie (mac os 10.4 only) http://nznl.com/index.php?dag=20060519 1455. May 20, 2006 WALL SOCKET, 2010, PLASTER OF PARIS, ACRYLICS fireworks/photoshop file http://nznl.com/index.php?dag=20060520 1456. May 21, 2006 NOTES ON AN INSTALLATION FOR ALAN SONDHEIM, 2010, TV SCREENS, COMPUTERS, COMPUTER MONITORS, NETWORKING CABLING, POWER LEADS web page http://nznl.com/index.php?dag=20060521 1457. May 22, 2006 READING ALAN SONDHEIM, 2010, FURTHER NOTES FOR AN INSTALLATION web page http://nznl.com/index.php?dag=20060522 1458. May 23, 2006 8 TVS (FOR ALAN), 2010, 8 TVS fireworks/photoshop file http://nznl.com/index.php?dag=20060523 1459. May 24, 2006 INTERLUDE, 2010, INTERLUDE web page http://nznl.com/index.php?dag=20060524 Geert Dekkers http://nznl.com http://nznl.net http://nznl.org -------------- next part -------------- ______________________________________________________ * Verspreid via nettime-nl. Commercieel gebruik niet * toegestaan zonder toestemming. is een * open en ongemodereerde mailinglist over net-kritiek. * Meer info, archief & anderstalige edities: * http://www.nettime.org/. * Contact: Menno Grootveld (rabotnik at xs4all.nl). From edwardpicot at beeb.net Wed May 24 20:10:21 2006 From: edwardpicot at beeb.net (edwardpicot) Date: Wed, 24 May 2006 19:10:21 +0100 Subject: [NetBehaviour] From zine to screen - The Hyperliterature Exchange, May 2006 Message-ID: <002a01c67f5d$5a7c75f0$cb1d1452@sna123456789> New on The Hyperliterature Exchange for May 2006: a discussion of the digital revolution's impact on the UK's small literary magazines in the UK, including Aesthetica, Birmingham Words, Incwriters and Route. "What makes the digital revolution different from earlier technological advances is that it offers not just a handful of new possibilities - like the new font-faces and graphics which came in with electric typewriters and photocopying - but a bewildering array of them..." To read the whole review, go to http://hyperex.co.uk/reviewezines.php . The Hyperliterature Exchange is an online directory and review of new media literature for sale on the Web. More than 120 works are now listed. Please visit and browse at http://hyperex.co.uk . - Edward Picot personal website - http://edwardpicot.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From james at jwm-art.net Wed May 24 22:54:23 2006 From: james at jwm-art.net (james at jwm-art.net) Date: Wed, 24 May 2006 20:54:23 +0000 Subject: [NetBehaviour] ie ai Message-ID: <6K3kMoNK.1148504063.7978100.james@jwm-art.net> Alan Sondheims "uncanny tour-de-force concentrated on the history of post-classical music in the past century" { http://www.netbehaviour.org/pipermail/netbehaviour/20060521/002768.html }; Latest and last bastardization{ ie_ai.mp3 -> http://www.jwm-art.net/misc/ie_ai.mp3 (1.5 megabytes) ie_ai.wc -> http://www.jwm-art.net/misc/ie_ai.wc (41 kilobytes) }; Previous and first bastardization{ ai_ahuh.mp3 -> http://www.jwm-art.net/misc/ai_ahuh.mp3 (2.9 megabytes) ai_ahuh.wc -> http://www.jwm-art.net/misc/ai_ahuh.wc (19 kilobytes) } jwm->regards(BEST); From lists at stunned.org Thu May 25 15:56:51 2006 From: lists at stunned.org (Conor McGarrigle) Date: Thu, 25 May 2006 14:56:51 +0100 Subject: [NetBehaviour] Google Bono Message-ID: <4475B7A3.1080801@stunned.org> Stunned is pleased to announce the Bono Probability Positioning System version 2 : Google Bono We know that for a visitor to Dublin an important attraction is the possibility that they may see U2 frontman and international celebrity Bono. The Bono Probability Positioning System version 2 : Google Bono (beta) is a mashup utilising Dublin's extensive surveillance camera network in conjunction with facial recognition software, Google Maps and advanced probabilty techniques to allow visitors to determine the probability of seeing Bono in any of the most probable locations in Dublin's city centre in real time. Google Bono http://www.stunned.org/bono/googlebono.htm Stunned http://www.stunned.org From rich at counterwork.co.uk Thu May 25 18:25:24 2006 From: rich at counterwork.co.uk (rich white) Date: Thu, 25 May 2006 17:25:24 +0100 Subject: [NetBehaviour] Venezuelan anger at computer game Message-ID: An embedded and charset-unspecified text was scrubbed... Name: not available URL: From marc.garrett at furtherfield.org Thu May 25 18:46:27 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 25 May 2006 17:46:27 +0100 Subject: [NetBehaviour] Urban Eyes at HTTP Gallery In-Reply-To: References: Message-ID: <4475DF63.1070501@furtherfield.org> HTTP [House of Technologically Termed Praxis] presents Urban Eyes by Marcus Kirsch and Jussi Angesleva Private View: 1st June 2006 7-9pm Exhibition: 1st June - 9th July 2006 Friday- Sunday: 12noon-5pm HTTP Gallery is pleased to present Urban Eyes, an intermedia project by Marcus Kirsch and Jussi Angesleva. Urban Eyes uses wireless technology, birdseeds and city pigeons to reconnect urban dwellers with their surroundings. The Urban Eyes feeding-platform stands in one of London's public spaces. By landing on the platform, pigeons tagged with RFID chips send aerial photographs of their locality to surrounding Bluetooth-enabled devices. In this work pigeons become maverick messengers in the information super-highway, fusing feral and digital networks. HTTP Gallery provides an interface to the project, mixing live and documentary footage and offering visitors an opportunity to experiment with Bluetooth. Being one of the last remaining signs of nature in a metropolis such as London, the urban pigeon population represents a network of ever-changing patterns more complex than anything ever produced by a machine. However pigeons' movements are based on a one-mile radius around their nest. Any pigeon you see everyday shares the same turf as you. Urban Eyes crosses and expands human mobility patterns offering to reconnect you with your neighbourhood. In the 1960s, situationists Debord and Jorn composed psycho-geographic diagrams of Paris, which described navigational systems based on their drift through the city. For this, they used Blondel la Rougery's Plan de Paris a vol d'oiseau, a birds-eye map of Paris. Inspired by this methodology, Urban Eyes enlists our feathered neighbours to establish a connection between this view of the city as now distributed by Google Earth and our terrestrial experience. For more information: http://www.http.uk.net/docs/exhib10/exhibitions10.htm HTTP Gallery: http://www.http.uk.net Furtherfield: http://www.Furtherfield.org This project is supported by Arts Council England (London), V2 lab (Rotterdam, Netherlands) and Furtherfield.org. Supported by Awards for All. From marc.garrett at furtherfield.org Thu May 25 18:55:23 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 25 May 2006 17:55:23 +0100 Subject: [NetBehaviour] The RFID Hacking Underground. In-Reply-To: <000301c67f4b$300eaa20$0100000a@hoogt.local> References: <000301c67f4b$300eaa20$0100000a@hoogt.local> Message-ID: <4475E17B.5070109@furtherfield.org> The RFID Hacking Underground. They can steal your smartcard, lift your passport, jack your car, even clone the chip in your arm. And you won't feel a thing. 5 tales from the RFID-hacking underground. By Annalee Newitz (Wired). James Van Bokkelen is about to be robbed. A wealthy software entrepreneur, Van Bokkelen will be the latest victim of some punk with a laptop. But this won't be an email scam or bank account hack. A skinny 23-year-old named Jonathan Westhues plans to use a cheap, homemade USB device to swipe the office key out of Van Bokkelen's back pocket. "I just need to bump into James and get my hand within a few inches of him," Westhues says. We're shivering in the early spring air outside the offices of Sandstorm, the Internet security company Van Bokkelen runs north of Boston. As Van Bokkelen approaches from the parking lot, Westhues brushes past him. A coil of copper wire flashes briefly in Westhues' palm, then disappears. Van Bokkelen enters the building, and Westhues returns to me. "Let's see if I've got his keys," he says, meaning the signal from Van Bokkelen's smartcard badge. The card contains an RFID sensor chip, which emits a short burst of radio waves when activated by the reader next to Sandstorm's door. If the signal translates into an authorized ID number, the door unlocks. The coil in Westhues' hand is the antenna for the wallet-sized device he calls a cloner, which is currently shoved up his sleeve. The cloner can elicit, record, and mimic signals from smartcard RFID chips. Westhues takes out the device and, using a USB cable, connects it to his laptop and downloads the data from Van Bokkelen's card for processing. Then, satisfied that he has retrieved the code, Westhues switches the cloner from Record mode to Emit. We head to the locked door. "Want me to let you in?" Westhues asks. I nod. He waves the cloner's antenna in front of a black box attached to the wall. The single red LED blinks green. The lock clicks. We walk in and find Van Bokkelen waiting. "See? I just broke into your office!" Westhues says gleefully. "It's so simple." Van Bokkelen, who arranged the robbery "just to see how it works," stares at the antenna in Westhues' hand. He knows that Westhues could have performed his wireless pickpocket maneuver and then returned with the cloner after hours. Westhues could have walked off with tens of thousands of dollars' worth of computer equipment - and possibly source code worth even more. Van Bokkelen mutters, "I always thought this might be a lousy security system." more... http://www.wired.com/wired/archive/14.05/rfid_pr.html From marc.garrett at furtherfield.org Fri May 26 00:59:08 2006 From: marc.garrett at furtherfield.org (marc) Date: Thu, 25 May 2006 23:59:08 +0100 Subject: [NetBehaviour] The