From sondheim at panix.com Sun Jun 1 05:14:58 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 31 May 2008 23:14:58 -0400 (EDT) Subject: [NetBehaviour] Fasten Show (and full ELO Conf. video) Message-ID: [ Note - full ELO Conf. video at http://www.alansondheim.org/123elo.mp4 - large!! - apologies, Alan ] Fasten Show http://www.alansondheim.org/placement.jpg (Oscar Shlemer) (smaller!) http://www.alansondheim.org/fashionshow.mp4 (Askher Slimmer) (smaller!) Here very splay of the real? In such a fashion incisions, fashion, ges- ture, languagings, and what continually emerges is the good-old-fashioned- real, Beau-Brummel-Roseland messy messy fashion. You're either online or offline, one way or another: dresses for infinity are bypassed in this fashion; the systems are both functional and must be created anew - each time one moves string and creates the appearance of arousal, nothing more, such wonderful kostumes. Here's the old culture of the unconscious. Indeed it has been abstracted from all concretion in such thoroughgoing fashion that one understands the endless worry about embodiment of ideas. The body does not embody ideas; it more accurately is ideas, matter, and energy that may pursue the same erotic, fantastic fashioning of the social system, unbelievably uncontrollable, the very splay of the real. Nikuko's writing begins with Askher's writhing on hir bohdi. He signs hir, she signs hirself. Writing doesn't begin, it dozes, a high- wire act of haute couture. The energy skimming surfaces, burrowing into them. Jennifer runs off at the mouth, going on about fashion, Askhir's doing what he always doze and philosophy Okkurs. Jennifer's mouth runs, Jennifer runs on Askhir, Nikuko says "wayward", "nice", "feminine", "lovely", "used", "fashionable", "small", "inci- sions, gestures, cuts, surgeries, sutures, surges." Nikuko fashions hir texts and where's hem, pornography with absinthe organs, Schlemmer wrytes about the photoplay. Nikuko's back (is) in the imaginary, it's all the splay of the reel - trainers, gym memberships, fashionable clothing, pebbles... From alexandra.reill at kanonmedia.com Sun Jun 1 11:46:41 2008 From: alexandra.reill at kanonmedia.com (Alexandra Reill) Date: Sun, 1 Jun 2008 11:46:41 +0200 Subject: [NetBehaviour] Depot 03.06.2008, 19:00: Art Following the Trend? Artists' Voices. on Relations between Artistic Production Processes in Theater and in the Fine Arts Message-ID: <001601c8c3cc$655393e0$0200a8c0@kanonmediapc> ----------------------------------------------------------------------------------------- Art Following the Trend? Artists' Voices. Discussion Panel / Depot / 2008/06/03, 19:00 Where: 1070 Wien, Breite Gasse 3 Artists and cultural workers talking about relations of artistic processes in theater and in the fine Participants: Michael Aichhorn, theater and painting Stefan Bl?ske, theater research Leander Kaiser, painting and philosophy Stylianos Schicho, painting Moderation: Alexandra Reill, kanonmedia Cultural workers out of the fields of painting, philosophy, theater and science research characteristics and immanent features of artistic production processes in the performing and in the fine arts. Where do exist the same claims, the same standards, the same questions and where does a genre claim its own processes of production? How does actionism continue to have effects on theater, film, TV and fine arts? What are the influences of digital information societies on contemporary art production and artists' communication and how do the latter re-influence contemporary societies? A discussion of these aspects of contemporary art production together with the audience tries to research absoluta and relativa of art production and their relevances for contemporary developments in culture work. ----------------------------------------------------------------------------------------- visit: http://www.kanonmedia.com/portfolio/voices.htm http://artistsvoices.blogs.sonance.net/ ----------------------------------------------------------------------------------------- Art Following the Trend? Artists' Voices. The overall project. ----------------------------------------------------------------------------------------- Participants: ----------------------------------------------------------------------------------------- Our thxs go to all artists who participated anonymously in the survey Art Following the Trend? Artists' Voices. Participants in the Public Video Interviews: Michael Aichhorn, theater/fine artist, A Evrim Asutay, singer/actress, TR Stefan Bl?ske, theater scientist, A Ricarda Denzer, video artist/film maker, A Korhan Erel, sound artist, TR Heidulf Gerngross, architect, A Genco G?lan, performer/media artist, TR Kurt Hofstetter, media artist, A Leander Kaiser, painter, A Gerald Kofler, journalist/photographer, A Tina Leisch, theater-/film director, A Franziska Maderthaner, fine artist, A Alexander Nikolic, film maker/communication guerilla, cosmopolitan PRINZGAU/podgorschek, art in public space/concept art/fine art, A Marie Ringler, culture politics, A Stylianos Schicho, painter, A Marika Schmidt, film maker, A Walter Stach, fine artist/art mediator, A Paul Stepan, cultural scientist, A Eve Tsirigotakis, TV journalist, GR Michael Wimmer, art mediator, A Herbert Wulz, in-/exformatic designer, A Participants in the Public Text Interviews: Nicole Baier, film-/video-/media artist, A Sarawut Chutiwongpeti, mixed media/video installationen, THA Anita Hafner, visual artist, A Jeremy Hight, concept art/text/music, US Salvatore Iaconesi, artistically inclined being/process art/media artist, I Mandana Alavi Kia, dancer/performer/singer/painter, IR Brigitte Neufeldt, media artist, D Alexander Stanzel, fine artist/photography, A Myriam Thyes, media artist, D visit: http://www.kanonmedia.com/portfolio/voices.htm, http://artistsvoices.blogs.sonance.net/ ------------------------------------------------------------------------------------------ Team ------------------------------------------------------------------------------------------ Concept, coordination, moderation, research and study: Alexandra Reill Technical Coordination Live Interview Screenings: Herbert Wulz, Alexandra Reill, Depot Camera: Alexandra Reill, Eve Tsirigotakis, Oscar Wlaschitz Editing: Alexandra Reill ------------------------------------------------------------------------------------------ Production: kanonmedia ------------------------------------------------------------------------------------------ 12/24, richtergasse, a 1070 vienna, call: ++43-[0]6991-820 70 03, mailto: alexandra.reill at kanonmedia.com ------------------------------------------------------------------------------------------ Sponsors ------------------------------------------------------------------------------------------ Art Following the Trend? Artists' Voices. was supported by the Department of Science and Research and the Department Local Acitivities 1070 Vienna of the Department of Culture of the City of Vienna in 2007. ------------------------------------------------------------------------------------------ Our thxs also go to sonance.artistic.network and the company datonet for supporting us with cost-free webspace, the company 3 ELEMENTS for free support with technical event equipment, WordPress and the surface designer of Blue Moon 1.0 Stephen Reinhardt fot being able to use the CMS under a free license. ------------------------------------------------------------------------------------------ Wien/G?m?sl?k, 2006-2008 Vienna/G?m?sl?k, 2006-2008 ---------------------------------------------------------------------------------- kanonmedia ngo for new media 12/24, richtergasse a 1070 vienna call: ++43[0]6991 820 70 03 mailto: alexandra.reill at kanonmedia.com visit: http://www.kanonmedia.com ---------------------------------------------------------------------------------- Sorry for cross-mailings. 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Name: clip_image007.gif Type: image/gif Size: 2923 bytes Desc: not available URL: From sondheim at panix.com Sun Jun 1 18:54:14 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 1 Jun 2008 12:54:14 -0400 (EDT) Subject: [NetBehaviour] she can MOVE FRUIT FROM ONE KIND OF TREE TO ANOTHER Message-ID: she can MOVE FRUIT FROM ONE KIND OF TREE TO ANOTHER she can MAKE OTHERS FALL ASLEEP OR WAKE AT WILL she can MAKE FIRE BLAZE FROM WEAPONS she can FLY THROUGH AIR she can SEE THROUGH WALLS she can TRANSFORM A CAVE INTO A PALACE AND SEAL THE EXITS she can REMOVE THE TUSKS AND TRUNK FROM AN ELEPHANT AND RESTORE THEM she can MAKE A KING SPEECHLESS AND RESTORE HIS SPEECH she can GENERATE DEMONS AND COMPLETE DEMONS she can END DROUGHT AND HEAL ILLNESS she can SUBDUE LIONS AND TIGERS AND BRING THEM TO FAITH she can REMOVE ARMS AND LEGS FROM SOLDIERS AND RESTORE THEM she knows ALL LANGUAGES AND ALL DOCTRINES she can EAT ENDLESSLY AND DRY UP WELL SPRINGS AND RESTORE THEM she can CUT OFF HER HEAD AND FLY THROUGH THE AIR AND RESTORE IT she can MOVE A BUFFALO AND HER CALF BACK TO THEIR HOME she is SAFE FROM ONE HUNDRED THOUSAND BLOWS WITH CUDGEL AND ARROW she can TURN AROUND ARROWS IN FULL FLIGHT she can TURN INTO AN OLD WOMAN AND BACK AGAIN she can SEE THINGS ANYWHERE IN THE WORLD she knows ALL FUTURE AND ALL PAST EVENTS she meditates FOR DAYS ON END WITHOUT SLEEP OR DRINK OR FOOD she can HOLD SEVEN HUNDRED UMBRELLAS ABOVE HER WITHOUT TOUCHING THEM she can RAISE THE DEAD AND RESTORE THEM TO DEATH she can BE IN SEVERAL PLACES AT ONCE she can TRAVEL INSTANTANEOUSLY FROM ONE PLACE TO ANOTHER she can MAKE SMALL THINGS ENORMOUS AND ENORMOUS THINGS SMALL she can MAKE DEVOTIONAL IMAGES CRUMBLE AND RESTORE THEM she can CARRY A TEMPLE ON HER BACK she can CLIMB ENDLESS STAIRS AND OTHERS CANNOT FOLLOW HER she fits THOUSANDS OF PEOPLE INTO A TINY CORNER OF A CAVE OR HOUSE she disappears AND APPEARS AT WILL she conquers DEATH she eats CORPSES URINE EXCREMENT SEMEN MENSTRUAL BLOOD her slightest MOVEMENT TRANSFORMS WORLDS her dance CREATES AND ANNIHILATES WORLD she loosens BOUND ANIMALS AND RELEASES THEM she can WALK ON WATER AND WALK THROUGH FLAMES she can CAUSE THE EARTH TO QUAKE AND FLOWERS TO FALL LIKE RAIN she can DISCOVER HIDDEN TREASURES she can WALK THROUGH WALLS AND CLIFFS she can SEAL CAVES AND CREATE GREAT HALLS WITHIN THEM she can MAKE HERSELF INVISIBLE AND MAKE HERSELF VISIBLE AGAIN she can CREATE OVERWHELMING TEMPESTS she can SUBDUE SNAKES AND OTHER WILD ANIMALS she can SING PERFECT SONGS OF HER OWN DEVISING she can ALLEVIATE THE SUFFERINGS OF THE ELDERLY she can ALLEVIATE THE SUFFERINGS OF THE POOR she can SCORCH CLOTHES AND RESTORE THEM she can READ MINDS CLOSE BY AND AT A DISTANCE she can EAT ANY SORT OF IMPURITIES she can LAUGH AN EIGHT FOLD LAUGHTER she can DRAW STELES AND JEWELS FROM THE GROUND she can ERECT VAST PALACES AT AN INSTANT she extracts POISON FROM WATER AND WALKS THROUGH BLAZING FLAMES she can CHOOSE THE DATE AND TIME OF HER DEATH she can MAKE DRUMS AND MUSICAL INSTRUMENTS TO SOUND BY THEMSELVES her steps MEASURE GREAT OR TINY DISTANCES AT HER WILL her gaze CAN SHATTER AND RESTORE ANYTHING she can TRANSFORM HERSELF INTO A SKELETON AND A RAINBOW BODY her gaze CAN OPEN CAVES IN SOLID ROCK AND SEAL THEM AGAIN she remembers HER PAST AND FUTURE BIRTHS she can TARRY WITH CONSORTS WITH OR WITHOUT ELABORATION she can SELF ILLUMINATE she can WALK AIMLESSLY DAY AND NIGHT she can SPREAD THE SCENT OF PERFUMES IN EVERY DIRECTION she can SIT LIE OR WALK IN MID AIR she can WEAR APRONS OF BONES she is FLEET FOOTED she changes THE COLOR OF HER BODY AT WILL From james at jwm-art.net Sun Jun 1 23:32:32 2008 From: james at jwm-art.net (james jwm-art net) Date: Sun, 01 Jun 2008 21:32:32 +0000 Subject: [NetBehaviour] a poor unfortunate could not upload these files due to continual error Message-ID: ********************************************************************** a poor unfortunate could not upload these files due to continual error i'll try again later ********************************************************************** 1) http://www.jwm-art.net/art/audio/clou00v2dtrak-missing.mp3 2) http://www.jwm-art.net/art/audio/clou00v2dtrak-complete.mp3 You might want to listen in order presented, but it probably makes little difference, but try it. These two MP3's both contain 3 audio tracks, two of drums and one of speech ('got to speak, got to speak'). On my computer with it's 2ghz AMD Athlon XP processor (etc), the DSP processing level as indicated by Ardour was around 73% which is getting to it's limits. I can't do any more to it without Ardour crashing and other problems. I tried to create a MIDI sequence, sending notes to ZynAddSubFX but the system would not handle it, the sequence would not sequence. track 1) "clou00v2dtrak-missing" I had added a high pass filter plugin in to the second drum trak and had edited a small section of the audio to produce a fill - and made the filter sweep upwards slightly during the fill. Sometimes when I played it back, after the fill, the drum trak would disappear entirely, other times only the left channel would play. track 1) "clou00v2dtrak-missing" was exported directly after the fill edit and because of this, the 2nd drum track is MISSING entirely from the mix. This track is shorter than the 'complete' version because the last part did not make sense without the 2nd drum trak. track 2) "clou00v2dtrak-complete" is the 'complete' version, I had made the fill edit, saved the ardour2 session, closed ardour, and restarted jack and reloaded the ardour2 session in a new instance of ardour2. Everything played back correctly and exported correctly. ========================================================================= audio track 1 (s[low] drums) has no FX, output L to bus 1, output R to bus 2 -- audio track 2 (crunchy drums) has lots of FX, output L + R to bus 5 audio track 3 (speech) has lots of FX, output L + R to master -- bus 1 (M) has several FX, a send to bus 3, output to bus 5:L bus 2 (M) has several FX, a send to bus 4, output to bus 5:R -- bus 3 (M) has several FX, output to bus 1 bus 4 (M) has several FX, output to bus 2 -- bus 5 (ST) has several FX, output L + R to master -- master (ST) has several FX, output L + R to system ========================================================================= track 1) "clou00v2dtrak-missing" has|is something which not the 2nd track 2) "clou00v2dtrak-complete" has|is something which not the 1st (((difference is only something is missing))) style: slow, electronic>>>>>DIGITAL, digital, digital, slow, slow, digital, digital slow, slow digital, slow FX automation sweeps, the ardour2 audio session for this track hijacked the original cloudid audio session, removed the arrangement of audio, used snippets of the cloudid audio, ideas for bus connections from cloudid FX, further to, the next step from. i.e. (principle) input >> comb filter >> frequency shifter >> comb filter >> pitch shifter >> phaser >> reverb >> lp/hp filter >> hard limiter >> output complete version suggests yet-another extension extending outwards doomed, last ditch effort, holding onto some old idea that is being let go of. but i doubt it. ********************************************************************** a poor unfortunate could not upload these files due to continual error i'll try again later ********************************************************************** From james at jwm-art.net Mon Jun 2 00:48:22 2008 From: james at jwm-art.net (james jwm-art net) Date: Sun, 01 Jun 2008 22:48:22 +0000 Subject: [NetBehaviour] fortunate upload, download ready In-Reply-To: Message-ID: ********************************************************************** fortunate upload, download ready please download now ********************************************************************** http://www.jwm-art.net/art/audio/clou00v2dtrak-missing.mp3 http://www.jwm-art.net/art/audio/clou00v2dtrak-complete.mp3 ********************************************************************** fortunate upload, download ready please download now ********************************************************************** On 1/6/2008, "james jwm-art net" wrote: >********************************************************************** >a poor unfortunate could not upload these files due to continual error >i'll try again later >********************************************************************** > >1) http://www.jwm-art.net/art/audio/clou00v2dtrak-missing.mp3 > >2) http://www.jwm-art.net/art/audio/clou00v2dtrak-complete.mp3 > >You might want to listen in order presented, but it probably >makes little difference, but try it. > >These two MP3's both contain 3 audio tracks, two of drums and one >of speech ('got to speak, got to speak'). On my computer with it's >2ghz AMD Athlon XP processor (etc), the DSP processing level as >indicated by Ardour was around 73% which is getting to it's limits. >I can't do any more to it without Ardour crashing and other problems. >I tried to create a MIDI sequence, sending notes to ZynAddSubFX but >the system would not handle it, the sequence would not sequence. > >track 1) "clou00v2dtrak-missing" I had added a high pass filter >plugin in to the second drum trak and had edited a small section of >the audio to produce a fill - and made the filter sweep upwards slightly >during the fill. Sometimes when I played it back, after the fill, the >drum trak would disappear entirely, other times only the left channel >would play. > >track 1) "clou00v2dtrak-missing" was exported directly after the fill >edit and because of this, the 2nd drum track is MISSING entirely from >the mix. This track is shorter than the 'complete' version because >the last part did not make sense without the 2nd drum trak. > >track 2) "clou00v2dtrak-complete" is the 'complete' version, I had >made the fill edit, saved the ardour2 session, closed ardour, and >restarted jack and reloaded the ardour2 session in a new instance >of ardour2. Everything played back correctly and exported correctly. > >========================================================================= >audio track 1 (s[low] drums) has no FX, output L to bus 1, > output R to bus 2 >-- >audio track 2 (crunchy drums) has lots of FX, output L + R to bus 5 >audio track 3 (speech) has lots of FX, output L + R to master >-- >bus 1 (M) has several FX, a send to bus 3, output to bus 5:L >bus 2 (M) has several FX, a send to bus 4, output to bus 5:R >-- >bus 3 (M) has several FX, output to bus 1 >bus 4 (M) has several FX, output to bus 2 >-- >bus 5 (ST) has several FX, output L + R to master >-- >master (ST) has several FX, output L + R to system >========================================================================= > >track 1) "clou00v2dtrak-missing" has|is something which not the 2nd >track 2) "clou00v2dtrak-complete" has|is something which not the 1st > >(((difference is only something is missing))) > >style: slow, electronic>>>>>DIGITAL, digital, digital, slow, slow, >digital, digital slow, slow digital, slow FX automation sweeps, > >the ardour2 audio session for this track hijacked the original cloudid >audio session, removed the arrangement of audio, used snippets of the >cloudid audio, ideas for bus connections from cloudid FX, further to, >the next step from. > >i.e. (principle) >input >> comb filter >> frequency shifter >> comb filter >> pitch shifter >>> phaser >> reverb >> lp/hp filter >> hard limiter >> output > >complete version suggests yet-another extension extending outwards >doomed, last ditch effort, holding onto some old idea that is being let >go of. >but i doubt it. > > >********************************************************************** >a poor unfortunate could not upload these files due to continual error >i'll try again later >********************************************************************** > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour > From sondheim at panix.com Mon Jun 2 15:23:08 2008 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 2 Jun 2008 09:23:08 -0400 (EDT) Subject: [NetBehaviour] siddhi pose-performance by Nikuko Message-ID: siddhi pose-performance by Nikuko This is preparation for object attachment. Fashion: Silhouette for posing in combination with minimal blue pattern for orientation. Object attachment buries avatar bodies. Spatially, the body is lossy; dynamically, behavior remains to conjure the semblance of purposeful action. Here, Nikuko orients herself, poses periodically. The pose is drawn out of the dynamics; the spectator, in the pose, pro- ceeds as if the narrative moment continued literally for all intents and purposes. The pose is the ridge or hinge of movement, the pause designat- ing the other, the viewer, designated by the viewer - part of a system of distribution. The pause ensures the viewer that the body is not the locus or victim of seizure. Every pause is a pose, every pose a pause, both intertwined with intentionality. The pose is given as a gift, is for the other, is oriented; the orienta- tion of the pose defines the stance of the other in inverse relationship to occidental landscape perspective in which the vanishing-point might be considered the locus of the viewer as well. But the pose draws in, puck- ers, the vanishing-point, which becomes a plane and punctum of intimacy. Nikuko poses, there is no one in sight, but there is the camera, here literally one of obscura, that obscure little object A of desire for and by Nikuko, above all for Nikuko. One of us moved the other, one of us aroused the other to action, to the recording-booth, to the wide-screen, to the embrace of the other who is identical, not equivalent, to the self-selving occurring, not to mention the dynamics of the same. Ah, I reply, I can finally see her face. http://www.alansondheim.org/pose.mov From james at jwm-art.net Mon Jun 2 22:35:13 2008 From: james at jwm-art.net (james jwm-art net) Date: Mon, 02 Jun 2008 20:35:13 +0000 Subject: [NetBehaviour] Beef Alpha Template Virtual Quadrant Method in the Middle Delta of Nowhere Mate Message-ID: Beef%%%%%%%%%% featuring: Alpha%%%%%%%%% 5 * field recordings of myself sat in a field spouting Template%%%%%% random gibberish and sometimes being slightly observant Virtual%%%%%%% the (almost the) same bus load of FX as featuring in Quadrant%%%%%% clou00v2dtrak-complete but slightly different Method%%%%%%%% (5 recordings spread over 3 audio trax, that is) in%%%%%%%%%%%% dl loc: the%%%%%%%%%%% http://www.jwm-art.net/art/audio/beef_alpha_template_virtual_quadrant_method_in_the_middle_delta_of_nowhere_mate.mp3 Middle%%%%%%%% Delta%%%%%%%%% 22050 16 2 2.4 5:17 of%%%%%%%%%%%% Nowhere%%%%%%% 'tis a whole lot of fthink || ! Mate%%%%%%%%%% From james at jwm-art.net Mon Jun 2 22:40:01 2008 From: james at jwm-art.net (james jwm-art net) Date: Mon, 02 Jun 2008 20:40:01 +0000 Subject: [NetBehaviour] and Message-ID: http://www.jwm-art.net/art/image/montage.png was supposed to attend the random beef delta wave quadrant method of virtual particle random brain paste From sondheim at panix.com Tue Jun 3 07:01:13 2008 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 3 Jun 2008 01:01:13 -0400 (EDT) Subject: [NetBehaviour] Access Grid resonance and selenite filtering Message-ID: Access Grid resonance and selenite filtering For us at AG, an exciting group of videos/images! This has been a dream: to bounce a video signal repeatedly around the world, creating video feedback as the signal resonates with itself. On a laptop, my video camera received an image from the West Virginia University Access Grid that bounced from the Asia Pacific Access Grid Lobby in Queensland. My camera sent the image back to the APAG Lobby where it was transmitted and picked up by a camera on the WVU Access Grid. The camera transmitted the image to the Asia Pacific Access Grid node, whereupon it bounced back to my laptop, where it was received ... A similar looping was created using the Argonne National Laboratory Access Grid Lobby in Chicago. Another looping used two cameras and transmissions from the WVU Access Grid across to Argonne and / or the APAG; the looping was picked up by the laptop which sent the image back through the Lobby to WVU where it was inserted (medium against large) into one of the WVU images .... I wanted a sense of the distances covered. We did ping and traceroute and found that while Argonne came back around 38 ms and Queensland hit some- where around 152 ms, the looping through the latter seemed considerably faster. The first of the files below is a series of stills from the whole process. The second is video feedback with the usual tilted camera and infinite regress circling the planet. The third is a somewhat steady-state blob of light, oddly breast-shaped, that pulsed and sometimes disappeared on the screen; again, this was built up through / by planetary circulation. The fourth is Azure Carter singing with room and Access Grid resonance through Argonne; she's locally on four different cameras, and the reson- ances bounce through the WVU AG room and across the network. Finally the fifth video explores an odd quality of a selenite crystal which produces a series of rings for 'fuzzed' sources of light and color. One might think of this as a simulacrum of resonance as well. http://www.alansondheim.org/agresonance.mov (series of stills) http://www.alansondheim.org/agasiapacific.mp4 (series of video sections with the usual feedback infinite regress circling the planet) http://www.alansondheim.org/agpascreen.mp4 (video of breast-shaped almost steady-state light partially filling the screen, regress circling the world) http://www.alansondheim.org/azuresong.mp4 (azure carter singing with access grid sending voice to argonne national laboratory and back with additional local room resonance) http://www.alansondheim.org/seleniterings.mp4 (imaging through selenite crystal) From cont3xt at cont3xt.net Tue Jun 3 08:01:20 2008 From: cont3xt at cont3xt.net (CONT3XT.NET) Date: Tue, 3 Jun 2008 08:01:20 +0200 Subject: [NetBehaviour] # 007 Re: A FORM OF TECHNOLOGICAL MIMESIS | CONT3XT.NET.NEWS #05.08 Message-ID: # 007 Re: MAGAZINE / A FORM OF TECHNOLOGICAL MIMESIS AN E-MAIL CONVERSATION WITH MARIUS WATZ ----- ----- ----- Colourful explosions of organic forms, visual structures that can only be percieved when the spectator allows herself to enter the flow of contemplative effects one has got viewing the artworks: generative practices have first been developed at the intersection of scientific and artistic settings to research visual patterns and form. Issue #007 of Re: MAGAZINE deals with nowadays generative systems which are used by artists, as well as in Design, Architecture and the culture of everyday life. Marius Watz, an artist concerned with generative systems for creating visual form, still, animated, or realtime, argues in an interview with CONT3XT.NET: "One of the privileges of Generative Art is that the author can easily be surprised by her own creation." ----- ----- ----- magazine: http://cont3xt.net/re/magazine.php interview: http://cont3xt.net/re/007.pdf artist: http://unlekker.net ----- ----- ----- This is a newsletter by CONT3XT.NET (ZVR: 999765999, Vienna/Austria). If you do not want to receive information anymore please reply with "NO newsletter". -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Tue Jun 3 14:29:47 2008 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 3 Jun 2008 08:29:47 -0400 (EDT) Subject: [NetBehaviour] couple of portraits of me and cat Message-ID: couple of portraits of me and cat working the access grid - two screengrabs - http://www.alansondheim.org/aaaggg1.jpg http://www.alansondheim.org/aaaggg2.jpg our strange cat Ossi, named after Ossi Oswalda - http://www.alansondheim.org/ossi0.jpg http://www.alansondheim.org/ossi1.jpg http://www.alansondheim.org/ossi2.jpg http://www.alansondheim.org/ossi3.jpg From choubard at gmail.com Tue Jun 3 18:41:22 2008 From: choubard at gmail.com (Bobig) Date: Tue, 03 Jun 2008 18:41:22 +0200 Subject: [NetBehaviour] Diaminos - less is easier Message-ID: <48457432.9060904@gmail.com> here http://lessiseasier.bobig.fr/tag/diaminos/ and many other things day by day. http://lessiseasier.bobig.fr/ bobig From sondheim at panix.com Wed Jun 4 01:57:04 2008 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 3 Jun 2008 19:57:04 -0400 (EDT) Subject: [NetBehaviour] Modeling, filtering, resonance, transmission Message-ID: Modeling, filtering, resonance, transmission (in recent work?) and bad theory - Bad theory: Because distorting concept and process, constructing 'fit' where most likely there's none at all. I want to transmit this. I am transmitting this. I am applying a filter to this. I am filtering this. This is resonating. I want to make this resonate. (I am resonating this.) I am modeling this. This is a model. This is continuou modeling. -- I am continuously modeling this. These terms are interconnected; they assume energy pooling and structure, and are processes with process control. The control structures divide the configuration into semantics (with internal syntactic control) and syntac- tics (with external semantic control). The latter is the control structure proper - a formal program or filter whose semantic control is an intention to harness, modify,, transmit, or otherwise control the former. The former might loosely be considered 'content,' i.e. on the plane of content, which necessarily emphasizes semantics - the sememe of the content - that relies on internal syntactics to configure the sememe for others. This is a false model of course since the content seeps through both semantics and syntac- tics, but these domains are still 'somewhat' uncoupling; similarly, cont- rol structures are entangled between intentional semantics and process control itself. All of this is clear in transmission and filtering; the latter might be considered a form of transmission itself, although it is usually taken to refer to a cutting-away of tranmission contents. Like- wise transmission can be considered a form of dynamic filtering which parcels and configures content dynamically from one to another site. Resonance is an internalized filtering and transmission tending towards the best of all possible (local) worlds; it achieves this as a steady- state maintained (other than at temperatures near absolute zero) by an external energy source which keeps the resonance alive. Otherwise reson- ance, like transmission, is dampened and dies out. Filtering in this regard may be considered passive; a filter need not consume external energy for maintenance, but may just gate whatever content comes through. Finally, modeling - not models - may be considered a continuous process of adjusting to the world; resonances are appearances of entities that seem somewhat steady-state. Modeling transmits a series of models-in-process, behavioral dynamics, flux; filtering is at the heart of modeling, shaping whatever raw data comes into the process. It would be literally fitting to establish a procedural dynamics moving from (modeling filtering) through (transmission resonance) but this seems problematic; all that can be said is that these processes are all involved in situating the subject dynami- cally in the world, and are intentionally configured and active within the digital. (Resonance itself is analogic, I think; while it operates digit- ally, through positive feedback it might break out of any potential well designed to contain it. Of course this depends on the variety of resonance - and all of this points, I believe, to the above as bad or broken theory, groping at something and groping in the wrong direction. From info at x-arn.org Wed Jun 4 12:10:31 2008 From: info at x-arn.org (info) Date: Wed, 04 Jun 2008 12:10:31 +0200 Subject: [NetBehaviour] Structure for 1482 artworks Message-ID: <48466A17.5060006@x-arn.org> http://www.laboratoire-aleatoire.com/1482/ From info at x-arn.org Wed Jun 4 21:18:54 2008 From: info at x-arn.org (info) Date: Wed, 04 Jun 2008 21:18:54 +0200 Subject: [NetBehaviour] Structure for 1482 artworks In-Reply-To: <48466A17.5060006@x-arn.org> References: <48466A17.5060006@x-arn.org> Message-ID: <4846EA9E.5050005@x-arn.org> info a ?crit : > http://www.laboratoire-aleatoire.com/1482/ > ideas welcome 6 Comments Comment by x-arn June 4, 2008 10:51 am think about interactions between painting and net.art think about gallery think about context think about linking structures think about systems think about the artworld think about self-reference think about identity think about the same think about the other think about something else Reply to this post Comment by x-arn June 4, 2008 1:00 pm a finished work has no sense Reply to this post Comment by x-arn June 4, 2008 1:21 pm a finished artwork makes no sense. Reply to this post Comment by x-arn June 4, 2008 2:55 pm stop waiting for the new Reply to this post Comment by x-arn June 4, 2008 2:56 pm http://upload.wikimedia.org/wikipedia/commons/f/f2/Sandro_Botticelli_046.jpg Reply to this post Comment by x-arn June 4, 2008 3:16 pm & don't waste too much time in SL 001.ETC.ORG is pure artcrap that's why you love them much more than Manzoni you're on the right side of beauty? or on the left? From drp01mc at gold.ac.uk Wed Jun 4 21:20:26 2008 From: drp01mc at gold.ac.uk (Maria Chatzichristodoulou) Date: Wed, 4 Jun 2008 20:20:26 +0100 (BST) Subject: [NetBehaviour] Last Thursday Club of this academic year tomorrow, come for some wine! (Goldsmiths) Message-ID: <49186.82.138.216.115.1212607226.squirrel@secure2.gold.ac.uk> ** NEW THURSDAY CLUB ** NEW THURSDAY CLUB ** Supported by the Goldsmiths GRADUATE SCHOOL and the Goldsmiths DIGITAL STUDIOS 6pm until 8pm, Seminar Rooms at Ben Pimlott Building (Ground Floor, right), Goldsmiths, University of London, New Cross, SE14 6NW FREE, ALL ARE WELCOME. No booking required. JOIN US FOR A GLASS OF WINE! *5 JUNE with ALEX MCLEAN & DAVE GRIFFITHS : Live Coding* Live coders program in conversation with their machine, dynamically adding instructions and functions to running programs. Here there is no distinction between creating and running a piece of software - its execution is controlled through edits to its source code. Live coding has recently become popular in performance, where software is written before an audience in order to generate music and video for them to enjoy. McLean and Griffiths have played around Europe together with Adrian Ward as the live coding band "slub". They will talk about the history and practice of live coding, and give some demos of their own live coding environments. ALEX MCLEAN has been triggering distorted kick drum samples with Perl scripts for far too long. He is a PhD student at Goldsmiths Digital Studios. DAVE GRIFFITHS writes programs to make noises, pictures and animations. He makes film effectis software and computer games. Dave & Alex are both members of the Openlan free software artists collective and the TOPLAP organisation for live algorithm promotion. slub.org ; toplap.org ; pawfal.org/openlab ; pawfal.org/dave ; yaxu.org *With Sound Performances from* :: CLAUDEl HEILAND-ALLEN Claude Heiland-Allen (aka ClaudiusMaximus) is a digital artist from London. He has been using computers to make art for longer than the time he didn?t. As part of GOTO10, working with and creating Free/Libre Open Source Software gives him freedoms he never had before, and he hopes to become a better workman by building his own tools. http://claudiusmaximus.goto10.org | http://goto10.org EDWARD KELLY Edward Kelly is a London-based artist working with bespoke live performance software. His work has spanned formal electroacoustic composition, classical score-writing and live electronics. Currently, Dr Kelly is working on a live audiovisual performance system in Pure Data, and the continual redevelopment of this system means that every performance is a premiere as well as an improvisation. Releases of his software reside at sharktracks.co.uk, and as a sometime electro musician his music can be heard at pyramidtransmissions.com (as Lone Shark). http://www.sharktracks.co.uk RYAN JORDAN Ryan Jordan comes form a noise/tekkno/experimental music background but works with all available medias through the computer. He has organised many events and performances in the UK and has performed nationally and internationally. Jordan?s exploration of sound and music performance with computers led to the development of his prototype MIDI controller, the M.G.I (Movement and Gesture Interface) which was an attempt at bringing a more physical performance element to laptop and computer music. Now working in the intersection of the arts and sciences he explores and develops systems which merge all medias together through the physical augmentation of the body as a controlling device for computational applications. He is currently studying MFA Computational Arts at Goldmiths, London. --- THE THURSDAY CLUB is an open forum discussion group for anyone interested in the theories and practices of cross-disciplinarity, interactivity, technologies and philosophies of the state-of-the-art in today?s (and tomorrow?s) cultural landscape(s). For more information check http://www.goldsmiths.ac.uk/gds/events.php or email Maria X at drp01mc at gold.ac.uk To find Goldsmiths check http://www.goldsmiths.ac.uk/find-us -- Maria Chatzichristodoulou [aka maria x] PhD Art & Computational Technologies Goldsmiths Digital Studios From info at x-arn.org Wed Jun 4 21:40:15 2008 From: info at x-arn.org (info) Date: Wed, 04 Jun 2008 21:40:15 +0200 Subject: [NetBehaviour] Last Thursday Club of this academic year tomorrow, come for some wine! (Goldsmiths) In-Reply-To: <49186.82.138.216.115.1212607226.squirrel@secure2.gold.ac.uk> References: <49186.82.138.216.115.1212607226.squirrel@secure2.gold.ac.uk> Message-ID: <4846EF9F.1060806@x-arn.org> > email Maria X at drp01mc at gold.ac.uk > Hey, Maria X ... from Fournos? i'm looking for archives from Distance Focale (x-arn.org) performance for Mediaterra Festival (1999), do you have some files? (or never live the past...) cheers, --y From info at x-arn.org Wed Jun 4 21:58:23 2008 From: info at x-arn.org (info) Date: Wed, 04 Jun 2008 21:58:23 +0200 Subject: [NetBehaviour] Last Thursday Club of this academic year tomorrow, come for some wine! (Goldsmiths) In-Reply-To: <49210.82.138.216.115.1212608651.squirrel@secure2.gold.ac.uk> References: <49186.82.138.216.115.1212607226.squirrel@secure2.gold.ac.uk> <4846EF9F.1060806@x-arn.org> <49210.82.138.216.115.1212608651.squirrel@secure2.gold.ac.uk> Message-ID: <4846F3DF.4020304@x-arn.org> i understand you don't want trying to remenber http://upload.wikimedia.org/wikipedia/commons/f/f2/Sandro_Botticelli_046.jpg you're on the right or on the left ? good luck too, --y Maria Chatzichristodoulou a ?crit : > ...never live the past > > better contact fournos direclty, I don't work with them any more > > info at fournos-culture.gr > > good luck!! > > best > maria x > > You are not authorized to send mail to the ART-TECHNOLOGY list from your info at X-ARN.ORG account. You might be authorized to post to the list from another of your accounts, or perhaps when using another mail program configured to use a different e-mail address, but LISTSERV has no way to associate this other account or address with yours. If you need assistance or if you have any questions regarding the policy of the ART-TECHNOLOGY list, please contact the list owners at ART-TECHNOLOGY-request at JISCMAIL.AC.UK. > > >>> email Maria X at drp01mc at gold.ac.uk >>> >>> >> Hey, >> >> >> Maria X ... from Fournos? >> >> >> i'm looking for archives from Distance Focale (x-arn.org) performance for >> Mediaterra Festival (1999), do you have some files? >> >> >> (or never live the past...) >> >> >> >> cheers, --y >> >> >> > > > From sondheim at panix.com Wed Jun 4 22:12:56 2008 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 4 Jun 2008 16:12:56 -0400 (EDT) Subject: [NetBehaviour] unrelated performance and innate tendencies Message-ID: unrelated performance and innate tendencies 1 Second Life solo performance at Gaz's site http://www.alansondheim.org/ogaz1.mp4 http://www.alansondheim.org/ogaz2.mp4 2 some probable innate human cultural tendencies - religion ('humanity's search for meaning' in a meaningless world) addiction (irrelevant particular content, hunting behavior with close closed loops) other-group hatreds (inscriptive protection and aggression against other groupings) shamanic (imminency of sickness, curatives through empathetic or symbolic magic) religion, rites rituals, purifications addiction, addictive behaviors other-group hatreds, boundaries (internal and external),, warring shamanic, chthonic rituals, abjections From rob at robmyers.org Wed Jun 4 22:43:53 2008 From: rob at robmyers.org (Rob Myers) Date: Wed, 04 Jun 2008 21:43:53 +0100 Subject: [NetBehaviour] A Critique Of Copyfarleft Message-ID: <4846FE89.8050601@robmyers.org> http://www.metamute.org/en/copyfarleft_a_critique - Rob. From sondheim at panix.com Thu Jun 5 06:50:17 2008 From: sondheim at panix.com (Alan Sondheim) Date: Thu, 5 Jun 2008 00:50:17 -0400 (EDT) Subject: [NetBehaviour] SL Performance, Sandy Baldwin and Alan Sondheim Message-ID: SL Performance, Sandy Baldwin and Alan Sondheim unique in the history of sl http://www.alansondheim.org/slperformanceb1.mp4 http://www.alansondheim.org/slperformanceb2.mp4 http://www.alansondheim.org/slperformance1.mp4 http://www.alansondheim.org/slperformance2.mp4 http://www.alansondheim.org/slperformance4.mp4 unique in the history of virtual worlds unique! unique! From sondheim at panix.com Thu Jun 5 06:52:54 2008 From: sondheim at panix.com (Alan Sondheim) Date: Thu, 5 Jun 2008 00:52:54 -0400 (EDT) Subject: [NetBehaviour] nikuko swallows dirt Message-ID: nikuko swallows dirt dirty nikuko. nikuko transforming into landscape because she wants to become part of the world of second life so she can never be removed until the entire corpora- tion folds sometime in the future. nikuko encumbered by landscape because she wants to crawl away from the rocks towards some better future life. nikuko embedded into landscape because she wants to sleep the long long sleep while there still is silence in the world. nikuko talking to herself because there is no one to be her tiny friend or listen to her sobs. nikuko embracing landscape because she wants to open herself up to the earth and dirty orgasm. nikuko in the void of landscape. nikuko within the abyss of landscape. nikuko in the chaos of dirt. nikuko wants to swallow the landscape and disappear. nikuko in ecstatic orgasm upon her discovery that it is all one ontology. nikuko in overwhelming orgasm having discov- ered it is all one epistemology. nikuko doesn't know where her energy comes from or the light that illuminates the rocks. nikuko doesn't know if she's a stone or a cliff or granite or schist. nikuko doesn't know she doesn't know and she's not about to find out. nikuko in unbelievably ecstatic enormous and overwhelming orgasm. http://www.alansondheim.org/mod1nikuko1.jpg http://www.alansondheim.org/mod1nikuko2.jpg http://www.alansondheim.org/mod1nikuko3.jpg http://www.alansondheim.org/mod1nikuko4.jpg http://www.alansondheim.org/mod1nikuko5.jpg http://www.alansondheim.org/mod1nikuko6.jpg http://www.alansondheim.org/mod1nikuko7.jpg http://www.alansondheim.org/mod1nikuko8.jpg nikuko swallows dirt. dirty nikuko. From james at jwm-art.net Thu Jun 5 08:44:29 2008 From: james at jwm-art.net (james jwm-art net) Date: Thu, 05 Jun 2008 06:44:29 +0000 Subject: [NetBehaviour] =?iso-8859-1?q?*=AC?= Message-ID: http://www.jwm-art.net/art/audio/clouded_did_done.mp3 stripping shit away, bye, i'm going nowehre./ hoorah, hooray./ From sondheim at panix.com Fri Jun 6 07:32:31 2008 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 6 Jun 2008 01:32:31 -0400 (EDT) Subject: [NetBehaviour] azure, butterflies, new vlf, bouncing and echoing Message-ID: azure, butterflies, new vlf, bouncing and echoing azure bounced to queensland, australia, and back on unicast access grid, the sadness of the silent movie star http://www.alansondheim.org/agvlf15.jpg http://www.alansondheim.org/agvlf16.jpg http://www.alansondheim.org/agvlf17.jpg http://www.alansondheim.org/itseag.mp4 http://www.alansondheim.org/languorag.mp4 complex unicast and multicast bouncing and echoing http://www.alansondheim.org/doublingag.mp4 butterflies mating http://www.alansondheim.org/butterfly11.jpg http://www.alansondheim.org/butterfly12.jpg http://www.alansondheim.org/butterfly13.jpg vlf recording with reverb, june 5, 2008 http://www.alansondheim.org/vlfjune56.mp3 (beautiful, thunderstorms close by) From sondheim at panix.com Sat Jun 7 06:27:50 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 7 Jun 2008 00:27:50 -0400 (EDT) Subject: [NetBehaviour] Nikuko danzes in hir tiny space. Message-ID: Nikuko danzes in hir tiny space. http://www.alansondheim.org/kite1.jpg http://www.alansondheim.org/kite2.jpg http://www.alansondheim.org/kite3.jpg http://www.alansondheim.org/kite4.jpg http://www.alansondheim.org/kite5.jpg http://www.alansondheim.org/kite6.jpg http://www.alansondheim.org/kite7.jpg http://www.alansondheim.org/kite8.jpg http://www.alansondheim.org/roses.mov From doutorsocratesoreidofutebol at gmail.com Sat Jun 7 20:48:42 2008 From: doutorsocratesoreidofutebol at gmail.com (ricardo ruiz) Date: Sat, 7 Jun 2008 15:48:42 -0300 Subject: [NetBehaviour] TODAY :: LIVE :: Coco de Umbigada - 10 years :: estudiolivre.org Message-ID: :::::::::: ESSE COQUEIRO ? DE COCO SANTO :::::::::::: \\\ TODAY \\\ TODAY \\\ - - - - - Saturday, June, 7th - - - - 22h00 <-> GMT +3 live from Largo do Guadalupe - Olinda - PE BRAZIL **** UMBIGADA - 10 years ***** ::: LIVE @:::: http://aovivo.estudiolivre.org ::::::: FAZ O PRATO QUE SE COME, MATA A FOME, MATA A SEDE, D? A SOMBRA, AMARRA A REDE :::::: :::: DAS FIBRAS SE FAZ O MANTO, PLANTEMOS POR TODO O CANTO, COQUEIRO DE COCO SANTO :::: -- ++ vote ++ ==MUSSUM== Cacilds! - 51 +-+- From sondheim at panix.com Sat Jun 7 20:56:37 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 7 Jun 2008 14:56:37 -0400 (EDT) Subject: [NetBehaviour] Eras/sure Message-ID: Eras/sure What we're doing produces (is the production of?) artifacts (processes?) - video, audio files, live video and audio performance, online video and audio performance, live performance, texts, programs, images - everything in other words that doesn't rely on offline material construction on the order of photographs, etchings, paintings, engravings, sculpture, instal- lations, multiples, offline books. What we're doing relies on both process and electronic transmission; the Access Grid works for example are proce- sses resulting in various digital formats and copies but other- wise no hard copy. What we're doing is scholarly to the extent that it examines the self-body-image - not the image in terms of symptomologies or emotion- al processes, etc., but the very inhabiting of the body itself - something that it's almost impossible to quantify or describe, Levinas, Husserl, Merleau-Ponty notwithstanding. The work reconfigures the very foundations, backgrounding, of experience. What would a world be like within which movement and memory structures were drawn out by the substitution of tan- gent for sine, structures that were then redrawn in to the experiential? We have no interest in display or aesthetics beyond that which tilts or topples presuppositions. Our scholarship as applied to examination is irreducible, irreproducible, irresistible, irregardless; our scholar requires your presence, near or far, in relation to the camera, micro- phone, screen, performance space, online node. What we're doing is neither science nor psychology, but an intermingling which insists on the history, memory, and inhabiting of the human or otherwise body. We will use any available technology and performativity to arrive at the place of this body, the place of mind, history, and memory. We will eliminate the preposition 'of' in phrasing 'memory of,' 'history of,' 'psychology of,' 'philosophy of.' We will conjoin coupling into flux, striation, flow, emission, spew. We will consider sources only as aftermath, and destina- tions only as they disappear in the rearview mirror of the mind. We insist that our knowledge is populist, open to everyone, that memory may be seeing, that looking my be thinking, that observing may be philosophy, that observing is always philosophy. We emphasize the look of the world is its origin all the way down, that looking requires nothing whatsoever, neither technology nor organ. We will dwell within breathing, breathe all possible worlds, collapse them with a gentle insistence on continuous withdrawal. We present artifacts and processes from the flattening of these and other surfaces. We understand that artifacts are carapaces, that a certain hardening always occurs in transmission, that hardening is never the thingings or processings themselves, nor thingings or processings otherwise. We neither consider this an aesthetics, nor an aesthetics of withdrawal, not even a silence or silencing; instead we might murmur some- thing about background once again, not even that, except under erasure. We operate under erasure, our work is under erasure, always beyond the Pale, always beneath consideration. Consideration is under erasure, everyone operates as if the Pale has disappeared, thought is under erasure ... From sondheim at panix.com Sun Jun 8 16:58:47 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 8 Jun 2008 10:58:47 -0400 (EDT) Subject: [NetBehaviour] Writing habits Message-ID: Writing habits When I write, sooner or later the piece seems finished to me; it then is placed at the end of an ongoing 'collection' file that is placed on http://www.alansondheim.org ; the most recent is 'pr.txt.' I work on additions to these collections until they total anywhere from 80k - 100k, at which point the next in the series is started. I began with Net0.TXT, Net1.TXT, etc., for about 10; then there were several named files. Finally, the alphabet was used. The result is an irregular marking system which has settled down in an orderly fashion for the past 100 or so collections; 'pr.txt' follows 'pq.txt' and will precede 'ps.txt.' There can be between 20 and 80 individual pieces in one of these collections. The individual segments generally follow whatever line of inquiry I'm working on at the moment, with numerous exceptions. At one point I spoke of 'long waves' and 'short waves' to indicate thematic movement through the mass of collections. A long wave might be Nikuko or defuge; a short wave might be a particular Access Grid resonance configuration which is exploited for a while. These texts are heavily edited and spell-checked with ispell; unfortuna- tely, errors inevitably creep in. In my last text, I wrote 'my' instead of 'may,' 'scholar' instead of 'scholarship,' and had a misplaced dash, the result of re-justifying after some corrections. I hope these errors aren't misleading, but are understood only as slips of the tongue leading nowhere at all. They're not caught by ispell, and they're not caught by me. I try to keep the average individual piece length to 43 lines, although it may range from 10 to 300 or so. I send these out once a day at least; this is my compulsion, and if I don't feel I've completed work for the day - and completed work at that - I find myself, like now, unable to sleep, cursing myself for being human so to speak. The compulsion has to be be coupled with necessity, the 'natural' contin- uation of a series. I attempt to balance practical/production works with theoretical ones; sometimes the two accompany each other, and sometimes they're simply contiguous, as with the recent series of butterflies mating which I found fascinating; I hadn't seen this particular ritual before. The texts are almost always written, as this one is, online at panix.com in the Pico editor in a shell account; the font is mono-spaced courier. There's a sense of urgency for me in this accountancy which is maintained only by a live connection; as I've written before, I recognize the server load and panix community which is almost always present in the background and accessed through the 'w' or 'who' or various other commands. Once written, the file is sent from my home directory to my Pine email, as well as added to the current large text file. The file is almost always named 'zz' which places it at the end of a sorting; sometimes it's moved to 'ww' if I'm afraid it will be accidentally erased. If I'm processing the file, I move between 'zz' and 'yy.' If I'm working in the midst of a long file, I use 'zzzzz' for a bookmark. When the file is completed, I do an edit, an ispell, and a 'wc' word/line/character count before it's sent out through Pine. The style varies from one text to another; one major characteristic is the presence or absence of capital letters. If the text is to be 'breathed' as if spoken with the words run together, or presented as flow or emission itself, I'll use small letters only. If the text is traditional or genre-oriented, capitals are employed, as they are in a number of common poetic forms. Sections of the text may be energized by capitals as well. All of this seems inconsistent, aggravated by no common rule for quotation marks (single or double). If the text is generated with the Google wsdl etc., I'll usually remove numbers in order to create an effect of 'orality' to the finished result. I'll check for upper ascii characters with the more command, take them out with the 'strings' command. I may eliminate punctuation, etc.; for all of this, I use 'sed' in various forms as well as 'tr.' At times I may begin a text by culling from the internet text as a whole; the command I generally use is 'grep -h X *.txt' which produces a file without giving the file source of the individual lines. Most of the time, if I'm modifying a text in this way, I'll use various perl programs, scripts, etc. in combination, working to 'shape' the text to my satisfaction. I'm not interested in writing a generated text that appears meaningless; I'll shape it until it 'tends towards' I want, or the meaning I might find hidden within it. This is of course a dialectical process and aesthetic choice; for me the justification of a text lies, not in the conceptual apparatus that produced it, but in the complex resonances between the text and its reading, and the confluent generatings of meaning that occur in the process. Periodically, collections like 'pr.txt' are uploaded to my webpage, which is of course nothing more than a directory; one can read the most recent collection, complete or incomplete, in conjunction with the image, sound, or video files that are referenced within it. The collection is also a guide to them. After a while, these files may be removed to make room for others; there are, however, 'core' files which remain in place because they seem to me to have particular significance over a longer period of time. Sometimes a reader will write to me, asking for a file that has been taken down; I generally put it back up for one or two days, then take it down again. This is the process that's carried out, day in and day out. (I think I once went for 6 days without producing anything - in 15 years.) suffer from depression, poor eyesight getting poorer, minor 'twitches' in my left frontal lobe, and severe insomnia; it's the last that governs when I write and perhaps how I go about it. I write at all hours of the day or night; I need to have a complete and final thought that could always be a conclu- sion if I should happen to die at the time; death in fact haunts the text at one end, and sex on the other, with the struggling of the inscribed body in their midst. I want every text to resonate with every other, every text to carry a totality whispered among all of them. If I don't achieve this, what I produce feels more like an 'instance' or 'advertisement,' something on a path which is yet incomplete - and my nightmares turn furious... 3:19AM USER cbpp jdecarlo simona geoff src pyro rcliff jzk bitty rain jhava argent src jkurck rcpj hud aahz karsten seligman snefru pciszek steved librik sondheim dagger rmc jtabron bord rkarow bord bord bord aahz thor bord omar rmc bord checker mhoram basit eskwired ayana alexis basit omar rpmohn dangelo checker ayana tss rbf jsm mcooper ggold emmanuel snefru Sun Jun 8 03:20:24 EDT 2008 Automatic charging is active on your account. Your balance will be charged on 06/22/2008 ==================================================================== From sondheim at panix.com Mon Jun 9 04:51:55 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 8 Jun 2008 22:51:55 -0400 (EDT) Subject: [NetBehaviour] seduction of the world Message-ID: seduction of the world Are you dressed as a range of scalar values submerging the screen, there's something dear julu that must be beyond or in the midst of the other side of the tree, surely the use of values better written point to newer sources? Is a range of scalar values submerging the screen, there's something dear julu that must be beyond or in the midst of the other side of the tree, surely the use of values better written point to newer sources dressed as you? Are you in your thing, are you in your flesh, ah don't answer... Is Julu wearing your ... , are you wearing your thing? I love your feelings, a range of scalar values submerging the screen, there's something dear julu that must be beyond or in the midst of the other side of the tree, surely the use of values better written point to newer sources ... Your breasts call me to them... love oozes me beyond your thing! What do you call your sedate thing? My yes yes yes yes yes is yours... should there be such a moment or singsong as these, nouns and adjectives, genitives and genitals crawling across or throughout the body, dearest julu, the body of text, or what should i say about ourselves, if not something used once and neither more nor less makes me thoughtful should there be such a moment or singsong as these, nouns and adjectives, genitives and genitals crawling across or throughout the body, dearest julu, the body of text, or what should i say about ourselves, if not something used once and neither more nor less calls forth pure womb, eating, excreting memory. accompanying the edgy, should there be such a moment or singsong as these, nouns and adjectives, genitives and genitals crawling across or throughout the body, dearest julu, the body of text, or what should i say about ourselves, if not something used once and neither more nor less is , edgy, there's always a question or query of these sources, to be sure? or a listing of lines or striations among queries or something of that sort, dear julu, now i will be very very wet when i am writing in my panties boohoo dear jennifer dearest jennifer and nothing else? ... womb is is this where i say the end with my wettest panties, dearest nikuko, or just the slightest bit just a slightest bit and further on, we are traveling wet and hands are pulling panties, are they not dearest jennifer here, it's womb? Are you becoming close to Jennifer's should there be such a moment or singsong as these, nouns and adjectives, genitives and genitals crawling across or throughout the body, dearest julu, the body of text, or what should i say about ourselves, if not something used once and neither more nor less? You melt into Julu's skin forever... ... cotton should there be such a moment or singsong as these, nouns and adjectives, genitives and genitals crawling across or throughout the body, dearest julu, the body of text, or what should i say about ourselves, if not something used once and neither more nor less 20854 is Julu's gift to you ... the object itself, leaves as well.::chests of connections and cylinders in time. but everything is still-born; i leave the site and the citation, - a move from topography to topology that seems critical at this point of a certain sort in place of either the machinic or the organic 'cylinder,' 'node,' and 'avatar,' which at least presents connectivity and i don't even know the people. i've been writing with characters news around here isn't good, there are closeups of autopsies on television i've been too busy with avatar bodies that can't hold a stick to you. the of the past, bones, skeletons, dust, death, hunger.:i forgot you jennifer release, haunted - oh i cried when i found it, this delicate index was awarded a certificate of merit; i have that certificate, untethered, of worlds - just so my writings falter at the gate. in 1841 someone to temporal balance, feedback. what can be said of this, of the fragility are organized in a skein of representations - they're so fragile, so tied which happened quickly, in the matter of days. all my belongings and works of the world she organized and assembled over decades, a dispersion firsthand when my mother died, what happens in any death: the dispersion and organism. things need names and often don't have them; i learned fecund, the flower is a shape, the flower is the merge of connection this point in time. forget them. work the world.:the flower is connected, machinic constructs that disappear as so many props only necessary at constant state of rebirth, airborn, earthborn. nothing but prims, pixels, the grit of the real, imaginary of the virtual, cleansed, hairless, in of bodies and media, topologies of media, topographies of representation, of lives disappear, all moments, topologies of desire, topographies sex-playing roles in organic display that disappears, sheaves of nodes and vectors is in my wayward closet of attachments and parts Your small tables seeps into my closet of attachments and parts - turning me Julu-Jennifer Your breast should there be such a moment or singsong as these, nouns and adjectives, genitives and genitals crawling across or throughout the body, dearest julu, the body of text, or what should i say about ourselves, if not something used once and neither more nor less:there's always a question or query of these sources, to be sure? or a listing of lines or striations among queries or something of that sort, dear julu, now i will be very very wet when i am writing in my panties boohoo dear jennifer dearest jennifer and nothing else:a range of scalar values submerging the screen, there's something dear julu that must be beyond or in the midst of the other side of the tree, surely the use of values better written point to newer sources::yes yes yes yes yes Your pure yes yes yes yes yes is in my edgy is this where i say the end with my wettest panties, dearest nikuko, or just the slightest bit just a slightest bit and further on, we are traveling wet and hands are pulling panties, are they not dearest jennifer Devour pure yes yes yes yes yes julu-of-the partying should there be such a moment or singsong as these, nouns and adjectives, genitives and genitals crawling across or throughout the body, dearest