Progressive Net Therapist (mp3) the Sam Diaries (Sleazy Art Meetings) In-Reply-To: References: Message-ID: <447636BC.4010401@furtherfield.org> sam_9 Extract from the Sam Diaries (Sleazy Art Meetings) The Progressive Net Therapist Identities are disguised so that they cannot be traced due to the sensitive nature of the material. The voices that you hear are not their real voices. Just click the link below for verbal & txt diary... http://www.furtherfield.org/mgarrett/the_sam_diaries/sleazy9_ley.mp3 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: sam9.jpg Type: image/jpeg Size: 5993 bytes Desc: not available URL: From sondheim at panix.com Fri May 26 03:46:38 2006 From: sondheim at panix.com (Alan Sondheim) Date: Thu, 25 May 2006 21:46:38 -0400 (EDT) Subject: [NetBehaviour] show stuff Message-ID: also http://nikuko.blogspot.com more show stuff ii resonant subspecies and wolf notes http://www.asondheim.org/dannce1.mp3 http://www.asondheim.org/dannce2.mp3 can't be beat for the beauty of 'em - alan From play at ubermorgen.com Fri May 26 15:55:01 2006 From: play at ubermorgen.com (Hans Bernhard) Date: Fri, 26 May 2006 15:55:01 +0200 Subject: [NetBehaviour] UBERMORGEN.COM necessary - 26.5.2006 Message-ID: <94FC8FEE-2C56-4E24-BC4E-C22E4E676D95@ubermorgen.com> UBERMORGEN.COM necessary - 26.5.2006 We are happy to announce Solo-Exhibitions in Dortmund (Hartware Medienkunstverein) and Copenhagen (Overgaden Contemporary Art Institute) and Group-Shows in Chicago, Nairobi, Naples and Madrid. Media coverage on the GWEI - Google Will Eat Itself Project and exhibitions was great this month (Flash Art, Springerin, ARTE, DE:BUG, BR and NDR - German television, Digicult, Neural Magazine, New York Art Magazine, Mazine, Index, Rhizome) . The etoy.holding finally (after 5 years of legal battle) received the definite European-Trademark for the name "etoy". From now on, the etoy.holding is patrolling the European Union for trademark abuses. With UBERMORGEN.COM we have some new projects in the pipeline, "AnuScan" and "ART FID My ..." paintings, MACHINIMA No. 1 - No. 4 (DVD), and a new collaborative project feat. Paolo Cirio and Alessandro Ludovico dealing with Amazon.com Books. Additional to that we work on a 2007-project dealing with "Chinese Gold Farming". The "Foriginal Media Hack No. 1" (happyslapping) of a police officer mayday 2006 in Berlin was flat out over the top, thanks for beating the shit out of us... sometimes we need it, desperately. We thank the Stunt-Team Mazzotti Action ("V for Vendetta" by the Wachowski Bros and "The Pianist" by Roman Polanski). And just some last minute news... we won the prestigious Edith-Russ-Haus Stipendium (Oldenburg, Germany) for Media Art (endowed with 10.000 Euros). Please find all details, dates and links, in the attached "necessary listing" including the extended version of Domenico Quarantas text about the Psych|OS series and on ART FID in english and a link to the german translation by Inke Arns. Hugs, Lizvlx, Hans Bernhard & Billie-Ada --- UBERMORGEN.COM necessary listing 26.5.2006 --- Hartware Medienkunstverein (HMKV), Dortmund (Germany) Solo-Exhibition "ART FID Foriginals" Authenticity as consensual hallucination Phoenix Halle, 27 May - 16 July 2006 curated by Inke Arns, (Junior Curator: Francis Hunger) http://www.hmkv.de/dyn/d_programm_ausstellungen/detail.php? nr=1050&rubric=ausstellungen& http://www.hansbernhard.com/X/pages/painting/pages/ARTFID_my_object.html http://www.hansbernhard.com/X/pages/seals/pages/ARTFID.html http://www.ubermorgen.com/publications/HMKV_2006/ Lilly_controls_foriginal_d.pdf http://www.ubermorgen.com/publications/HMKV_2006/ Lilly_controls_my_foriginal_ext.html --- Overgaden Contemporary Art Institute, Copenhagen (Denmark) Solo-Exhibition "Foriginals - Authenticity as consensual hallucination" including a collaborative piece Heath Bunting vs. UBERMORGEN.COM: ?dayplandrugblog. two ways to live your life as a (former) net artist? Opening, June 14, 2006 curated by Jacob Lillemose http://www.overgaden.org http://www.hansbernhard.com/X/pages/seals/ http://www.ubermorgen.com/hansbernhardblog http://www.ubermorgen.com/psychos --- Springerin Article on GWEI - Google Will Eat Itself Deutsch http://www.springerin.at/dyn/heft.php?id=47&pos=1&textid=1756&lang=de English http://www.springerin.at/dyn/heft.php?id=47&pos=1&textid=1756&lang=en --- Foriginal Media Hack No. 1 UBERMORGEN.COM declared this found footage video to be an actionist art piece. a physical manifestation that is to be viewed as a document of the art. Documentation & Video under: http://www.foriginal.com/no1 a collaborative project with Mazzotti Action. http://www.amazzotti.com --- The etoy.holding finally receives the EU-Trademark (covering the all 25 countries of the European Union) for the name "etoy". http://oami.europa.eu (search for "etoy"). --- Alliance Francaise, Nairobi (Kenya) "Economy Class" Group-Exhibition "Psych|OS Hans No. 2 (psychos_hans_02.jpg)" http://www.hansbernhard.com/X/pages/photo/pages/psychos_hans.html --- UBERMORGEN.COM MACHINIMA, 2006 Filmed from Screen, online version in black/white (Gallery version in color), high contrast, on 1/first take. UBERMORGEN.COM MACHINIMA NO. 1 Play&Win 1.0.1 UBERMORGEN.COM MACHINIMA NO. 2 Pac the Man X 1.0.4a UBERMORGEN.COM MACHINIMA NO. 3 Ladybugs 1.0 UBERMORGEN.COM MACHINIMA NO. 4 Blackjack Gold 1.2.1 http://www.ubermorgen.com/2006/projects/machinima.html --- NEW: "ART FID My ..." painting series, 2006 http://www.hansbernhard.com/X/pages/painting/pages/ARTFID_my_object.html NEW: ART FID Seal, 2006 http://www.hansbernhard.com/X/pages/seals/pages/ARTFID.html NEW: AnuScan painting series, 2006 coming soon, meanwhile check out the web-painting "AnuScan" http://www.AnuScan.com NEW Chinese Gold - Photographs, 2006 http://www.ubermorgen.com/2006/projects/Chinese_Gold/ --- Stipendium Edith Russ Site for Media Art Edith-Ru?-Haus f?r Medienkunst Leitung / Artistic Director Sabine Himmelsbach http://www.edith-russ-haus.de --- Psychotropic Blog Karaoke Winner of Sitespecific.it Award Music by Abe Linkoln (ABE & MO SING THE BLOGS) http://www.ubermorgen.com/Psychotropic_Drug_Karaoke http://www.sitespecific.it/en/monoroom/bernhard.html http://www.ubermorgen.com/hansbernhardblog http://artport.whitney.org/gatepages/january06.shtml --- Lilly controls my Foriginals Domenico Quaranta In the projects series called Psych|OS, the Austrian artist duo UBERMORGEN.COM (lizvlx/Hans Bernhard) is working on the subtle membrane that connects the digital and the biological: a mix that UBERMORGEN.COM, an identity that lives and works on the Net, experienced on their own bodies. One of the best-known exponents of the net.art scene, UBERMORGEN.COM are the theorists of digital actionism, a radical practice of artistic action which experiments on the market of attention and takes place in mass media. The most astonishing result of this kind of practice so far has been Vote-Auction (2000), a web site that, during the American presidential elections 2000, helped people sell their vote in an auction. The legal prosecution against UBERMORGEN.COM, and the media hysteria it produced, are an integral part of the whole project. During this mass-media-performance, UBERMORGEN.COM were interviewed up to 30 times per day. CNN produced a 30 minutes show on the project in their legal format Burden of Proof. In this feature, UBERMORGEN.COM never comment on whether the project was a real threat to the integrity of the U.S. election or wheter it was a political satire. In the mass media storm, the digital actionist works with her whole body, as well as part and victim of the network around her. ?We are children of the 1980s, We are the first internet-pop-generation... Hans Bernhard is loaded with 10 years of internet & tech [digital cocaine], mass media hacking, underground techno, hardcore [illegal] drugs, rock&roll lifestyle and net.art jet set...?. Hans Bernhard`s neuronal networks are connected to the global network, and his mental illness ? the bipolar affective disorder that in March 2002 sent him to a mental hospital ? is the network's illness. The video called Psych|OS (2005) sums up that experience, in which those two levels ? digital and real, bio & tech, nervous system and operative system ? merge. This nervous system, infected by the hi-tech, needs a treatment, and the hi-tech society prescribes its remedies, ?bio-chemical 'agents' which control the internal information flow?. Olanzapine, an antipsychotic drug produced by the pharmaceutical company Eli Lilly as Zyprexa?, is one of these agents. In the digital prints Zyprexa ?Lilly 1112? and Zyprexa ?Lilly 4117? (2006), UBERMORGEN.COM paints the drug molecular structure, but during this translation process the molecule discovers to be made by bits. ?Just pixels on a screen, just ink on paper?, like Foriginals (forged originals), the conceptual device UBERMORGEN.COM uses to change legal documents into legal art. The statement ?Lilly controls my Foriginals? ? a declaration of poetics that seems to be a declaration of love, used as title for the recent personal show UBERMORGEN.COM had in Brescia, Italy - comes from here. ?Lilly controls my Foriginals? means ?Lilly controls my artistic work?, where Lilly just seems to be a woman?s name, is in fact the name of a pharmaceutical company. Lilly ?controls?, inspires as well as oversees, supervises the contact between my brain and my hard drive. The Psych|OS Generator (2006) is the literal application of this kind of control: a piece of software that asks the user about the symptoms of her disease and provides her with a remedy, in the form of a "forged original? medical prescription. On the one hand, UBERMORGEN.COM seems to underline the irresistible analogy between