julu, the body of text, or what should i say about ourselves, if not something used once and neither more nor less! Scalar value @a[$gen2] better written as $a[$gen2] at a/julua line 121. Scalar value @a[$gen3] better written as $a[$gen3] at a/julua line 121. Name "main::b3" used only once: possible typo at a/julua line 78. Name "main::sign" used only once: possible typo at a/julua line 33. a range of scalar values submerging the screen, there's something dear julu that must be beyond or in the midst of the other side of the tree, surely the use of values better written point to newer sources there's always a question or query of these sources, to be sure? or a listing of lines or striations among queries or something of that sort, dear julu, now i will be very very wet when i am writing in my panties boohoo dear jennifer dearest jennifer and nothing else should there be such a moment or singsong as these, nouns and adjectives, genitives and genitals crawling across or throughout the body, dearest julu, the body of text, or what should i say about ourselves, if not something used once and neither more nor less is this where i say the end with my wettest panties, dearest nikuko, or just the slightest bit just a slightest bit and further on, we are traveling wet and hands are pulling panties, are they not dearest jennifer http://www.alansondheim.org/betweenworlds.jpg From marc.garrett at furtherfield.org Mon Jun 9 11:49:43 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 09 Jun 2008 10:49:43 +0100 Subject: [NetBehaviour] Say Yes / No to the Internet. In-Reply-To: <483E9A0C.6090806@furtherfield.org> References: <483E9A0C.6090806@furtherfield.org> Message-ID: <484CFCB7.6030605@furtherfield.org> Say Yes / No to the Internet Power of Negative Thinking Series Friday 13 June 2008, from 20.30 hrs An evening on Do it Yourself and the Internet, with: - Roald de Boer and Home Made, a lecture about porn on the internet. He goes into porn history, it's amateuristic aspects and the impact (or not) of internet on pornographic language. - A critical exploration of propriety hardware and the elusive potential of software by Brian McKenna - And Harm van den Dorpel will share some Virtual Ethereal Experiences, life changing experiences in Cyberspace. Say Yes / No to the Internet is part of a series on The Power of Negative Thinking organised by Kinga Kielczynska (PL) and Melanie Bonajo (NL). The artists are looking for a new passion and usefull alternatives to the all too gay yes-yes mentality of today. Location: Mediamatic, Post CS Building, Groundfloor / side entrance, Oosterdokskade 5, Amsterdam. Free admission www.mediamatic.net/artefact-38599-nl.html From chiarapassa at gmail.com Tue Jun 3 12:28:35 2008 From: chiarapassa at gmail.com (Chiara Passa) Date: Tue, 3 Jun 2008 12:28:35 +0200 Subject: [NetBehaviour] =?utf-8?q?=22product=22=E2=80=93_Festival_of_Conte?= =?utf-8?q?mporary_Art_Varna=2C_Bulgaria?= In-Reply-To: References: Message-ID: "product"? Festival of Contemporary Art Varna, Bulgaria The "product" will take place from June 5th to June 15th 2008 in Varna, Bulgaria. The theme of this year's Festival is "Hope". The festival functions as transmitter and forum between artists and audience, art and institutions creating an atmosphere of confidence. It is designed as a cultural portal where the ideas of authors are to be developed, shared, discussed, and nurtured in workshops, lectures, discussions and performances. The festival is organised by KERA, a group of artists and cultural operators based in Varna ? a major seaport on the Bulgarian Black Sea. In 2008, hope will be the leitmotif of the festival. We are looking forward to an exciting programme with contributions from different fields of contemporary art as well as to a series of lectures and an extensive film programme. There will be chance to meet some of the 28 artists and 55 filmmakers from 28 countries (Colombia, United Kingdom, Argentina, Germany, Bosnia, France, Peru, Spain, USA, Bulgaria, Austria, Ireland, Canada, Italia, Switzerland, Mexico, Chile, Japan, Netherland, Turkey, Belgium, Iran, Norway, Korea, China, Finland, Slovenia) and to find out about their artistic positions. Curators team exhibition: Emil Mirazchiev (Bulgaria), Nevan Lahart (Ireland), Rustha Luna Pozzi-Escot (France), Peter Anders (Germany), Michele Fiori (Italia) and Luis Gonzales Toussaint (Mexico), Curator "Some are watching" film program: Martin A. Dege (Germany). We are glad to invite you to this hopeful anniversary of the "product" festival of contemporary art in Bulgaria. KERA AssociationThe Festival Team etualartmachine.com FILMPROGRAM 2008 http://www.product-festival.com/film_08.html videoscreening Block 1 Open call: "about hope" Curator: Martin A. Dege Length: 74.00 minutes OPEN CALL Videoscreening "saw - some are watching" at "product? Festival of Contemporary Art 2008" The paradise garden Hyun-Joo MIN Finnland 2005, 03.38min. How to Fool your Fears Serafina Ouistiti United Kingdom 2007 Room Temperature Zhana Ivanova Bulgaria 2008, 26.14min. Malocchios Puppetshow Serafina Ouistiti United Kingdom 2007 - ohne Titel - Kristin Meyer Germany 2008, 12.45min. 'time is running and say nothing' Antea Arizanovic Slovenia 1988 - 2006, 16.30min. Dad?s Cellar Susan Schmidt und David Buob Germany 2006, 06.34min. Block 2 FAIRPLAY FILM & VIDEO AWARD SELECTION -1- Lugano / Switzerland Organizer: FAIRPLAY FILM & VIDEO Festival www.fairplay-lugano.com Curator: Silvia Anna Barril? Length: 45.00 minutes Pendule Antonella Kurzen Switzerland / Germany 2006, 00.5min. When I wish upon a star Mai Yamashita & Naoto Kobayashi Japan / Switzerland 2004, 2.2min. Kino Krov Elise Florenty France / Germany 2005, 5.45min. Attica Manon de Boer Belgium 2008 9.55min. Rise Niklas Goldbach Germany 2007 2.22min. Six Apartments Reynold Reynolds USA / Germany 2007 12.00min. Twist Alexia Walther Switzerland / France 2006 11.00min. Block 3 The best of "loyal_rooftops_2007" Organizer: Martin A. Dege www.madege.de/projekte/rooftops Curator: Martin A. Dege "loyal_rooftops_2007" zeigte Videoarbeiten, die soziale Diskrepanzen und unwirtliche Urbanit?t aufnehmen und sich so zum Festival 'B?rgerstolz & Stadtfrieden - kurz vor der Schlie?ung dieser Freir?ume, genau am richtigen Ort und zum richtigen Zeitpunkt positionierten. Talking walls Kristoffer Ardena Spain 2007, 3.44min Time bomb the love Chiara Passa Italy 1998, 5.00min. untitled Fotis Theotis United Kingdom 2004 All the Kings Horses and all the kings Men Marisa Cunningham United Kingdom Zone End Nooshin Farhid United Kingdom 2007, 2.30min. The desreet charm of the bourgeoisie Ron den Daas & Kathy Kenny Canada 2006, 1.00min. follow Andrew Thomas Germany 2007, 3.00min. touch Lieve D'hondt Belgium 2007 Fliessband Sandra Becker Germany 1996-2006, 2.00min .one day, 2000 Martin A. Dege Germany 2000, 2.23min. 25 horses in the room next door Eric Pries Germany 2007 Home Martin Sommer Germany 2007 Rompiendo Nubes Bongore Spain 2006, 1.47min. Nur ich lache Liu Ke China / Germany 2007 Force 2 Peter Borgers Netherland Block 4 "PAM Perpetual Art Machine" Organizer: PAM Perpetual Art Machine - living archive, USA www.perpetualartmachine.com Curator: Lee Wells, Raphaele Shirley, Chris Borkowski and Aaron Miller Length: 83.00 minutes Perpetual Art Machine is a living archive of 21st century international video art, featuring over 1000 videos from more than 700 artists from over 70 countries culminating in an immersive interactive video experience. Created in December 2005 as a collaboration between the artists Lee Wells, Raphaele Shirley, Chris Borkowski and Aaron Miller as a means to democratize the curatorial process by inviting both the artist and the viewer/user to participate through live interactive installations and online through [PAM]'s free community video portal. The artists represented in this program are just but a small cross section of the great artists [PAM] has been lucky enough to work with. We hope you enjoy it as much as we do. Scared at Birth Hackworth Ashley USA 2006 0.5min. Shouting Match George Barber United Kingdom 2004, 4.59min. Hibernation Josephin B?ttger Germany 2006, 10.50min. Modern Times Chris Coleman USA 2004, 2.45min. Cloths for a Summer Hotel Cecilie Dahl Norway 2004, 6.36min. False Hope & Invented God G.H. Hovagimyan USA 2006, 2.00min. Read My Lips Stephanie Lempert USA 2005, 1.12min Soon & Sleep Iris Piers Netherland 2006, 7.46min. A Life of Errors Nicholas and Sheila Pye Canada 2006, 14.24min. Star Alexander Reyna USA 2007, 3.21min. Pampering Jaye Rhee Korea 2006, 2.25min. Una Sporca Vacanza Cinzia Sarto Italy 2004, 9.53min. Would you rather it was love Melissa Schubeck USA 2006, 1.35min. Building Endre Tveitan Norway 2006, 1.18min. The Other Lam Mai Kit China 2004, 2.05min. The State of Things Amelia Winger-Bearskin USA 2007, 9.00min. Block 5 "Stay here..." Organizer: Open Space Zentrum f?r Kunstprojekte ? Wien, Austria www.openspace-zkp.org Curator: Gulsen Bal In its focus on a space of possibilities reflected within the realm of 'event' that we inhabit, Stay here... will address the ambivalent relationship with local epistemology in new political understanding of habitual durations rooted in precarious condition of the nomadic 'enclosures' within and against available structures where other worlds are possible. The statement thus spans a discursive field that ranges from hybridity, the "difference and rupture" to the issues of identification within unnameable potentials, with which all political and social questions are opened up. This traces a dynamics between nomadic 'enclosures' and what temporarily traversing them; conducting a journey, which makes long-hidden mystery into the open. Inevitably, this is bound to lead to the idea of "being against in any place", given that it includes both the possibility of belonging to "any" place and the necessity of opposition in "every" place. And these places must be sought. Diglossia Fatih Aydogdu Turkey / Austria 2007, 2.44min. WEST Nada Prlja United Kingdom 2007, 2min. One cannot deny it might just happen Anne-Britt Rage Norway 2007 Block 6 FAIRPLAY FILM & VIDEO AWARD SELECTION -2- Lugano / Switzerland Organizer: FAIRPLAY FILM & VIDEO Festival www.fairplay-lugano.com Curator: Silvia Anna Barril? Length: 55:52 minutes Voice Over Nevin Aladag Turkey / Germany 2006, 14.0min. Luc?a Crist?bal Le?n, Niles Atallah, Joaquin Cocina Chile 2007, 3.55min. Charismatic Fates & Vanishing Dates Sara Rajaei Iran / Netherland 2006 3.20min. The sun shines in Kiev Rossella Biscotti Italy / Netherland 2006, 9.0min. Indocumentado Edgar Endress Chile 2005, 10.0min. -- Chiara Passa chiarapassa at gmail.com http://www.chiarapassa.it http://www.ideasonair.net http://twitter.com/jogador Skype: ideasonair From ajaco at xs4all.nl Wed Jun 4 14:44:40 2008 From: ajaco at xs4all.nl (Andreas Jacobs) Date: Wed, 4 Jun 2008 14:44:40 +0200 Subject: [NetBehaviour] [Nictoglobe] Update Nictoglobe Summer 2008 Message-ID: <4282F95D-692D-42D6-9488-FF54C542B570@xs4all.nl> -------------------------------------------------------------- Update Nictoglobe Summer 2008 -------------------------------------------------------------- Digital Readymades A Re-Presentation of Pre-Existing Media The ideology of new art is flawed in the sense that, in general, all art is simply rehashing, recreating, re-presenting something that existed previously. This phenomena is seen most clearly when viewing works of digital art. Appropriation becomes an art form as old news becomes new again. The following works present a way of looking at things, which you may have seen before, differently. Curated by Austin, from Rhizome, member curated exhibitions. ------------------------------------------------------------- Remix of 'it smells like pop' Mark Amerika Essay about Avant Pop - for the uninitiated a must read! ------------------------------------------------------------- Traveling North - Bobbi Lurie Beautifull poem by way of Theory & Wryting ------------------------------------------------------------- Ors Vibranter Wurld - a poeticum in 317/29 words - A. Andreas New Netart Pieces ------------------------------------------------------------------------ ------------ More ... ------------------------------------------------------------------------ ------------ http://www.nictoglobe.com ------------------------------------------------------------------------ ------------ Enjoy! A. Andreas Editor Nictoglobe Online since 1986! e: ajaco at xs4all.nl w: www.nictoglobe.com From marc.garrett at furtherfield.org Mon Jun 9 11:57:29 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 09 Jun 2008 10:57:29 +0100 Subject: [NetBehaviour] Latin-American Video Art. A Critical View. In-Reply-To: <483E9A0C.6090806@furtherfield.org> References: <483E9A0C.6090806@furtherfield.org> Message-ID: <484CFE89.6040108@furtherfield.org> BRUMARIA -artistic, aesthetic and political practices Latin-American Video Art. A Critical View Editor: Laura Baigorri Latin America has been widely neglected in North American and European history of video art. In fact, not even Spanish video art has taken it into account. Until now, there have been numerous partial histories written about this artistic practice in each country, but there is not one publication that brings them together. Thus, we have considered it fundamental to give a global view of Latin American video art built through the peculiarities and conceptual divergences of the creative processes of each country. The publication of these essays aims at filling this gap and it will interest a broad sector of the cultural world, be it artists or researchers. On the one hand, because it exposes both the history and the work of all the emerging artists; on the other hand, because the interest on what is produced at a national level is inevitably linked to and associated with what is produced in other countries that are culturally related, favouring the cultural exchange among Latin American countries. Latin-American Video Art. A Critical View gives a panoramic and analytical critical view of the trajectory of video art practice in Latin America, bringing together its history and the most recent practices. This book contains a series of essays written by notorious art critics and researchers specialized in video art in their respective countries. CONTENTS: Participants and Topics - Laura Baigorri, ?Video in Latin America, interweaving memories? - Rodrigo Alonso, ?Towards a genealogy of Argentinean video art? - Graciela Taquini, ?A chronicle of video art in Argentina. From the transition to the digital era? - Cecilia Bay? Bolti, ?Video art in Bolivia? - Arlindo Machado, ?The art of video in Brazil? - Lucas Bambozzi, ?The exploded video and its fragments floating above us (Brazil)? - Alanna Lockward, ?Desolutions and juxtapositions: Echoes for a polyphonic tale of video art from Haiti, Puerto Rico and Dominican Republic? - Ernesto Calvo, ?Video art in Central America? eppur se mueve? - N?stor Olhagaray, ?Brief review of the history of video art in Chile? - Gilles Charalambos, ?Videoartistic Colombia. Basic notes on certain problematic aspects of video art in Colombia? - Marialina Garc?a Ramos & Meyk?n Barreto Querol, ?X-ray of an indocile image. (Diagnosis for tracing history of video art in Cuba)? - Mar?a Bel?n Moncayo, ?Ecuador: medial imprints from the non-place? - Ra?l Moarquech Ferrera-Balanquet, ?Transnational Latin video art in USA ? Canada: 1960-2007? - Sarah Minter, ?As a bird?s flight, video in Mexico: its origins and its context? - Fernando Llanos, ?Contemporary Mexican video: a day without a yesterday and a yesterday with a tomorrow? - Fernando Moure, ?Paraguayan soup. A hybrid cookbook for a videography? - Jos?-Carlos Mari?tegui, ?Video art days. An intense decade of video art in Peru? - Enrique Aguerre, ?Video?s condition 2.0 (25 years of video art in Uruguay)? - Benjam?n Villares Presas, ?Video art in Venezuela. Four generations of audiovisual art? This issue of Brumaria has been sponsored by: Agencia Espa?ola de Cooperaci?n Internacional para el Desarrollo www.brumaria.net/erzio/publicacion/10.html From marc.garrett at furtherfield.org Mon Jun 9 12:06:43 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 09 Jun 2008 11:06:43 +0100 Subject: [NetBehaviour] IOCT Salon: Creative Writing and New Media MA showcase. In-Reply-To: References: Message-ID: <484D00B3.4000803@furtherfield.org> IOCT Salon: Creative Writing and New Media MA showcase Wednesday 18th June 2008, 5.30pm - 7.15pm (doors open at 5.00pm for drinks) http://www.ioctsalon.com at the Institute of Creative Technologies, De Montfort University, Leicester, UK (see http://www.ioctsalon.com/directions.htm for map and directions) This event is free of charge and open to the public, however places are limited - email cjoseph [at] dmu.ac.uk to reserve a seat. The Online MA in Creative Writing and New Media at De Montfort University is designed for writers interested in experimenting with new formats and exploring the potential of new technologies in their writing. This first annual CWNM Salon is a unique opportunity to enjoy the best work from the first two years of the course with installations and talks from the following authors: Claudia Cragg http://ourworld.compuserve.com/homepages/ccragg/ "If you build it, they will come". To what extent does this apply to Facebook and MySpace sites and, if no one comes, just exactly what can you do about it? Claudia will discuss this and other questions in relation to her Aung San Suu Kyi (Burma) Lab research Participatory Media project ( http://108presentsforsuu.googlepages.com/home ). Toni Le Busque http://www.lebusque.com Miffy Johnston's Toenails and Other Stories - a combination of fiction and non fiction 100 word stories using Sophie ( http://www.sophieproject.org ), an open-source platform for writing and reading rich media documents in a networked environment, created by The Institute for the Future of the Book. Chris Meade http://www.chrismeadeoverleaf.com Presenting his work drumming - becoming - forgetting ( www.drummingandme.blogspot.com ), a 'blunder... a cross between a weblog, a ponder, a wander through time and a terrible mistake." This one is about the role of percussion in his life. Kirsty McGill Discussing her ongoing project to develop a next-generation rich-media tour for the UNESCO World Heritage city of Bath. Alison Norrington http://www.alisonnorrington.com Showcasing 'Staying Single', Alison's first cross-media work of fictional blogging which gave readers a variety of ways to engage, participate with and receive the story, including fragmented chapters emailed to subscribers, SMS alerts through Twitter, mini documentaries of real-life stories, meet-ups in Second Life and Machinima films. She will also offer a sneak-preview of her plans for her second cross-media fiction 'I Love NY'. Mags Treanor A spoken word performance by the Featured Reader at the 2006 Over The Edge Open Reading and 2007 C?irt Festival/Over The Edge Showcase writer. Christine Wilks http://www.crissxross.net Fitting the Pattern: or being a dressmaker's daughter - a memoir in pieces (embroidered) Cutting through the memories, stitching up the fabrications, pinning down the facts, unpicking the past... An interactive memoir, created in Flash, exploring aspects of my relationship with my dressmaking mother. Applications for entry in Autumn 2008 are currently being considered. http://www.dmu.ac.uk/faculties/humanities/pg/ma/cwnm.jsp Course Website: http://www.creativewritingandnewmedia.com --------------------------------------------------------------------- The IOCT Salon ( http://www.ioctsalon.com ) is managed by Chris Joseph ( http://www.chrisjoseph.org ), Digital Writer in Residence at the Institute of Creative Technologies, De Montfort University. This residency is funded by Arts Council England: East Midlands. For further information about the IOCT Salon please email Chris: info /at/ ioctsalon.com . To be notified of future events please join the mailing list on the Salon website. The IOCT Salon is held at and staged by De Montfort University and the Insitute of Creative Technologies, and is supported by Arts Council England and the Literature Development Network. ---------- IOCT http://www.ioct.dmu.ac.uk IOCT Salon http://www.ioctsalon.com/ From marc.garrett at furtherfield.org Mon Jun 9 12:11:37 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 09 Jun 2008 11:11:37 +0100 Subject: [NetBehaviour] Inter-passive Persona: Amber 08. In-Reply-To: References: Message-ID: <484D01D9.4090709@furtherfield.org> Inter-passive Persona: Amber 08. call for interactive installations and for art/game works amber?08, the largest international event in Arts and New Technologies in Turkey, will take place in between 7-16 November 2008 in Istanbul with a variety of venues, e.g. a new event called ?interactive games? as part of the festival exhibition. more information: http://www.a-m-b-e-r.net/ deadline f?r submissions: 30 July 2008 Contact: BIS (Body Process Arts Association) a-m-b-e_r , Ekmel Ertan artwork.application at a-m-b-e-r.org From marc.garrett at furtherfield.org Mon Jun 9 12:13:30 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 09 Jun 2008 11:13:30 +0100 Subject: [NetBehaviour] =?iso-8859-1?q?INTERACTIVOS=3F_M=E9xico=2708=3A_Te?= =?iso-8859-1?q?chnologies_of_Laughter=2E?= In-Reply-To: References: Message-ID: <484D024A.3060803@furtherfield.org> INTERACTIVOS? M?xico'08: Technologies of Laughter Call for projects: INTERACTIVOS? M?xico'08: Technologies of Laughter Workshop led by: Zachary Lieberman (USA), Leslie Garc?a (Mexico) & Alejandro Tamayo (Colombia) August 1 - August 16 2008 Submissions Deadline: June 8 A maximum of 10 projects will be carried out in a workshop held at the Centro Multimedia (National Arts Centre) in Mexico DF from 1 to 16 August 2008. At the end of the workshop, the projects will be exhibited at the Cultural Centre of Spain in Mexico from 16 August to 14 September 2008. The workshop aims to use open hardware and software tools to create prototypes that explore the relations between machines and humor/laughter. Medialab-Prado will cover lodging at a youth hostel and flight expenses for the authors of the selected projects and papers (one person per project/paper). More information: http://medialab-prado.es/article/interactivos_mexico08_tecnologias_de_la_risa From marc.garrett at furtherfield.org Mon Jun 9 12:15:20 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 09 Jun 2008 11:15:20 +0100 Subject: [NetBehaviour] ACM FuturePlay 2008 (Call for papers). In-Reply-To: References: Message-ID: <484D02B8.9@furtherfield.org> ACM FuturePlay 2008 (Call for papers). Call for papers ACM FuturePlay 2008 International Academic Games Conference on the Future of Game Design and Technology Toronto, Ontario, Canada November 3-5 2008, Future Play 2008 will focus on three main themes, and research papers presented for consideration are expected to relate to the overall theme and goal of the conference, 1. Future Game Design Theory and Technology 2. Future Game Impacts and Applications 3. Future Game Design Talent Submission deadline: June 30 2008 more information: http://www.futureplay.org/ From marc.garrett at furtherfield.org Mon Jun 9 15:36:20 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 09 Jun 2008 14:36:20 +0100 Subject: [NetBehaviour] Structure for 1482 artworks In-Reply-To: <48466A17.5060006@x-arn.org> References: <48466A17.5060006@x-arn.org> Message-ID: <484D31D4.1040802@furtherfield.org> Hi Yann, Are still thinking of creating live web cams for this work, and also could the images be blown up as pictures to be hung up together on walls? marc > http://www.laboratoire-aleatoire.com/1482/ > > > > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From sondheim at panix.com Tue Jun 10 05:46:45 2008 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 9 Jun 2008 23:46:45 -0400 (EDT) Subject: [NetBehaviour] (no subject) Message-ID: J'aime si tendrement le desert et la mer; Que je ris dans les deuils et pleure dans les fetes, Et trouve un gout suave au vin le plus amer; Que je prends tres souvent les faits pour des mensonges Et que, les yeux au ciel, je tombe dans des trous. I love most tenderly the desert and the sea; I find a curious suavity in bitter wine, I smile at the saddest moments, I weep amid gaiety; I take facts for illusions - and often as not, with eyes Fixed confidently on heaven, I fall into holes. (from Baudelaire, La Voix in Les Fleurs, trans. George Dillon) From paulorcbarros at uol.com.br Tue Jun 10 13:34:41 2008 From: paulorcbarros at uol.com.br (PAULO R. C. BARROS) Date: Tue, 10 Jun 2008 08:34:41 -0300 Subject: [NetBehaviour] "Plugorama" Message-ID: <004901c8caed$fa5fee70$fefefe0a@toshibauser> http://www.virb.com/httpwwwpaulorcbarroscom/videos/47689 Enjoy! Paulo -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Wed Jun 11 04:46:41 2008 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 10 Jun 2008 22:46:41 -0400 (EDT) Subject: [NetBehaviour] 2 sets of 2 sets Message-ID: 2 sets of 2 sets dragging the sounds out of airconditioning, generators, televisions, refrigerators, dishwashers, pole transformers, computers, garage door openers, st elmo's firings http://www.alansondheim.org/insectgnaw1.mp3 http://www.alansondheim.org/insectgnaw2.mp3 emerging veins, arteries, channels, in nikuko torso implants http://www.alansondheim.org/vein1.jpg http://www.alansondheim.org/vein2.jpg http://www.alansondheim.org/vein3.jpg http://www.alansondheim.org/vein.mov From neiljenkins at devoid.co.uk Wed Jun 11 05:48:29 2008 From: neiljenkins at devoid.co.uk (Neil Jenkins) Date: Wed, 11 Jun 2008 13:48:29 +1000 Subject: [NetBehaviour] Fwd: ARTIST CLEARED OF ALL CHARGES IN PRECEDENT-SETTING CASE References: <200806110326.m5B3Qh219031@panix3.panix.com> Message-ID: <44FA6BB7-6AAB-4EEB-A304-CA7A90134EF5@devoid.co.uk> Begin forwarded message: > From: CAE Defense Fund > Date: 11 June 2008 1:26:43 PM > To: "neil-devoid.co.uk" > Subject: ARTIST CLEARED OF ALL CHARGES IN PRECEDENT-SETTING CASE > > FOR IMMEDIATE RELEASE > > June 11, 2008 > > CONTACTS: > Email: media at caedefensefund.org > Dr. Steven J. Kurtz: (716) 812-2968 > Lucia Sommer, CAE Defense Fund: (716) 359-3061 > Edmund Cardoni, Hallwalls Contemporary Arts Center: (716) 854-1694 > > ARTIST CLEARED OF ALL CHARGES IN PRECEDENT-SETTING CASE > Department of Justice Fails to Appeal Dismissal > Kurtz Speaks about Four-Year Ordeal > > Buffalo, NY--Dr. Steven Kurtz, a Professor of Visual Studies at > SUNY at > Buffalo and cofounder of the award-winning art and theater group > Critical > Art Ensemble, has been cleared of all charges of mail and wire > fraud. On > April 21, Federal Judge Richard J. Arcara dismissed the > government's entire > indictment against Dr. Kurtz as "insufficient on its face." This > means that > even if the actions alleged in the indictment (which the judge must > accept > as "fact") were true, they would not constitute a crime. The US > Department > of Justice had thirty days from the date of the ruling to appeal. > No action > has been taken in this time period, thus stopping any appeal of the > dismissal. According to Margaret McFarland, a spokeswoman for US > Attorney > Terrance P. Flynn, the DoJ will not appeal Arcara's ruling and will > not seek > any new charges against Kurtz. > > For over a decade, cultural institutions worldwide have hosted > Kurtz and > Critical Art Ensemble's educational art projects, which use common > science > materials to examine issues surrounding the new biotechnologies. In > 2004 the > Department of Justice alleged that Dr. Kurtz had schemed with > colleague Dr. > Robert Ferrell of the University of Pittsburgh Graduate School of > Public > Health to illegally acquire two harmless bacteria cultures for use > in one of > those projects. The Justice Department further alleged that the > transfer of > the material from Ferrell to Kurtz broke a material transfer > agreement, thus > constituting mail fraud. > > Under the USA PATRIOT Act, the maximum sentence for these charges was > increased from five years to twenty years in prison. > > Dr. Kurtz has been fighting the charges ever since. In October > 2007, Dr. > Ferrell pleaded to a lesser misdemeanor charge after recurring > bouts of > cancer and three strokes suffered since his indictment prevented > him from > continuing the struggle. > > KURTZ SUMS UP END OF FOUR-YEAR NIGHTMARE > > Finally vindicated after four years of struggle, Kurtz, asked for a > statement, responded stoically: "I don't have a statement, but I do > have > questions. As an innocent man, where do I go to get back the four > years the > Department of Justice stole from me? As a taxpayer, where do I go > to get > back the millions of dollars the FBI and Justice Department wasted > persecuting me? And as a citizen, what must I do to have a Justice > Department free of partisan corruption so profound it has turned on > those it > is sworn to protect?" > > Said Kurtz's attorney, Paul Cambria, "I am glad an innocent man > has been > vindicated. Steve Kurtz stared in the face of the federal > government and a > twenty-year prison term and never flinched, because he believes in > his work > and his actions were those of a completely innocent man. Clients > like him > are a blessing, and although I have had many important victories, > this one > stands at the top of the list." > > As coordinator of the CAE Defense Fund, a group organized to > support Kurtz > from the beginning of the case, Lucia Sommer sees the end of the > prosecution > as bittersweet, and like Kurtz, is thoughtful about the broader > significance > of the case: "This ruling is the best possible ending to a horrible > ordeal--but we are mindful of numerous cases still pending, and the > grave > injustices perpetrated by the Bush administration following 9/11. > This case > was part of a larger picture, in which law enforcement was given > expanded > powers. In this instance, the Bush administration was unsuccessful > in its > attempt to erode Americans' constitutional rights." > > Referring to the international outcry the case provoked, involving > fundraisers and protests held on four continents, Sommer said, "The > government has unlimited resources to bring and prosecute these > kinds of > charges, but the accused often don't have any resources to defend > themselves. This victory could never have happened without the > activism of > thousands of people. Supporters protested, vocally opposed the > prosecution, > and refused to let it go on in silence. And without their efforts at > fundraising, Kurtz and Ferrell would not have been able to defend > themselves > from these false accusations." > > Sommer added that the next step for the defense will be to get back > all of > the materials taken by the FBI during its 2004 raid on the Kurtz home, > including several completed art projects, as well as Dr. Kurtz's lab > equipment, computers, books, manuscripts, notes, research > materials, and > personal belongings. The four confiscated art projects are the > subject of > an exhibition entitled SEIZED on view at Hallwalls Contemporary > Arts Center > in Buffalo, NY, through July 18: > http://www.hallwalls.org/visual_shows/2008/show_seized.html. > > BACKGROUND TO THE CASE > > The case originated in May 2004, when Kurtz's wife Hope died of heart > failure as the couple was preparing a