the implications that have led to illness and the prescriptions provided to again recover one?s health ? once again, technology is at the same time the disease and the remedy for a body living in the networks. On the other hand, we have to take into account the elements of dadaist randomness, of irony, of irrationality expressed through a mathematical algorithm implied in the very form of the ?generator?. The situation appears to be something like a forced heir of the hat out of which Tristan Tzara picked his poems, a tradition that UBERMORGEN.COM, who have performed in the Cabaret Voltaire in Z?rich, know very well. The digital environment we live in makes us fall ill and prescribes us its remedies; but in the same time technology, as a medium of expression, is a real remedy. This concept can be extended to the blog recently launched by UBERMORGEN.COM, the hansbernhardblog (2006): a masterpiece of ?digital intimism?, in which Hans Bernhard subverts the form of blog, confronting the baroque sentimentalism of the confession with the cold minimalism of the remedy: that is, talking about himself through the simple itemizing of the substances he gets every day to keep under control his widespread mind. UBERMORGEN.COM?s focus on ?the pixel as the molecule? and technology as a hidden demon relates also to the technology industries newest gadgets -- RFID (Radio Frequency Identification) chips are one of the leading technologies of the future: an identification system that can collect diverse information about the products it is attached to as well as the person that has made purchase of the product. We can read in Wikipedia: "an RFID tag is a small object that can be attached to or incorporated into a product, animal, or person. RFID tags contain silicon chips and antennas to enable them to receive and respond to radio-frequency queries from an RFID transceiver?. It is, in short, a kind of digital DNA, usually used as an evolved substitute of the bar code, but able to be used for a long list of applications. It can be implanted under the skin, and from a formal point of view, it reveals an organic structure, surprisingly similar to a cellular structure. The ART FID (2005) series features some digital prints on canvas which portray, magnified on a monochrome background, the structure of some round RFID chips. We feel like to be in front of some kind of monocellular being (a virus?), or a molecule seen through a microscope. First step: from chip to molecule. But its photographic picture, enlarged as to reach the scale of a pop icon (are the RFID chips the Campbell's Soup Can of the XXI century?), unveils another nature, neither silicon nor molecular, but digital. Second step: from molecule to pixel. But there's something more. The ART FID series have been shown for the first time during ART 36 Basel, announced by a press release ? a media hack in pure UBERMORGEN.COM's style ? talking about an experimental initiative by the same Art Basel: the introduction of the RFID technologies into the art system, providing visitors immediate access to information about all artistic works being presented, as well as access fot gallerists into the financial situation and the purchasing power of potential buyers. Third step: from pixel to individual and social body. In other words, with the ART FID (2005) series UBERMORGEN.COM tells us ? using the visual impact of a suprematist painting - about this mix between biotechnologies and digital technologies, and between hardware, software and wetware: a neverending overlapping of contiguous levels that is shaping our identity, and that, by now, already shaped UBERMORGEN.COM's one. English Version Online: http://www.ubermorgen.com/publications/HMKV_2006/ Lilly_controls_my_foriginal_ext.html Deutsche Version (Translation Inke Arns): http://www.ubermorgen.com/publications/HMKV_2006/ Lilly_controls_foriginal_d.pdf --- UBERMORGEN.COM and its projects and exhibitions are currently supported by the City of Vienna (Austria), Mana/Netznetz.net, Vienna (Austria), the BKA - Bundeskanzleramt (Austria), Pro Helvetia, BKA - Bundesamt fuer Kommunikation (Switzerland), the Edith Russ Site for Media Art, Oldenburg (Germany) and the Austrian Embassy in Denmark and last but not least, [plug:in] Basel (Switzerland). --- Hans Bernhard UBERMORGEN.COM / etoy.holding Skype Hans_Bernhard Studio +43 1 236 19 85 Mobile +43 650 930 00 61 Email hans at ubermorgen.com http://www.ubermorgen.com http://www.gwei.org Hans Bernhard UBERMORGEN.COM / etoy.holding Skype Hans_Bernhard Studio +43 1 236 19 85 Mobile +43 650 930 00 61 Email hans at ubermorgen.com http://www.ubermorgen.com From netwurker at hotkey.net.au Sat May 27 07:11:44 2006 From: netwurker at hotkey.net.au (_vvire.us_) Date: Sat, 27 May 2006 15:11:44 +1000 Subject: [NetBehaviour] c[s]yn[(es)thet]ic*ism_triage Message-ID: <7.0.1.0.1.20060527151059.01bab3d0@hotkey.net.au> _____________________________________________ c[s]yn[(es)thet]ic*ism_triage 02:38pm 27/05/2006 _____________________________________________ a:...c[s]yn[(es)thet]icism flattened in2 a greasy fra[daptation.a]gility skin .....[slim_lin[psych]e_coughing_boys_aligning_mingled_n_sides] b:...architectural heartbeats slowly fo[a|]rm[+leg(i)g(acycle)]ing .....[p(ai)r(b)o(nd)seedural_aching] c:...desire castles + carnality br[(e)ake][th]ick[y]s .....[r[ipp(l)ed+delicate_painted]eplacement_l(over)ayers] -- ______________________________________________ Robot_Narrative_[re:ad:er]Construction [(p)Re_Ver(b)se(ly).Engineered.Story.Bo(a)r(d)ed] 08:38am 26/05/2006 ______________________________________________ .DCRs [Dense Crumpling Robots] Drowning in SCTs [Sympathy Connectors Tick] . .LERs [Low Echolocator Rumbler] Invoked through RTSs [Reddening Twitch Switcher] . .EDRBs [Empathy DisReader Bomb] Spreading via: - Self Destruct sub-classes including: DHGs [Dead Header Golem] & BOFs [Blown Off Footer] - FIBAGDs [Flailing Iconic Boxes containing Aniconic God(dard) Dust] Oscillations - Fingered & Flowing E|BCMWs [E/Bony Case ManoWareuverer] - SCS [Sentient Circuitry Sediment] Settling in FLRFs [Flesh Lust Rust Flakes] - Time Delayers routed to PSCGs [Polymer Sheen Casketed Gasket] - DAPs [Distance Array Placement] Dancing Within LCBYs [Lesion Cable Burn Yearner] - Shelled PMC|Ds [Predator Machine Con/Destructs - see: Self-Destruct sub-classes] . .Engage PLDLSs [Phonic.Lip.Decay.Loop.Stop] -- _____________________________________________________ _cl[ph]one[y]r::[was: my.Man.Ray.Eyes] 08:00am 26/05/2006 _____________________________________________________ ::[re]cl[aim]oned.past.n.tri.es_s[h]immering:: 1.__ SOR[e.ness.summoned.under.reject.skin] [soar(ring.tonals.p(2p)late.down.+Man(a).Ray.eyes] [sore(head.(my)space.eating.x.press(this.co-opt.button)] [the_s(t)im(ulu)s.function+sculpt.virtual(object_response)s] _OOp[s] _[b(ull)ritney.s(hit)pears_vs_peeping.toms] _stimulus-response (S-R or SR) correlation = (emp, bt[y]) 2._______ _[co]n_scriptor||modulator .hollow.social.channel.funnel||ling. .project.friendliness.thru.glazed.distanced.[finished].[Sam]Beck[oning]ett.lines .learn2_m_ask. .old.crinkled.yearnings.mirrorballed+broken.in.echoed.sympathy.diggings 3.____________ >>>>>robo[_M_pathe]tic.connector>echolo[w.invo(iced)]>cation< >>>>>twitch.[S_W]itches.bombed.[SP]re[a]ding_dead.head[er.|.blown.off(ing).footer< >>>>>oscillation.in.flailing.[AN]iconic.boxes< >>>>>fingered.[E]bony.cases.m[FL](r)o[W]v{ur}(e)ing< >>>>>circuitry.senti[M]ent.l[R]ust.[F]lakes< >>>>>time[D]laid+polymer.sheen.c[G]a.s[e]k[r]eted< >>>>>d[ist]ance.array.placements.+[F]les[H]ion.capable.burn.yearnings< >>>>>[S]helled.preda[S]tor[Y].mach[5]in[(ci(ni)ma].con[D]structs< __________[phonic_lips]_______________[stop] -- ______________________________________ _p[ersona]unctured_ 06:25am 25/05/2006 ______________________________________ -- com.press[tenderly>here<]ion fungus + byte.rot screen.r[fake.(umberto)eco.system]eel.es[cala]t[e]ating + severed.binary.[b]so[t]ds -- -- ______________________________________________________ _hip[grind].hop[portunity.re.(a)genda.shop] 08:32am 20/05/2006 ______________________________________________________ .....r + b........ .....[ebon(icall)y.gender.strats+r[d.f]enders] .....[slavery.re.(w)rit(es)ualised.in.coded.self.horra.bling.ness] .....[trajectories.of.poke.worth+lipstick.coined.wants] ...[r_age+b_lack(y)ness.transposed. songs.etched.in.bigotted.g(l)ossips. meta[l].teethings. biological.pairing.urges.transposed.2.dollah.c(unt)ommodifications. girl.toys+.disjunctive.bo(y)d.mods. powa.droppings.in.sex.potted.vampings. plastic.y({j}un{k]c)outh.per(n)fections. idealisations.via.bro.lurve.+.sis.fucking(ova.acceptable.+sanctified). throwaway.p({i}g)ene.trations +used.up.dis.[red + yellow]cards.by.21+ness. wrinkled.man.$.drenched.voyeurs.trapped.in.oiled.skin.booty.cosmetics. hair_hot_key_ straightened. vicious.polymer.glazes... ie: .n.ternalised_hip.hop_economic.pred.u.juice. .fuck.worth.smeared.in.biatch.usability.functions+.b[ling]oyed.gun.capital. .crew.homieness.replacing.p.art.nershipping. -- _____________________________________________________ _call[ing.thru.the.ember.leaves]oused.dream.whispers_ 08:28am 19/05/2006 _____________________________________________________ #[rattle+hu]m.p.t.y.[dumb.Tee(n)]hovering.narrative.defacements# --------------------[wish.(so)f(t)airie.{in.the}(d.)tails]------ ....x| .....RE[dis]M[embering].cereb[in.th]ral[l].digit[al].screeches.... .....memory.rubber.backed.chairs.standing.all_oscine_like......... .....|c[m]or[b]|(li)v||idity|covered|imagined|ocean.[s]tipp[l]ing. . .. ....y| #ar[gh].kane[+able.bodied].ness.in.same.ness# ------------------[3-D-cel[f]l.layering.] ------------------[LaTeX.wurdlace_veiling] ------------------[grey.pe(a)r|l(ust)ed] ------------------[LyRiCa.U.L.Br|L.eakage] . . ............purse.on:[|off.lips]ali[ni]t[ear]y.tri[ed]_drippings. . .. ....x| .....