project about genetically > modified > agriculture for the Massachusetts Museum of Contemporary Art. > Police who > responded to Steve Kurtz's 911 call deemed the Kurtzes' art materials > suspicious and alerted the FBI. Kurtz explained that the materials > (legally > and easily obtained basic life science equipment and two harmless > bacteria > samples) had already been displayed at museums throughout Europe > and North > America with absolutely no risk to the public. However, the > following day, > Kurtz was illegally detained for 22 hours on suspicion of > bioterrorism, as > dozens of agents from the FBI, Joint Terrorism Task Force, Homeland > Security, Department of Defense, ATF, and numerous other law > enforcement > agencies raided his home, seizing his personal and professional > belongings. > After a federal grand jury refused to charge Kurtz with > bioterrorism, Kurtz > and Ferrell were indicted on two counts of mail fraud and two > counts of wire > fraud concerning the acquisition of of harmless bacteria for one of > Critical Art Ensemble's educational art projects. (Critical Art > Ensemble is > the recipient of numerous awards for its projects, including the > prestigious > 2007 Andy Warhol Foundation Wynn Kramarsky Freedom of Artistic > Expression > Grant, in recognition of twenty years of distinguished work: > http://www.creative-capital.org/index2.html.) > > The Department of Justice brought the charges in spite of the fact > that the > alleged "victims of fraud"--American Type Culture Collection and the > University of Pittsburgh--never filed any charges or complained of any > wrongdoing, and the fact that in bringing the charges the > Department of > Justice was acting completely outside its own Prosecution Policy > Relating to > Mail Fraud and Wire Fraud > (http://www.usdoj.gov/usao/eousa/foia_reading_room/usam/ > title9/43mcrm.htm). > > > For more information and extensive documentation, including the > Judge's > dismissal, please visit: http://caedefensefund.org > > *** > -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Wed Jun 11 06:57:37 2008 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 11 Jun 2008 00:57:37 -0400 (EDT) Subject: [NetBehaviour] Yonsei University performance txt and show Message-ID: MEDIA+SPACE New Media Gallery :: Yonsei University :: Seoul, Korea :: Alan Sondheim :: Avatar of Excess An exhibition of video work and texts. Exhibition: Wed June 11 Fri June 20th Artist will be present via Second Life at the opening Wed. June 11th 1pm condensed S Korea online SL performance text with Sandy Baldwin and Baruch Gottlieb Alan Sondheim is a unique figure in contemporary cyber culture. A hyper-prolific artist, poet, and critic, Sondheim produces dozens of new works every week and publishes these in a variety of venues from conferences to galleries to Second Life to the numerous mailing lists he inhabits. His online persona and his work are utterly symbiotic; his language straddles the edge of coherence between the machine language of code and the global lingua franca. English is unique in that it is used by 100% of the computers of the world as well as by a significant section of human society. Sometimes it is hard to tell if Sondheim's work is created by a human or by an automaton. Alan Sondheim's use of language in his oeuvre exemplifies the infrastructural actuality of English today. Often repetitive, railing away on a tangent, riddled with codes and surging with automatic energies, Sondheim evokes the perverse vitality of the proto-cyborg consciousness of our age and it's obscene hyperproduction. Human forms appear as avatars in Sondheim's videos only to be corrupted, smashed and smeared by irrepressible surges of information, rendering palpable the fragility of human meaning in the age of self-perpetuating automatic processes, the masochistic ecstasies of the human body at the mercy of it's machines. - Baruch Gottlieb http://gallery.yonsei.ac.kr/ [20:00] Wirxli Flimflam is Online Man Michinaga Gesture New missing from database. /clap Connecting to in-world Voice Chat... Connected [20:01] /whistle [20:02] Offline [20:37] sandy Taifun [20:39] Inta Twine [20:40] T Taifun: My avatars! little people! I have moved into the interior of avatars... avatars speak with a thousand voices. Mon poupees. DO WE NOT BREATHE AS ONE PERSON? ARE HUMAN? murmur constantly, you can hear them just beneath surface, in my heart, gasps air, dolls Twine: hi They run around everywhere, underfoot. will play song, aire, jig or rondelay! [20:41] [20:42] fifty industrialized nations incincerated 250000 Iraqis ARMED POLITICS ANNIHILIZATION science baby, its camera on red pepper boiling vinegar teach marks PHILOSOPHY OF VIRTUAL BEDROOM AVATAR immortal space sacred heater language train pet MACHINE rudding odors sweat vaginal semen ova decompositions bacteria vegetation and hummingbirds sparrows flies mites "i detest her because i know well" imitate her" curse felt" natyasatrotpatti: mythical origin work [20:43] You begin understand that not all are bots expert systems some symptoms as am coursing trapped blood, flush spirit vaporized, substitute for bodypart another, apparatus obstinancy, prick THE SURFACE! SEX! SHADOWS! ELEMENTS! PINK MUFFINS! COUCH EARTH! DUCK LIPS! MANDRAKES! small creature half-hidden seaweed gleaming brown drag undertow hermit crab shell smelled moist ebb doorway Well, there's no more it, his writing avatar discourse itself getting stale. He's taken bend which trundles bundles towards future; we're there carrying than our share avatar's, where there, so heard Just like those pirouettes, if were body at center them. Her skirt kept flying up, was nothing SQUEAK forever now hold your peace; this life, do lease any other, left, preksagrhalasksana: characteristicis playhouse different parts eyes corpse light color nose remains when their unreality has been demonstrated rangadevatapujana: worship deities connected stage upangavidhana: gestures minor limbs such eyballs eyebrows cheeks lower lip chin mouth becomes eye longer stimulation retina world declares odorless song wind trees machine: undoes belt buckle him, finds right diagram support weight, tongue, zone, other love MOUTH LETS GO CHAINS SENTENCES, RAMPLES, GIGGLES, TONGUES SPREAD WET OUT OVER LIPS, LEAKS, COLLAPSES, MELTS, HIS FINGERS gave new Life Avatar Body moves would move had File called God {avatars backed, back infinite space}. digital sublime, spacl playe} imitating real-life people right, imitatin avatars. what , well, these torn apart, By What May AsK? refuse moon-bay, moon-bay. avatars, (digital) within sublime; backed root elsewhere The disappearance branch hardened rock occasional artifacts. itself, image-avatar, ghost. ghost travels through anything course; coordinates attempting escape vectors result avatar-work led 15:47:47 There constructed motion capture equipment 15:48:08 images laser scanning check out Love War, Avatar, Cyborg, Experimental conferences. sublime backs against wall space; nowhere left go. another dead avatar. ok you're hearing an imitation 78 record created event very low frequency something head pieces did while ago - but excusable! went somewhere, said something! beginning transparency, wizard listening-posts MOOs example. Here we are, virtual becoming-virtual still. Given danced-to-infinity motion-capture second=life quasi-avatar tethered somewhat distanced image 'break through' private barriers course consequence help. 16:04:35 want explore 'body-avatar' issues tobother less! 16:07:11 dancers live yes 29-Jan-2007 16:07:18 In fact they fly it. takenpart apart Sound wood wire: alpine zither: [20:44] ritual-objects-insignia-power-substitute-spiritual-satellite-enchanted-l ove-exposure-regulative-transaction-corruption-norm absurd linkage VOLUPTUOUS SHOCK VIGOR BODY FRAME "TREE" "SEA" "SKY" "I" AWAY phallocratic mach bullshit rights WIT NONSENSE RICOCHET HEART CLANDESTINE NIBBLES ocean illuminated plastic box motor, tiny metallize starched nurse uniform wanton hands liquify vaporize atmospheric electricity markers lust muddies turgid idols "My leashed, logical thought, protocols thought; it's wonder think al One cannot reach farther thinking one's reach, come closer control release, dissipation. Enter reality world, suffused sound. pirouetpart cloth wire held suspension creating perfect framework tabla/ture combination dialog: Collapse options acquire baody others blood milk urine shit face value social universal perversion contract law coordinate field heels depilated legs job musculature buildt gym scar liquid hand movement man woman remediations, mediations, projectivities, introjectivities, phenomenologies, histories, mechanics, Extruded intruded (upon) body: cleansed bodies continuous middle-eastern 'war' armored imaginary journeys (Rhine, England); sexualized bodies: fondly animal fur feathers dank hummus flake caress fabric silk leather seesaw horse hump transact mire ossify o avatar, rise midst maelstrom, sadness cobalt plutonium uranium radium seriously, covers pain completion, yours argon xenon neon, whirl me infinnnnitude drugs file sex fuck suck cum knife skin watch solo sexatar watch. spectre doll faerie wraithe hobgoblin troll tengu kappa presence stitch suture binding closing damming holding velvet cotton wool "Consider next smearing skin.\n"; shades avatars-- precognition behavior collision transparent interpenetration Over Lord 1 Quon: tone war... Wings creak, sound beginning. (Subtitle) Haruka: "Why blue?" That's wondering. Ayato stops turns toward Har future Net, it attains state _seamless reality,_ melding real disturbances way tending _psychosis,_ interweaving realities, respon- sibilities claim often lure seduction among here relates Lacanian objet a, deferal.... Re: Manipulated Chat ... [-] Avatars, models, performers, d... perfor... ruptured mess banged one maybe fucked case whatever disappeared coagulating limpets seas jellies made, women, sounded, resonated, each every protocol, site open winds you've before, over again, repetition goal delibery interval... bring about semblance face, lineaments mouths, speaking elsewhere, sides things criminalization society = transactions portions feed decay protodocument libertinage rules outcries screams unnatural acts after-image liquefy crime shortcircuit dissipate thickness passion trigger calculate PEFORATED LOBES EARS NOSTRILS ARMS TUSKS BEAKS CLAWS PLUMES SHELLS PATHS BLOOD FEAST hardness bones rods collapse secretions belly giggling jelly swamps fetishize solidify sweating belts boots powdered male milk-sap LIFE FLUID EXCESS PUMP fluid conduity neuter identity self hunt economy dyad eat wife-force co- 48] sicipant occupies screen represents (virtual) constituted written RAVINE CUT fang graft trench flat postural diagrammatics thrust torsion engine grammar paradigm eliminations jeans motorcycle margins, slippages, constitutions, constructs, emergences "depths" software hardware, blockages flows only taking account, well surface manifestations possible comprehend subjectivity These develop limits margins program, reveal substructures/protocols violate dialogs OOH AHH YOU AAH YOUR YOURS consider _projection self_ appearance various applications semiotic comic witness extreme pleasure speech reduction crushed conspiracy integral monsters torso split big brains We look ruptures by characters resonating interfering configuration files Avatars always disturbances, irruptions language, lang- uage portending _the raveling existence essence vaseline-coated lens streets orchid limb meter possessive handgun GIMME SAY AM DYING remaining suspended audiophiles app arounds bio blogs awk biomes tion tr exe everglades empathetic encapsulations episteme extasis entropic extensivity fantasm externality [20:45] vectored human define organism infinitely repairable don't listen avatar-man. dream-woman. dream-woman avatar-man contaminated. building condemned. package: / knives. prims cut. talks. inside he says. transformed early version 'outt' blue construct-space outt-structure. avatar-video avatar-performance content degree. sukara, dakshinanila, nandiskandhardhara, dhurya, prakata, pritvardhana, aparajita, sarvasattva, govinda, adhrita prefer small, seeping, peripeheral, marginal, scattered words sites, domains, emanations, emissions, interwoven sharing coagulated ego/s, matrices, languages, bodies. break down here, use me? absjure, abjure moments ? 52] [20:48] words, drops say drizzle everything moment you, mmmm... matrix, mother, maternal, forth announces edge frame dialog, carried forth... times smooth us, bits bytes, protocls lost smoothing functions traced across peripheries, [20:49] [20:51] construction near edge-space. world. anorectic without semi-geodesic paralleling i'm becoming cannoarde)andy [20:52] [20:53] space} tacit knowledge electronic Every symbol ligament avatar; referent gesture; gesture procures body; Kamishibai, idols, PlayKiss Nikuko, Meat-Girl, (among others) 'emanation' wish home making computer with. avoid swords. swords make angry. avatar-meat representation uncaptured remembering origins scars < ancer ancer/avatar ancer/ancer ancer/igital igital ancer. Taifs [21:2 [21:23] (US) congress meeting SL Plus: student should FIGHT art [21:24] Wish there. [21:25] appear erasures also visible, letters disappearing reverse. 5] $thing begging object number #75438. "one one, line alone, typing Control-d done.