[lying.in.a.p(r)u(ss{ian}et)lsing.un(_).(_hand_)m(e_pls_)aid_._bed] .....[lying.in.an.unmade.pulsing.bed] .....[russet.(navel)gaze.stains] .....[_please.unhand....me....please............*please*............................................................................................ ....x| -- ________________________________________ mercury_pro[sensory]file 09:14am 13/05/2006 ________________________________________ _[liqu]id.mercury.s[w.ea]t.o.mach[5].d[.r.].i.p.[ping]s _[d.]sil[fe]ver[ed]_ch[fl|r]es[h]t.in.[g(ot{h})]lets . .x[water]y.quicke.n.i.n.gs.+.transitionary.positi[ve]ngs .f[l|h]itting_d[p(rop|)l]e(t.re)[asure.n.te]nsity . .rapture.m[w]elt[s]_in_g[c|m]olde[m|]n.[blood]vessels. -- _thick.memoir.cableing.nost[||neur]algia.bloody_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . From sondheim at panix.com Sat May 27 07:33:59 2006 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 27 May 2006 01:33:59 -0400 (EDT) Subject: [NetBehaviour] Commentary, Visuddhi Magga Message-ID: Commentary, Visuddhi Magga "Next, after he has put on his waist cloth as one who hides an abscess, and tied his waist band as one who ties a bandage on a wound, and robed himself in his upper robes as one who hides a skeleton, and takes out his bowl as one who takes out a pan for medicine, when he reaches the vicinity of the village gate, perhaps the sight of an elephant's carcase, a horse's carcase, a buffalo's carcase, a human carcase, a snake's carcase, or a dog's carcase, awaits him, and not only that but he has to suffer his nose to be assailed by the smell of them." - from Visuddhi Magga, The Path of Purification, by Buddhaghosa, trans. Nanamoli. "And thus, bhikkhu, what is enlightenment, what is the cessation of suf- fering, in the body that suffers, that does not comprehend what it does or does not suffer, which no longer understands beyond the pain of the wound, the disease? What is to be done with senescence, with delirium, with decay within which the name is no longer spoken, the ears no longer hear, the eyes no longer see, the mind no longer remembers the paths of meditation, nor does not remember to forget them, nor forget to remember them? And what, bhikkhu, if I am not in my right mind, if I am subject to such visions that I am the subject of such visions, if such visions are the breadth and depth of my world? What is then enlightenment, all but forgot- ten in the quagmire of nightmare which does not abandon me in the light of day? What then? What if it is the decay of my body that forms the decay of my body and the decay of my mind? What if, near death, I am not conscious of death, not conscious of world and non-world, not conscious of Buddha and non-Buddha, not conscious of dhamma, what then? For are we not always of this path of deterioration, of mental incapacity, of sickness unto death, are we not always of this path of inconceivability, impossibility, of such illness that the mind no longer speaks, nor thinks, nor imagines, nor dreams? And what is an exception to this, and what is the norm of this? And what are the vagaries of fevers, that nothing remains in focus, that pain cannot be banished from pain, what then? And must we not drive our body and our mind, but drive them just so far, before the limit and degree of cessation, before right-mind is lost, before dependent origina- tion is no longer cause for concern, no longer understood, spoken, in and out of mind, present and non-present, remembered and forgotten? Do we not teeter on the edge of the abyss before all is lost, before sickness car- ries us to the nonsense of meditation, the absurdity of absurdity? Are we not driven by our own instincts to crawl upon the earth, to swallow it, in order to remain alive, our mind no longer thinking, no longer ours, yours, no longer not-ours, not yours? What is enlightenment, what can be done, when there is nothing to be done, no one to be doing, no thing, no doing, but not language, memory, meditation, state, paradox, consciousness, dream, unconsciousness, nothing, not even the annihilation of death, not even cessation, not even the cessation of cessation, what then? For then there shall be no speaking, no asking, no remembering, no chanting, no meditation, no dreaming, no forgetting? And what then? For then there shall be pain, no pain, and what then? Mind disappears into ignorance, ignorance disappears. Why, bhikkhu, is there enlightenment at one time and not another? Why must one be healthy, or unhealthy, or hungry, or of satiation, or thirsty, or fulfilled? Why must one negate all desires, or negate none of them? Why enlightenment? Why purity, and why not impurity? When impurity breeds impurity, when ought is pure? When purity breeds purity, when ought is impure? Of what use, what concern, bhikkhu? When one no longer speaks of these things, when one can no longer speak of these things, when one can no longer speak, when nothing at all, what then? "There are here in the Victor's Dispensation "Seekers gone forth from home to homelessness, "And who although desiring purity "Have no right knowledge of the sure straight way --" And what, bhikkhu, given all that I have said and thought, what if there is no knowledge, no right knowledge, no false knowledge, what of sickness and unthinking, what of dementia and no rightness, what if there is no way, what if there is no straightness, if the eye cannot see, the ear cannot hear, the mind cannot think, cannot unthinking, cannot desire purity or impurity, cannot desire, what if there is no mindfulness, what if there is no home? What then, bhikkhu, what then? From sondheim at panix.com Sat May 27 21:29:34 2006 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 27 May 2006 15:29:34 -0400 (EDT) Subject: [NetBehaviour] em/bedded tonight Message-ID: em/bedded opening tonight please come yes yes yes you're not here and it's memorial day weekend and the kids well you know the kids but the show's worth it worth throwing everything away just to get here just to watch the action admire the art sing along with the audio mimic the video if you're in the mood we're in the mood http://www.asondheim.org/jigjog.mp4 and we're open until june 24th em/bedded Track 16 Gallery 2525 Michigan Ave - that's Bergamot Station just off the 10 - exit at Cloverfield take a right then the next right - that's Michigan go as far as you can - the end of the block go slow over the speedbump into Bergamot take a left through the parking lot go to the end towards the large building on the right that's Track 16 - enter in the front - where the sign is you'll find your way from there - Santa Monica, CA - telephone 310 264 4678 From sondheim at panix.com Sun May 28 13:58:03 2006 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 28 May 2006 07:58:03 -0400 (EDT) Subject: [NetBehaviour] Track 16 Performance Text May 27 06 Message-ID: Track 16 Performance Text May 27 06 (Real-time typing/improvisation laptop performance with A/V files. We had a fine audience.) ST this is an 'abrupt start' usually i begin outside a gallery context or in some other context, this is a difficult situation, after all the gallery's overdetermined i went to the Joan Jonas show today and for the past few days hope you saw it - by the way the image above is the Ukrainian revolution - anyway - the show was about memory and display and masquerade and gender but it was also about $180000, I think that's the right amount of zeroes, well that doesn' t matter but I'd have liked to have a copy of the DVD - artists tend to exchange dvds and poetry books (we're all fucking poor) and here within the institutionalization (love that word, it's like deterritorialization) of the gallery system we're barred, so damnit we should go ihn, but the show's closed and then - oh, the mp3's almost over - and make a bootleg of Jonas anyway if anyone has a bootleg we'll pay about ten dollars for it that's twice the new york street price - so - the doctor piece usually comes up later - somehwere about halfway through the piece - it just appeared early this time, i'm sorry, i hope it doesn't throw you off - it takes a while, I'm beginning but just beginning -- to sink into the images - that is, it's cranial - something will emerge, it might just take a while, please be patient and if not, well you've waisted only a little bit of time - every so often we try and _get on the screen _ = make some sort of connection - what this work is about, this work in general, screen images, that's all you're seeing here - connected with bodies in displayed or inconceivable positions - bodies appearing out of nowhere - bodies representative of empire - of broken desire - of things gone horribly wrong - if you read the history of the late roman empire - it becomes a history of chains, of tortures, of factions each intent on ravaging countrysides - it's not true people can live through anything - agriculture must have been destoryed - all for foreign wars - these were in - these were in main for the most part - Iraq - Persia then - toomany resources - what was going onat home - rome wasn't the ceneter any more - there were lots of emperors doing the MISSION ACCOMPLISHED bit back then - most of them were killed falling on their own swords - the Goths came in - other groups - that was about i t- now - it's about the same thing - different weapons -d own from the analog to the digital - things coming apart in pieces - inconceivable fucking -- bodies in untoward positions - there's no return - you just can't make heads like this can you? unless you're at war in which case you can make them any way you want - Azure (on the right thank god) is dancing - you can hear her footsteps - so what - so what you're hearing - what's coming through - is radio - radio waves - this show is about transmissions - emissions - radiations - pollutions - so you're listening - that's the radio - the white box - you can hear very low frequency radio - she's interfering with the planhte' planet's atmosphere - literally - changing the radio patterning - that's what you're listening to - this is the sound - all of this - of the field telephone - in the tent in front of you - connected to Leslie Thornton's tent in the other room - when the batteries are in it - I shipped the batteries - they exploded on the way here - i didn't know it - I unpacked them - my hands were covered with acid, well I thought, we should just LOOK at them - this is a true story by the way - I don't know if you're paying attention - oh oh the phone , the tiny phone in the tent, loves listening to itself, it can finally have a mirror, it can say - this is what I sound like, LISTEN TO ME! - across the country we looked for places to record very low frequency radio - you have to be away from civilizaiton, specificlly the power grid - the electircal grid which interferes with it - that's what we're doing - going wherever ther's not that buzz, that interfering buzz - in any case - and in this image - in this image - there's something taken aparet - there's - a distortion, tension in the fac e- the face can be pulled apart - whjen you play: 1. war 2. digital you can pull apart faces. Now I'm not saying that war = digital = botox nothing like that - but that all of these - it's like character trates - this is the conclusion of a silent film which I thought you might enjoy since th eonly voice here is my own - if yo haven't been in the trolley car - but first, notice the masts in the water - this is a sunken lightship off brooklyn - this is an `897 trolley - that's eighteen ninety seven - trolleys keep following me - they're the subject of this space - of bergamot - this is being moved - it's an electricla trolley - a book in the case - actually case two I think maybe not - in the room on the left - is called Benedict Arnold and is part of the Electrical Series - I think 1858 - not sure of the date - it's next to a very old 1897 or thereabouts telegraph receiver - these are I think maybe in the same case? as the spinthariscope which contains radium from 1903 just around when it was discovered - the thing still works - and in the next cage - older analog behaviors - there are slides, perhaps you've noticed them? of tuberculosis, diptheria, plague, I forget the rest - things that rot your insides out, parasites, dead men walking - I think the slides are harmless now - I hope so, I've been handling them - they've been leaking - it's always worth while: DOUBLE YOUR YODEL (this is an aside) (to what?) - here comes Azure and myself at home - you can see we're losing focus here - but at least, wow what modelling!!! - the performer on the right - she'll be out in a moment - she's not performing - she's tuning - the sound - is from work I've done - somewhere in NY - not NYC - somewhere else - it's Anja Schmidt - who - I think - can become trance/en-tranced/entranced quickly - you will have to wait - it's there - there's always smething in the ditgital domain - iv'e worked with dancers - continue to work with dancers - first, dance is something I can't do - I'm impossible, I can't move at all - I'm traumatized - it's like war - it's like Speer walking round and round the prison after the war - I admire people who can move - who are free to move - who don't worry about it - who don't think about it - so I hve these opportunities - it's as if the world were murmuring - somewhere else beyond slaughter - somewhere into water - that is Maud dancing below - she gets tired - she repeatss herself - she can't continue repeating herself - she falls out - falls over - falls into line - falls out of favor - what fascinates me - in other words - is always, everywhere, the inconceivable - what possibilities exist beyond possibilities - what nestings are possible - for example - within the tents - within the fabric of the tents - outside the realm - of any other possibilities - outside the realm of slaughter - if I could assassinate - if I had the courage - I'd put an end to things - but behind every killer is another killer - I admit freely here - I'm a coward - I'm afraid of pain - afraid of killing - I wouldn't know how - wouldn't know what I was doing.... - this is radio radio - this is antennta azure - this is the sound of atmosphere - this is the fury of wire - and this - moreso - this is Foofwa d'Imobilite - working the wire - the same wire - it's antenna connected to vlf to recording device to speaker back into room back into wire vibration - so where were we = within the analog realm of the real, nothing but slaughter: NOTHING but slaughter - within the digital realm of the real - REAL not VIRTUAL - nothing but REARRANGEMENT - tensor calculus - inconceivability - it returns to slaughter with a longer loop - this show is called em/bedded - em/bedded with slaughter, bedded with slaughter - embedded in Iraq - following the troops of Rome into Persia - into slaughter - into inconceivable analog torture - EM/bedded - that dash or hyphen of the typographical - dividing words - leading you on - crashing against itself - as if there were somewhere to go - there's nowhere to go - I do hope you like the show - why am I here at this point? - this is where I'd rather be - THIS is where I'd rather be - by the way we're NOT in the trolley car now - there are usually two more projections ther e- if you haven't wandered in - this is somewhere else - what I can do - while speices are being slaughtered (three to four an hour, the verdict's not clear) - I can combine things - just as here - as if babies could do that: think of it - babies can't do that - CAN'T do that - but dancers CAN do that - and I can't do much of anything - earl Earl Earl Earlier today I saw the Joan Jonas shhow again and - what was amazing, I thought, she's an artist, it's made to look easy, she's breathing that way - it's that way so smooth - kind of like Coleridge in fact thought about Wordsworth but that's another sotry - and then I thought - kind of like Coleridge - perhaps I should give up art altogether - at least this THIS kind of art - which makes no money and is CONTRIVED in relation to Joan Jonas - at least in relation to her =- and is orders of magnitue smaller than one hundred eighty thousand UNITED STATES DOLLARS - so then, well, I'd give away the dvds... that's US on the right, and PREFAB on the left.... AND THANK YOU FOR COMING AND HOPE YOU ENJOY THE REST OF THE SHOW - From xavier.cahen at pourinfos.org Fri May 26 10:44:38 2006 From: xavier.cahen at pourinfos.org (xavier cahen pourinfos.org) Date: Fri, 26 May 2006 10:44:38 +0200 Subject: [NetBehaviour] pourinfos Newsletter / 05-25 to 05-31-2006 Message-ID: <4476BFF6.7050409@pourinfos.org> pourinfos.org l'actualit? du monde de l'art / daily Art news ----------------------------------------------------------------------- From Thursday May 25, 2006 to Wednesday May 31, 2006 (included) ------------------------------------------------------------------- (mostly in french) @ 001 (25/05/2006) Various : the letter of d'ECOUTE_QUE_CO?TE, Radiophonic Workshop, Paris, France. http://pourinfos.org/index.php?art=33215 -------------------------------------------------------------------- @ 002 (25/05/2006) Exhibition : Absurdos Paralelos, Ana Patricia Palacios, Museo de Arte Moderno de Bogot?, Bogot?, Colombia. http://pourinfos.org/index.php?art=33220 -------------------------------------------------------------------- @ 003 (25/05/2006) Publication : runway issue seven :copy , independent artist-run magazine , Strawberry Hills, Australia. http://pourinfos.org/index.php?art=33231 -------------------------------------------------------------------- @ 004 (25/05/2006) Call : circulations 2006, Caravan caf?, Antibes, France. http://pourinfos.org/index.php?art=33237 -------------------------------------------------------------------- @ 005 (25/05/2006) Call : ?Arts in the city?, Direction of the Cultural Action of the town of Pontault-Combault , Pontault-Combault, France. http://pourinfos.org/index.php?art=33238 -------------------------------------------------------------------- @ 006 (25/05/2006) Call : Experimenta New Visions Commissions 2006, Melbourne, Australia. http://pourinfos.org/index.php?art=33239 -------------------------------------------------------------------- @ 007 (25/05/2006) Call : INPORT - IV International Video-Performance Art Festival, Tallinn, Estonia. http://pourinfos.org/index.php?art=33241 -------------------------------------------------------------------- @ 008 (25/05/2006) Call : new performance and video work, Cine Capellini, New York, Usa. http://pourinfos.org/index.php?art=33242 -------------------------------------------------------------------- @ 009 (26/05/2006) Meetings : AREAS OF the CONTEMPORARY ART, 26 and May 27, MIX ART MYRYS, Toulouse, France. http://pourinfos.org/index.php?art=3043 -------------------------------------------------------------------- @ 010 (26/05/2006) Meetings : Low Lights #02, May 26, 2006, Association Basses Lumi?res, Mains d'oeuvres, Saint-Ouen, France. http://pourinfos.org/index.php?art=33142 -------------------------------------------------------------------- @ 011 (26/05/2006) Meetings : Contemporary English poetry, Friday May 26, 2006, international center of Marseilles poetry, Marseille, France. http://pourinfos.org/index.php?art=33145 -------------------------------------------------------------------- @ 012 (26/05/2006) Meetings: Do you love Brahms? /Dopebase, 26 and di May 27, 2006, laB-o sonore - Mus?e d'Art Contemporain de Lyon, Lyon, France. http://pourinfos.org/index.php?art=33172 -------------------------------------------------------------------- @ 013 (26/05/2006) Exhibition : The place of utopia, Frederica Marangoni, ISTITUTO ITALIANO DI CULTURA, Madrid, Spain. http://pourinfos.org/index.php?art=33194 -------------------------------------------------------------------- @ 014 (27/05/2006) Program : LA MACHINANTE FACTORY, La Machinante MOntreuil, Montreuil, France. http://pourinfos.org/index.php?art=33141 -------------------------------------------------------------------- @ 015 (27/05/2006) Various : Pierre Malphettes, Radiogram, monthly program of radiophonic meetings, Frac Provence-Alpes-C?te d?Azur, Marseille, France. http://pourinfos.org/index.php?art=33217 -------------------------------------------------------------------- @ 016 (28/05/2006) Performance : Les OPA, VINCENT+FERIA, exposition Ambulantes Mus?e de l'Ouest, Catia, Caracas, Venezuela. http://pourinfos.org/index.php?art=33200 -------------------------------------------------------------------- @ 017 (28/05/2006) Screening : William Kentridge, Zelimir Zilnik, le 28 mai 2006, Public Space With A Roof, Amsterdam, Netherlands. http://pourinfos.org/index.php?art=33225 -------------------------------------------------------------------- @ 018 (29/05/2006) Publication : Influence, Nuke Magazine #3, Nuke, chez colette, Paris, France. http://pourinfos.org/index.php?art=33179 -------------------------------------------------------------------- @ 019 (30/05/2006) Meetings : ?The woman does not miss anything?, Lucile Charliac, seminars 2006 cycles psychoanalysis, Tuesday May 30, 2006, Maison Populaire, Montreuil, France. http://pourinfos.org/index.php?art=33234 -------------------------------------------------------------------- @ 020 The artist and his ?models?. Jean-Claude Moineau http://pourinfos.org/encours/item.php?id=3019 L?artiste et ses "mod?les". Jean-Claude Moineau http://pourinfos.org/encours/item.php?id=3020 From cont3xt at cont3xt.net Fri May 26 17:06:22 2006 From: cont3xt at cont3xt.net (CONT3XT.NET) Date: Fri, 26 May 2006 17:06:22 +0200 Subject: [NetBehaviour] CONT3XT.NET.NEWS #02.06 Message-ID: CONT3XT.NET.NEWS #02.06 kultur. information. medien. fruechte des alltags. culture. information. media. fruits of the day. -------------------------------------------------------- _ inhalt _ content -------------------------------------------------------- #02.06.a. generatives somnambulieren (medien.) #02.06.aa. generative somnabulating (media.) -------------------------------------------------------- _ nachrichten _ news -------------------------------------------------------- #a. generatives somnambulieren (medien.) die zufaelligkeit ist das unterbewusstsein von maschinen. traeumend, wenn sie nachts abgeschalten sind, finden sie keinen weg, ihre logischen vorgaenge und abfolgen auszufuehren. alles was also uebrig bleibt sind zufaelligkeiten, erschaffen von energiestroemen ausserhalb unseres universums. carlos katastrofsky beschaeftig sich in seiner neuen arbeit _welcome to the jungle_ mit generativen methoden der medienkunst. _ information: http://katastrofsky.cont3xt.net/jungle #aa. generative somnabulating (media.) randomness is the subconscious of machines. dreaming at night, when power is off, they can't find a way to access their logic operations. everything that remains is randomness, generated by rays of energy from outer space. carlos katastrofsky's new work _welcome to the jungle_ deals with generative methods in mediaart. _ information: http://katastrofsky.cont3xt.net/jungle -------------------------------------------------------- _ medieninhaber & herausgeber _ editors -------------------------------------------------------- CONT3XT.NET http://cont3xt.net verein zur kontextualisierung von kultur. information. medien. fruechten des alltags. CONT3XT.NET.NEWS ? a newsletter by CONT3XT.NET subscribe / unsubscribe: http://cont3xt.net/liste zvr-zahl: 999765999 -------------------------------------------------------- sollten sie keine zusendungen von uns wuenschen, schreiben sie bitte eine nachricht mit dem betreff ?keine CONT3XT.NET news" an cont3xt/at/cont3xt.net (bitte ersetzen sie das /at/ durch das klammeraffensymbol). ihre adresse wird dann umgehend aus dem verteiler entfernt. if you don't want to receive our newsletter any more, please send an e-mail with the subject ?no CONT3XT.NET news" to cont3xt/at/cont3xt.net (please replace /at/ by the at-sign). your adresse will immediately be removed from the mailing list. -------------- next part -------------- An HTML attachment was scrubbed... URL: From carlos.katastrofsky at gmx.net Mon May 29 16:23:08 2006 From: carlos.katastrofsky at gmx.net (carlos katastrofsky) Date: Mon, 29 May 2006 16:23:08 +0200 Subject: [NetBehaviour] Media Ontology - Mapping of Social and Art History of Novi Sad Message-ID: Media Ontology - Mapping of Social and Art History of Novi Sad Curated by Zoran Panteli? and Kristian Luci? Opening: Wednesday, 31. 05. 2006, 7.00 p.m. Symposium and book presentation: Thursday, 01. 06. 2006, 2.00 - 6.00 p.m., "On Media Ontology", moderated by Georg Sch?llhammer (springerin, documenta) With Cosmin Costinas (documenta B?ro Wien), Vuc ?osi? (Netart Veterane), Kristian Luki? (Museum of Contemporary Art Novi Sad / Eastwood ), Zoran Panteli? (kuda.org / Apsolutno), Felix Stalder (Openflows Networks Ltd.). Presentation of the book "The Absolute Report", edited by Association Apsolutno, in cooperation with Inke Arns, Andreas Broeckmann, Lev Manovich, Geert Lovink, u.a., published by springerin/revolver Duration of the exhibition : 01. 06.- 21. 06. 2006 Monday - Friday, 2.00 - 6.00 p.m. Place: Galerie ArtPoint Universit?tsstra?e 5, 1010 Vienna A Project by: KulturKontakt Austria in cooperation with springerin - Hefte f?r Gegenwartskunst and documenta-office Wien Admission free! ________________________ Mag. Sabine Hochrieser KulturKontakt Austria Culture + Sponsoring Exhibition Coordination Universit?tsstra?e 5 1010 Wien/Vienna t +43 1 523 87 65-45 f +43 1 523 87 65-50 sabine.hochrieser at kulturkontakt.or.at <> www.kulturkontakt.or.at From rich at counterwork.co.uk Mon May 29 19:50:58 2006 From: rich at counterwork.co.uk (rich white) Date: Mon, 29 May 2006 18:50:58 +0100 Subject: [NetBehaviour] Amnesty to target net repression Message-ID: <000a01c68348$741d9ea0$b9182352@counterwork> Internet users are being urged to stand up for online freedoms by backing a new campaign launched by human rights group Amnesty International. news.bbc story: http://news.bbc.co.uk/1/hi/technology/5020788.stm amnesty campaign site: http://irrepressible.info/ rich http://www.counterwork.co.uk 07812444612 From james at jwm-art.net Tue May 30 04:19:56 2006 From: james at jwm-art.net (james at jwm-art.net) Date: Tue, 30 May 2006 02:19:56 +0000 Subject: [NetBehaviour] jwm-art.net//misc/apeflex.mp3 Message-ID: wcnt-1.2/jwmsynth //------------------------------------------------------------------------ // // apeflex.wc // ------------ // // more sample re-arrangements // //------------------------------------------------------------------------ samplerate 22050 bpm 100 signature 4/4 time_map timetimetimetime meter_map meter_map bpm_map bpm_map timetimetimetime constant one value 1.0 one constant -one value -1.0 -one constant 1/4 value 0.25 1/4 //--------------------------------------------------------- // the sample // ------------ // // header info for wav: samples/murdermystery.wav // Mono 16 bit 44100 hz // length: 23857152 samples (540.979 seconds) wavfilein murder filename samples/murdermystery.wav root_note c0 murder //--------------------------------------------------------- // rhythm/pattern // ---------------- // sync_clock ticker in_bpm timetimetimetime out_bpm in_pos_step_size timetimetimetime out_pos_step_size in_beats_per_bar timetimetimetime out_beats_per_bar in_beat_value timetimetimetime out_beat_value in_phase_trig timetimetimetime out_bar_trig in_freq_mod1 off in_freq_mod2 off freq_mod1_size 1.0 freq_mod2_size 1.0 quarter_value 32 len 8 snap_to 8 ticker pattern_trig takor in_trig ticker out_phase_trig pattern 10011110101001110010010010010101010101110110111011010100101010101010111010101111011111100011011100110101010000001111101110011010 takor pattern_trig tekor in_trig takor out_trig pattern 11010100111001001001001010101010111011011101101010010101010101011101010111101111110001101110011010101000000111110111001101010011 tekor logic_trigger tocker in_trig1 takor out_trig in_trig2 tekor out_trig function xor precision 0 tocker //--------------------------------------------------------- // sample positioning // -------------------- // clock clackah in_freq_mod1 off freq 0.001234567 freq_mod1_size 1.0 clackah multiplier clackag in_signal clackah out_deg_size in_modifier 1/4 out_output clackag sine_wave claksign in_phase_trig clackah out_phase_trig in_deg_size clackag out_output recycle_mode off on_trig_reset_phase on phase_cycles 1.0 claksign sample_hold shaush in_trig tocker out_trig in_signal claksign out_output decay_time 0.0 shaush clock cleckah in_freq_mod1 off freq 0.003214567 freq_mod1_size 1.0 cleckah multiplier cleckag in_signal cleckah out_deg_size in_modifier 1/4 out_output cleckag sine_wave cleksign in_phase_trig cleckah out_phase_trig in_deg_size cleckag out_output recycle_mode off on_trig_reset_phase on phase_cycles 1.0 cleksign sample_hold sheush in_trig tocker out_trig in_signal cleksign out_output decay_time 0.0 sheush //--------------------------------------------------------- // the sample playsbacks // ----------------------- // // FYI (again) length: 23857152 samples (540.979 seconds) clock tooyouning_hay in_freq_mod1 off freq 261.626 freq_mod1_size 1.0 tooyouning_hay sampler off_tangent in_play_trig takor out_trig in_stop_trig off in_start_pos_mod shaush out_output in_deg_size tooyouning_hay out_deg_size wavfile murder play_dir fwd play_mode wrap jump_mode play start_pos_min 0 start_pos_max 23000000 loop_mode fwd loop_start_pos 82000 loop_end_pos 84800 loop_is_offset on bi-directional_offset 0 anti_clip_samples 50 anti_clip_each_end on zero_search_range 25 degsize_amount 1.0 off_tangent clock fromyouning_bee in_freq_mod1 off freq 261.626 freq_mod1_size 1.0 fromyouning_bee sampler on_tangent in_play_trig tekor out_trig in_stop_trig off in_start_pos_mod sheush out_output in_deg_size fromyouning_bee out_deg_size wavfile murder play_dir fwd play_mode wrap jump_mode play start_pos_min 0 start_pos_max 23000000 loop_mode fwd loop_start_pos 82000 loop_end_pos 84800 loop_is_offset on bi-directional_offset 0 anti_clip_samples 50 anti_clip_each_end on zero_search_range 25 degsize_amount 1.0 on_tangent //--------------------------------------------------------- // AEGs Ages // ----------- // adsr hay_dian_essar envelope section name attack ut 5.0 ul 1.0 lt 100.0 ll 1.0 section name decay ut 5.0 ul 0.75 lt 65 ll 0.75 section name release ut 75.0 ul 0.0 lt 365 ll 0.0 envelope in_note_on_trig takor out_trig in_note_off_trig off in_velocity shaush out_output up_thresh 0.75 lo_thresh 0.25 start_level 0.0 min_time 100.0 max_sustain_time 500.0 release_is_ratio off sustain_state off zero_retrigger off hay_dian_essar adsr beady_isa envelope section name attack ut 5.0 ul 1.0 lt 100.0 ll 1.0 section name decay ut 5.0 ul 0.75 lt 65 ll 0.75 section name release ut 75.0 ul 0.0 lt 365 ll 0.0 envelope in_note_on_trig tekor out_trig in_note_off_trig off in_velocity sheush out_output up_thresh 0.75 lo_thresh 0.25 start_level 0.0 min_time 100.0 max_sustain_time 500.0 release_is_ratio off sustain_state off zero_retrigger off beady_isa //--------------------------------------------------------- // Krill Ring Modula // ------------------------- // clock krilled_a_shoal in_freq_mod1 beady_isa out_output freq 1261.626 freq_mod1_size 2.0 krilled_a_shoal sine_wave krass in_phase_trig krilled_a_shoal out_phase_trig in_deg_size krilled_a_shoal out_deg_size recycle_mode off on_trig_reset_phase off phase_cycles 1.0 krass clock troyileadadoily in_freq_mod1 hay_dian_essar out_output freq 1261.626 freq_mod1_size 2.0 troyileadadoily sine_wave tress in_phase_trig troyileadadoily out_phase_trig in_deg_size troyileadadoily out_deg_size recycle_mode off on_trig_reset_phase off phase_cycles 1.0 tress //-------------------------------------------------------------------- // In The Kitchen // ---------------- // // the use of cooking utensils is recommended by you. // multiplier cull_hat in_signal one out_output in_modifier hay_dian_essar out_output cull_hat panner often_hazy in_signal off_tangent out_l in_pan_mod cull_hat out_output pan 0.0 pan_mod_size 0.999 often_hazy multiplier claw_pot in_signal -one out_output in_modifier beady_isa out_output claw_pot panner bouncyhillocks in_signal on_tangent out_l in_pan_mod claw_pot out_output pan 0.0 pan_mod_size 0.999 bouncyhillocks //--------------------------------------------------------- // Amplification // --------------- // stereo_amp stamp_sky in_l often_hazy out_l in_r often_hazy out_r in_amp_eg hay_dian_essar out_output in_amp_mod krass out_output left_amplitude 32000 right_amplitude 32000 amp_mod_size 0.25 clip_level 32767 stamp_sky stereo_amp stamp_earth in_l bouncyhillocks out_l in_r bouncyhillocks out_r in_amp_eg beady_isa out_output in_amp_mod tress out_output left_amplitude 32000 right_amplitude 32000 amp_mod_size 0.25 clip_level 32767 stamp_earth //--------------------------------------------------------- // Hecklestratum sundries // ------------------------ // clock c-1.a in_freq_mod1 beady_isa out_output freq 861.626 freq_mod1_size 2.0 c-1.a sine_wave c-1.b in_phase_trig c-1.a out_phase_trig in_deg_size c-1.a out_deg_size recycle_mode off on_trig_reset_phase off phase_cycles 1.0 c-1.b modifier c-1.aeg in_signal one out_output in_modifier hay_dian_essar out_output modifier_func sub modifier_size 1.0 min_out 0.0 max_out 1.0 posneg_mirror off c-1.aeg clock c-2.a in_freq_mod1 hay_dian_essar out_output freq 961.626 freq_mod1_size 2.0 c-2.a sine_wave c-2.b in_phase_trig c-2.a out_phase_trig in_deg_size c-2.a out_deg_size recycle_mode off on_trig_reset_phase off phase_cycles 1.0 c-2.b modifier c-2.aeg in_signal one out_output in_modifier beady_isa out_output modifier_func sub modifier_size 1.0 min_out 0.0 max_out 1.0 posneg_mirror off c-2.aeg //--------------------------------------------------------- // Pop/In1/Push/Out2 // ------------------------- // panner c-1.p in_signal c-1.b out_output in_pan_mod hay_dian_essar out_output pan 0.0 pan_mod_size 0.999 c-1.p stereo_amp sea_one_pea in_l c-1.p out_l in_r c-1.p out_r in_amp_eg c-2.aeg out_output in_amp_mod off left_amplitude 2000 right_amplitude 2000 amp_mod_size 0.0 clip_level 32767 sea_one_pea panner c-2.p in_signal c-2.b out_output in_pan_mod beady_isa out_output pan 0.0 pan_mod_size 0.999 c-2.p stereo_amp seek_ch_phu in_l c-2.p out_l in_r c-2.p out_r in_amp_eg c-2.aeg out_output in_amp_mod off left_amplitude 2000 right_amplitude 2000 amp_mod_size 0.0 clip_level 32767 seek_ch_phu //--------------------------------------------------------- // A visit to Mick's Place // ------------------------- // mix_chan slcwknv in_left stamp_sky out_left in_right stamp_sky out_right slcwknv mix_chan slllllc in_left stamp_earth out_left in_right stamp_earth out_right slllllc mix_chan idealism in_left sea_one_pea out_left in_right sea_one_pea out_right idealism mix_chan sentient in_left seek_ch_phu out_left in_right seek_ch_phu out_right sentient mixer wwwwwwwedu mix synthmod name slcwknv synthmod name slllllc synthmod name idealism synthmod name sentient mix master_level 0.75 wwwwwwwedu //--------------------------------------------------------- // Proprietry Scienstficis Precipitchevus // ---------------------------------------- // wavfile_out iwishispentmoretimewatchingtvireallydoreallyreallyreallynot in_left wwwwwwwedu out_left in_right wwwwwwwedu out_right in_bar timetimetimetime out_bar in_bar_trig timetimetimetime out_bar_trig filename apeflex.wav start_bar 0 end_bar 128 iwishispentmoretimewatchingtvireallydoreallyreallyreallynot wcnt_exit the_scramble in_bar timetimetimetime out_bar exit_bar 128 the_scramble //------------------------------------------------------------------------ // End Of File _jwm 2006. //------------------------------------------------------------------------ wcnt-1.2/jwmsynth From josephine at funksoup.com Tue May 30 06:17:44 2006 From: josephine at funksoup.com (Josephine Dorado) Date: Tue, 30 May 2006 00:17:44 -0400 Subject: [NetBehaviour] Kids Connect - call for instructors Message-ID: <3FD35410-232A-4EA7-9FF8-AFDC1F99A638@funksoup.com> Hi, all! Please feel free to forward to interested parties and apologies for cross-postings... ----------------------------- Kids Connect seeks Amsterdam-based instructors for our first pilot program this July. We will be teaching digital storytelling, audio/ visual performance and virtual collaboration to students aged 13 to 17, and connecting online with teens in a parallel workshop series in New York. The workshops will run from 18 July through 2 August from 13:00-17:00, with a possible additional showcase on 10 August. There is also the possibility of continuing to teach in a future series of Kids Connect workshops scheduled as after-school programs in the fall (October). The workshops in Amsterdam are being sponsored by Imagine IC and Waag Society. Description: Kids Connect is a series of summer workshops providing teens the opportunity to learn cutting edge skills in media, arts and technology. Participants will connect and create with other teens in New York and Amsterdam via audio/visual and streaming Internet technologies within the online virtual world of Second Life. New York< >Nieuw Amsterdam will be the theme of the workshops -- exploring New York?s Dutch heritage, (the city was known as ?Nieuw Amsterdam? in the 17th century) and the connection between historical and contemporary culture in New York and Amsterdam. Through digital storytelling and streaming video and audio, a tale of two cities will be created. Kids Connect invites students to turn consumer technologies such as computers, video cameras, and MP3 players into creative tools. Guided by artists and educators from the fields of improvisation, sound, video, and performance, they will learn skills like VJ-ing, soundscaping, and digital storytelling. The final project will be a networked performance between youth in New York and Amsterdam, also occurring in Second Life. website: http://zoomlab.org/kc wiki: http://zoomlab.org/wiki/index.php?title=Kids_Connect requirements: ? teaching experience ? experience with both Mac and Windows computers ? videography and webcasting experience ? familiarity with instant messaging, HTML, wikis, search engines ? experience with digital video cameras, digital still cameras, MP3 players ? working knowledge of image editing software (Photoshop and similar), video editing software (iMovie, Final Cut, Avid, etc), sound editing software (Garage Band, Sound Edit, Audacity, etc) ? familiarity with the Second Life environment ? fluency in Dutch and English desirable: ? Second Life building and scripting skills ? audio/visual performance skills (live music, VJ-ing, etc) If interested, please forward your CV to kidsconnect-adam at zoomlab.org with "instructors" in the subject line. -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Tue May 30 09:18:50 2006 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 30 May 2006 03:18:50 -0400 (EDT) Subject: [NetBehaviour] Pomurder / Visuddhi Magga Message-ID: Pomurder / Visuddhi Magga http://www.asondheim.org/pomurder1.mpg http://www.asondheim.org/pomurder2.mpg I commit postmodern murder in an art-school fashion that makes it appear as if nothing in particular has been accomplished; scene stills are at http://www.asondheim.org/pomurder.mov . The extremely rare raygun was developed and mass-produced before the era of lasers and LEDs. The killing-time is therefore a great degree longer; in fact, it operates only by accumulation: "But that of immaterial states, which has no such [visible] alteration, is called hidden ageing. And that in earth, water, rocks, the moon, the sun, etc. is called incessant ageing." (Visuddhi Magga, XIV.68) What is accomplished is the incessant ageing of the _sign._ ( Visuddhi Magga at http://nikuko.blogspot.com ) From info at furtherfield.org Tue May 30 12:58:03 2006 From: info at furtherfield.org (info) Date: Tue, 30 May 2006 11:58:03 +0100 Subject: [NetBehaviour] How to Lie with Maps. In-Reply-To: <4475DF63.1070501@furtherfield.org> References: <4475DF63.1070501@furtherfield.org> Message-ID: <447C253B.5040404@furtherfield.org> How to Lie with Maps - is as much a warning for map readers as much as mapmakers, the user as much as the designer. http://www.mcwetboy.net/maproom/2006/05/review_how_to_lie_with_maps.phtml From marc.garrett at furtherfield.org Tue May 30 12:58:48 2006 From: marc.garrett at furtherfield.org (marc) Date: Tue, 30 May 2006 11:58:48 +0100 Subject: [NetBehaviour] Brooklyn College lost, destroyed MFA artists' work. In-Reply-To: <4475DF63.1070501@furtherfield.org> References: <4475DF63.1070501@furtherfield.org> Message-ID: <447C2568.9070404@furtherfield.org> Brooklyn College lost, destroyed MFA artists' work. Eighteen Brooklyn College MFA students were not only dispossessed of a graduate thesis exhibition when the New York City shut it down and padlocked the doors in downtown Brooklyn. On Saturday, five days after their school itself had precipitously, foolishly and cowardly removed all of their art from the gallery, hauled it away in open trucks and dumped it back on the campus, they were permitted to enter the hall where it had been unceremoniously dropped by campus workmen. There they discovered that much of the art, the product of months of work and the focus and culmination of their graduate studies, was missing and a good percentage of the work that was there had been damaged or destroyed irreparably. This is a large excerpt from the press release which appears on the students' site: At 9am yesterday [Saturday, May 13] students arrived at Roosevelt Hall on the Brooklyn College campus prepared to inspect their work together. The students were surprised to find that Mr. Little had ordered the officers to allow students access only one at a time. This caused the process to last until 6pm yesterday afternoon. Under the supervision of Brooklyn College CUNY security officers and with the aid of Graduate Deputy Karen Giusti, students found their work improperly packaged in garbage bags, much of it irreparably damaged and some pieces missing. Carrie Fucile, who built a 7' x 8' x 10' wooden house as part of an installation, could find barely a trace of the large structure among the two rooms in which the work was stowed. A few pieces of the dismantled installation were used as packaging for other works of art, others were later located out by the loading dock for raw materials and trash. more... http://www.eyebeam.org/reblog/archives/2006/05/brooklyn_college_lost_destroyed.html From info at furtherfield.org Tue May 30 12:59:19 2006 From: info at furtherfield.org (info) Date: Tue, 30 May 2006 11:59:19 +0100 Subject: [NetBehaviour] Irrepressible Info. In-Reply-To: <4475DF63.1070501@furtherfield.org> References: <4475DF63.1070501@furtherfield.org> Message-ID: <447C2587.3060000@furtherfield.org> Irrepressible Info. The web is a great tool for sharing ideas and freedom of expression. However, efforts to try and control the Internet are growing. Internet repression is reported in countries like China, Vietnam, Tunisia, Iran, Saudi Arabia and Syria. People are persecuted and imprisoned simply for criticising their government, calling for democracy and greater press freedom or exposing human rights abuses, online. But Internet repression is not just about governments. IT companies have helped build the systems that enable surveillance and censorship to take place. Yahoo! have supplied email users? private data to the Chinese authorities, helping to facilitate cases of wrongful imprisonment. Microsoft and Google have both complied with government demands to actively censor Chinese users of their services. Freedom of expression is a fundamental human right. It is one of the most precious of all rights. We should fight to protect it. more... http://irrepressible.info/ From rich at counterwork.co.uk Wed May 31 12:12:45 2006 From: rich at counterwork.co.uk (rich white) Date: Wed, 31 May 2006 11:12:45 +0100 Subject: [NetBehaviour] net.weight: questions about volume Message-ID: <000001c6849a$c5ee0be0$b9182352@counterwork> ...perhaps data could be more like a space removed from a vast finite block of blank matter. instead of 'adding to' each time we store data we take away, and the complex shape of this space dictates the nature and content of the data? when all storage is consumed we are left with a massive empty space that is, paradoxically, full of information... http://www.counterwork.pwp.blueyonder.co.uk/net.weight rich http://www.counterwork.co.uk 07812444612 From geert at nznl.com Wed May 31 18:57:33 2006 From: geert at nznl.com (Geert Dekkers) Date: Wed, 31 May 2006 18:57:33 +0200 Subject: [NetBehaviour] nznl.com digest, May 25, 2006 - May 31, 2006 Message-ID: nznl.com digest May 25, 2006 - May 31, 2006 Posts 1460 - 1466 http://nznl.com 1460. May 25, 2006 SOME FACTS ABOUT AN ELECTRICAL INSTALLATION, 2010, TRAILING SOCKET, LEAKAGE photoshop file http://nznl.com/index.php?dag=20060525 rss feed http://nznl.com/geert/nznl.xml 1461. May 26, 2006 INTERLUDE, 2010 INTERLUDE fireworks/photoshop file http://nznl.com/index.php?dag=20060526 1462. May 27, 2006 NOTES ON AN INSTALLATION INCLUDING A DISCARDED TV SET, 2010, CARDBOARD RECTANGLE, BACKGROUND PHOTOGRAPHY web page http://nznl.com/index.php?dag=20060527 1463. May 28, 2006 SOME NOTES ON FRAMING, 2010, NZNL.COM EXHIBITION HALL PERFORMANCE STUDY web page http://nznl.com/index.php?dag=20060528 1464. May 29, 2006 SOME IDEAS ON OUR RELOCATION, 2020, TEMPORARY NZNL.COM EXHIBITION HALL, 2, 3 AND 4 LETTER WORDS web page http://nznl.com/index.php?dag=20060529 1465. May 30, 2006 SIMPLE SEARCH, 2010, SIMPLE SEARCH web page http://nznl.com/index.php?dag=20060530 1466. May 31, 2006 STUDY FOR A LIST, 2010, LIST web page http://nznl.com/index.php?dag=20060531 Geert Dekkers http://nznl.com http://nznl.net http://nznl.org From geert at nznl.com Wed May 31 19:15:16 2006 From: geert at nznl.com (Geert Dekkers) Date: Wed, 31 May 2006 19:15:16 +0200 Subject: [NetBehaviour] [Nettime-nl] nznl.com digest, May 25, 2006 - May 31, 2006 Message-ID: <000001c684d5$c97b4f80$0100000a@hoogt.local> nznl.com digest May 25, 2006 - May 31, 2006 Posts 1460 - 1466 http://nznl.com 1460. May 25, 2006 SOME FACTS ABOUT AN ELECTRICAL INSTALLATION, 2010, TRAILING SOCKET, LEAKAGE photoshop file http://nznl.com/index.php?dag=20060525 rss feed http://nznl.com/geert/nznl.xml 1461. May 26, 2006 INTERLUDE, 2010 INTERLUDE fireworks/photoshop file http://nznl.com/index.php?dag=20060526 1462. May 27, 2006 NOTES ON AN INSTALLATION INCLUDING A DISCARDED TV SET, 2010, CARDBOARD RECTANGLE, BACKGROUND PHOTOGRAPHY web page http://nznl.com/index.php?dag=20060527 1463. May 28, 2006 SOME NOTES ON FRAMING, 2010, NZNL.COM EXHIBITION HALL PERFORMANCE STUDY web page http://nznl.com/index.php?dag=20060528 1464. May 29, 2006 SOME IDEAS ON OUR RELOCATION, 2020, TEMPORARY NZNL.COM EXHIBITION HALL, 2, 3 AND 4 LETTER WORDS web page http://nznl.com/index.php?dag=20060529 1465. May 30, 2006 SIMPLE SEARCH, 2010, SIMPLE SEARCH web page http://nznl.com/index.php?dag=20060530 1466. May 31, 2006 STUDY FOR A LIST, 2010, LIST web page http://nznl.com/index.php?dag=20060531 Geert Dekkers http://nznl.com http://nznl.net http://nznl.org -------------- next part -------------- ______________________________________________________ * Verspreid via nettime-nl. Commercieel gebruik niet * toegestaan zonder toestemming. is een * open en ongemodereerde mailinglist over net-kritiek. * Meer info, archief & anderstalige edities: * http://www.nettime.org/. * Contact: Menno Grootveld (rabotnik at xs4all.nl). From sondheim at panix.com Wed May 31 21:38:07 2006 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 31 May 2006 15:38:07 -0400 (EDT) Subject: [NetBehaviour] Fw: [WDL] Interviews with New Media Artists and Writers (fwd) Message-ID: From: Jess To: WRITING-AND-THE-DIGITAL-LIFE at JISCMAIL.AC.UK Sent: Wednesday, May 31, 2006 10:11 AM Subject: [WDL] Interviews with New Media Artists and Writers Hello there, Readers of the list may be interested in Simon Mill's latest project concerned with interviewing new media artists and writers. The frAme online journal published (between 1995 and 2004) a selection of work by authors and artists involved with new media/digital technologies. Simon has revisted a group of these writers and artists and has approached them with questions regarding their artistic practise and the role of new media in its development. The first four (Mark Amerika, Matthew Fuller, Christy Sheffield Sanford, Alan Sondheim) of over twenty interviews are now available online: http://www.framejournal.net/ Best, Jess