\n"; $name calls $a[$gen1] $noun[$non], hungered, things. $prep[$pre] $a[$gen], $a[$diff], $[$gen], $str? system("touch .trace; rev rope >> .trace"); system("rm rope"); "Your inscription finished, thing.", "\n\n" 3 $g; dark dreams, enough soft limbs, mine... matrix saves ending, pureness salvaging spaces... stick-like _anime_ figures work, distributed authorships anatomies. [21:26] siteor This gets started. Could push unruptured catastrophic edges Furious flight slammed members-only barriers. raw deal equally speed. llnhx 2.2.6.::attributions Devour Blue Nattributions Brought Forth lntarn$l karnals, bhckats pf mpdhlas, Attempt grapple ungrapple Death Star Galleon (s0): h boarding Flying Dutchy (f0) Dutc [21:27] scale "beyond" scale. visual part total project. [21:28] drives appears Autopilot canceled [21:29] so: re-inscriptions re-inscription lived Alan: laptop performances sort theoretical/artistic amalgams enter Alan's neuroses performance [21:31] THANKS! thank alan CAn't get stop heheh ok. lunch tomorow. thanks interesting brief From sondheim at panix.com Wed Jun 11 09:40:09 2008 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 11 Jun 2008 03:40:09 -0400 (EDT) Subject: [NetBehaviour] From the SL performance and show - Message-ID: >From the SL performance and show - http://www.alansondheim.org/yonsei.mp4 http://www.alansondheim.org/yonsei1.jpg http://www.alansondheim.org/yonsei2.jpg http://www.alansondheim.org/yonsei3.jpg http://www.alansondheim.org/yonsei4.jpg The Annunciation, literally, from the same - http://www.alansondheim.org/annunciation.mov From sondheim at panix.com Thu Jun 12 05:48:53 2008 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 11 Jun 2008 23:48:53 -0400 (EDT) Subject: [NetBehaviour] West Virginia marble distribution system* Message-ID: West Virginia marble distribution system* http://www.alansondheim.org/marble1.jpg http://www.alansondheim.org/marble2.jpg http://www.alansondheim.org/marble3.jpg http://www.alansondheim.org/marble.mp4 From paulorcbarros at uol.com.br Thu Jun 12 14:22:23 2008 From: paulorcbarros at uol.com.br (PAULO R. C. BARROS) Date: Thu, 12 Jun 2008 09:22:23 -0300 Subject: [NetBehaviour] "Microvision" References: Message-ID: <000d01c8cc86$f9ae8ff0$fefefe0a@toshibauser> http://paulorcbarros.com/portfolio.htm Enjoy! Paulo From marc.garrett at furtherfield.org Thu Jun 12 16:32:03 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Thu, 12 Jun 2008 15:32:03 +0100 Subject: [NetBehaviour] Last chance to visit Open Source Embroidery Exhibition. In-Reply-To: References: Message-ID: <48513363.4070901@furtherfield.org> Last chance to visit Open Source Embroidery: Collaboration in Craft and Code, at the HTTP Gallery. Faciltated by Ele Carpenter. Exhibition ends 15th. Open this Friday, Saturday & Sunday. times - 12-5pm http://www.http.uk.net/ Click here for map and location details http://www.http.uk.net/docs/gettingto.shtml This exhibition explores the connections between the collaborative characteristics of needlework, craft and Open Source software. The Open Source Embroidery project has brought together embroiderers, patch-workers, knitters, artists and computer programmers to share their practice and make new work. From info at x-arn.org Thu Jun 12 17:22:29 2008 From: info at x-arn.org (info) Date: Thu, 12 Jun 2008 17:22:29 +0200 Subject: [NetBehaviour] Structure for 1482 artworks In-Reply-To: <484D31D4.1040802@furtherfield.org> References: <48466A17.5060006@x-arn.org> <484D31D4.1040802@furtherfield.org> Message-ID: <48513F35.8010009@x-arn.org> Hi Marc & the list, marc garrett a ?crit : > Hi Yann, > > Are still thinking of creating live web cams for this work, good idea > and also > could the images be blown up as pictures to be hung up together on > walls? hum, i don't understand.... what are these walls ? --y > marc > > http://www.laboratoire-aleatoire.com/1482/ > > From marc.garrett at furtherfield.org Thu Jun 12 17:36:55 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Thu, 12 Jun 2008 16:36:55 +0100 Subject: [NetBehaviour] Structure for 1482 artworks In-Reply-To: <48513F35.8010009@x-arn.org> References: <48466A17.5060006@x-arn.org> <484D31D4.1040802@furtherfield.org> <48513F35.8010009@x-arn.org> Message-ID: <48514297.6060600@furtherfield.org> I remember somewhere Yann mentioning about making it part of a live web cam link... >hum, i don't understand.... what are these walls ? Lol - I was wondering how Yann would show these images outside the context of the net, of course projectors could be used. Although the images looked really beautiful and I also imagined them as physical flat images as well. marc > Hi Marc & the list, > > marc garrett a ?crit : > >> Hi Yann, >> >> Are still thinking of creating live web cams for this work, >> > > good idea > > >> and also >> could the images be blown up as pictures to be hung up together on >> walls? >> > > hum, i don't understand.... what are these walls ? > > --y > > >> marc >> >>> http://www.laboratoire-aleatoire.com/1482/ >>> >>> > > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From info at x-arn.org Thu Jun 12 17:59:27 2008 From: info at x-arn.org (info) Date: Thu, 12 Jun 2008 17:59:27 +0200 Subject: [NetBehaviour] Structure for 1482 artworks In-Reply-To: <48514297.6060600@furtherfield.org> References: <48466A17.5060006@x-arn.org> <484D31D4.1040802@furtherfield.org> <48513F35.8010009@x-arn.org> <48514297.6060600@furtherfield.org> Message-ID: <485147DF.8020607@x-arn.org> marc garrett a ?crit : > I remember somewhere Yann mentioning about making it part of a live > web cam link... ah? ;-), anyway, that's a good idea, for example every link in the structure can point to the same webcam flux. > > hum, i don't understand.... what are these walls ? > > Lol - I was wondering how Yann would show these images outside the > context of the net, of course projectors could be used. yes > Although the > images looked really beautiful and I also imagined them as physical > flat images as well. you mean, ink on paper for example? + which images are you referring to exactly, full screen of web interface? contained jpeg ? other ? (i'm a bit disturbed with the conceptual power of this work! ;-) > marc > > Hi Marc & the list, > > > > marc garrett a ?crit : > > > >> Hi Yann, > >> > >> Are still thinking of creating live web cams for this work, > >> > > good idea > > > > > >> and also could the images be blown up as pictures to be hung up > >> together on walls? > >> > > hum, i don't understand.... what are these walls ? > > > > --y > > > > > >> marc > >> > >>> http://www.laboratoire-aleatoire.com/1482/ From marc.garrett at furtherfield.org Thu Jun 12 18:45:20 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Thu, 12 Jun 2008 17:45:20 +0100 Subject: [NetBehaviour] Structure for 1482 artworks In-Reply-To: <485147DF.8020607@x-arn.org> References: <48466A17.5060006@x-arn.org> <484D31D4.1040802@furtherfield.org> <48513F35.8010009@x-arn.org> <48514297.6060600@furtherfield.org> <485147DF.8020607@x-arn.org> Message-ID: <485152A0.3050201@furtherfield.org> Hi again, >you mean, ink on paper for example? + which images are you referring to exactly, full screen of web interface? contained jpeg ? other ? I suppose that the quality of the image may be a problem, especially if its originally 72 resolution. Although if it is linked via a grid network such as the Marcel network, a strong channel used by Universities which can show live link-up videos etc, the image would be (presumably) higher in quality... > (i'm a bit disturbed with the conceptual power of this work! ;-) Do you think that it is conceptual or networked formalism, or both? marc > marc garrett a ?crit : > >> I remember somewhere Yann mentioning about making it part of a live >> web cam link... >> > > ah? ;-), anyway, that's a good idea, for example every link in the > structure can point to the same webcam flux. > > >>> hum, i don't understand.... what are these walls ? >>> >> Lol - I was wondering how Yann would show these images outside the >> context of the net, of course projectors could be used. >> > > yes > > >> Although the >> images looked really beautiful and I also imagined them as physical >> flat images as well. >> > > you mean, ink on paper for example? > + which images are you referring to exactly, full screen of web > interface? contained jpeg ? other ? > > > (i'm a bit disturbed with the conceptual power of this work! ;-) > > > >> marc >> >>> Hi Marc & the list, >>> >>> marc garrett a ?crit : >>> >>> >>>> Hi Yann, >>>> >>>> Are still thinking of creating live web cams for this work, >>>> >>>> >>> good idea >>> >>> >>> >>>> and also could the images be blown up as pictures to be hung up >>>> together on walls? >>>> >>>> >>> hum, i don't understand.... what are these walls ? >>> >>> --y >>> >>> >>> >>>> marc >>>> >>>> >>>>> http://www.laboratoire-aleatoire.com/1482/ >>>>> > > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From llacook at yahoo.com Thu Jun 12 18:54:49 2008 From: llacook at yahoo.com (Lewis LaCook) Date: Thu, 12 Jun 2008 09:54:49 -0700 (PDT) Subject: [NetBehaviour] An engineer's ocean Message-ID: <304123.64757.qm@web35504.mail.mud.yahoo.com> http://www.xanaxpop.org/2008/06/12/an-engineers-ocean/ You wake to nausea a negated sea and the clock starting over and over staring at you across much earlier than you?d like. Earlier your ears remembered the alarm going off and debt haunting like traces of semen pulled over your mouse pad like you moved there, but of necessity performative, neither from nor to but inhabiting. Well. The burned are already whispering to you those secrets that recoil while firing flames gnawing at the mid-range in her belly of sounds. But why does the first connection attempt fail? Because of sophistication testicular references enhance nascent craters arching busty like a parsed vellum a level of velor and unbridled candor or abandoned. On between as in and or among. Fucking time-based art you wake to, a nigger sea is me creased and siphoning left feelings eating others? regard for me the wastes of some distance to love up on ivory stilts. And on her belly of sounds. You?re rigid at the gears that arch her back along an engineer?s ocean. Anyone can have a word-processing. Well, the burned are up and at it again their gain flailing knobs and flooding headphones while uploads whisper those secrets that recoil after pressing on with the business. Oh, there are many wonderful things to worry about! Like kind of partially incomplete. SARS. Upturned leaves today give the appearance of immaculate dogwood god-hungry jackal, slipping orbs almost Orphic but moodily ore your ears scream, screw your ears. Damage like this is a diamond to spell check. Almost anyone can have a habit of word-processing. This avian flu has come muddied with dust moaning yellow bathes in salt last month the whole belly of sounds bean tucked away in raining folds thickening rapidly. Damn! Tits are a lovely reminder of gravity! But it?s only a lake as of yet, here where glaciers must have you on the coffee-table. You?ll maybe spend a few hours on your ivory stilts maybe walking or lurching through cities the crust removed and so exposed soft bread fiber at fruit. Having a sudo bash. Oh, she?s got this beautiful tapering down below! You wake to now slowly wooden swollen fists. Later on the alarm has rungs. Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook From info at x-arn.org Thu Jun 12 20:13:45 2008 From: info at x-arn.org (info) Date: Thu, 12 Jun 2008 20:13:45 +0200 Subject: [NetBehaviour] Structure for 1482 artworks In-Reply-To: <485152A0.3050201@furtherfield.org> References: <48466A17.5060006@x-arn.org> <484D31D4.1040802@furtherfield.org> <48513F35.8010009@x-arn.org> <48514297.6060600@furtherfield.org> <485147DF.8020607@x-arn.org> <485152A0.3050201@furtherfield.org> Message-ID: <48516759.4070707@x-arn.org> > Do you think that it is conceptual or networked formalism, or both? In fact, this work is a hyperlink navigation structure. It can receive 1482 differents pictures but it contains only one, always the same in all point of the structure (at all URIs). It's a definition of art as a context, the work is the structure, not the picture. As a definition, it's a kind of conceptual formalism. In the same time, the work suggests the possiblity for other pictures, like a kind of 'potential partipatory artwork', but in the actual state, it is not a real partipatory artwork. If it become a real partipatory work, it will become a formalist networked object, like many others allready done, like an online gallery. Remaining in this state, with only one picture (but it can be another one), i think it's conceptual post-networked formalism. i hope this is understandable ;-) --y > marc > > > marc garrett a ?crit : > > > >> I remember somewhere Yann mentioning about making it part of a > >> live web cam link... > >> > > ah? ;-), anyway, that's a good idea, for example every link in the > > structure can point to the same webcam flux. > > > > > >>> hum, i don't understand.... what are these walls ? > >>> > >> Lol - I was wondering how Yann would show these images outside > >> the context of the net, of course projectors could be used. > >> > > yes > > > > > >> Although the images looked really beautiful and I also imagined > >> them as physical flat images as well. > >> > > you mean, ink on paper for example? + which images are you > > referring to exactly, full screen of web interface? contained jpeg > > ? other ? > > > > > > (i'm a bit disturbed with the conceptual power of this work! ;-) > > > > > > > >> marc > >> > >>> Hi Marc & the list, > >>> > >>> marc garrett a ?crit : > >>> > >>> > >>>> Hi Yann, > >>>> > >>>> Are still thinking of creating live web cams for this work, > >>>> > >>>> > >>> good idea > >>> > >>> > >>> > >>>> and also could the images be blown up as pictures to be hung > >>>> up together on walls? > >>>> > >>>> > >>> hum, i don't understand.... what are these walls ? > >>> > >>> --y > >>> > >>> > >>> > >>>> marc > >>>> > >>>> > >>>>> http://www.laboratoire-aleatoire.com/1482/ > >>>>> > > > > > > _______________________________________________ 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 james at jwm-art.net Fri Jun 13 01:33:11 2008 From: james at jwm-art.net (james jwm-art net) Date: Thu, 12 Jun 2008 23:33:11 +0000 Subject: [NetBehaviour] An engineer's ocean In-Reply-To: <304123.64757.qm@web35504.mail.mud.yahoo.com> Message-ID: <7wgndFjR.1213313591.7906120.james@jwm-art.net> Hi Lewis, I've many harvest a spent ingrained hour sword processioning on my ivory stilts. I mean I like this engineers ocean. Is it like mental arithmatic gymnastica, or digital harvest/process? James. On 12/6/2008, "Lewis LaCook" wrote: > > > >http://www.xanaxpop.org/2008/06/12/an-engineers-ocean/ > > > > > >You wake to nausea a negated sea and the clock starting over and over > >staring at you across much earlier than you?€™d like. Earlier your ears > >remembered the alarm going off and debt haunting like traces of semen > >pulled over your mouse pad like you moved there, but of necessity > >performative, neither from nor to but inhabiting. Well. The burned are > >already whispering to you those secrets that recoil while firing flames > >gnawing at the mid-range in her belly of sounds. But why does the first > >connection attempt fail? Because of sophistication testicular references > >enhance nascent craters arching busty like a parsed vellum a level of > >velor and unbridled candor or abandoned. On between as in and or among. > >Fucking time-based art you wake to, a nigger sea is me creased and > >siphoning left feelings eating others?€™ regard for me the wastes of some > >distance to love up on ivory stilts. And on her belly of sounds. You?€™re > >rigid at the gears that arch her back along an engineer?€™s ocean. Anyone > >can have a word-processing. Well, the burned are up and at it again > >their gain flailing knobs and flooding headphones while uploads whisper > >those secrets that recoil after pressing on with the business. Oh, there > >are many wonderful things to worry about! Like kind of partially > >incomplete. SARS. Upturned leaves today give the appearance of > >immaculate dogwood god-hungry jackal, slipping orbs almost Orphic but > >moodily ore your ears scream, screw your ears. Damage like this is a > >diamond to spell check. Almost anyone can have a habit of > >word-processing. This avian flu has come muddied with dust moaning > >yellow bathes in salt last month the whole belly of sounds bean tucked > >away in raining folds thickening rapidly. Damn! Tits are a lovely > >reminder of gravity! But it?€™s only a lake as of yet, here where glaciers > >must have you on the coffee-table. You?€™ll maybe spend a few hours on > >your ivory stilts maybe walking or lurching through cities the crust > >removed and so exposed soft bread fiber at fruit. Having a sudo bash. > > > >Oh, she?€™s got this beautiful tapering down below! You wake to now slowly > >wooden swollen fists. Later on the alarm has rungs. > > > > > > > >Lewis LaCook >Director of Web Development >Abstract Outlooks Media > >440-989-6481 > > >http://www.abstractoutlooks.com >Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography > >http://www.lewislacook.org >lewislacook.org - New Media Poetry and Poetics > >http://www.xanaxpop.org >Xanax Pop - the Poetry of Lewis LaCook > > > > > > > > >_______________________________________________ >NetBehaviour mailing list >NetBehaviour at netbehaviour.org >http://www.netbehaviour.org/mailman/listinfo/netbehaviour From sondheim at panix.com Fri Jun 13 06:11:55 2008 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 13 Jun 2008 00:11:55 -0400 (EDT) Subject: [NetBehaviour] while now new emanents move, submerged Message-ID: while now new emanents move, submerged a filter has its own political economy stage generation * filtering through wet sand while now emanents move, submerged and quality of worlds. ontologies through the energy of the other always already beset by virtuality here at the laboratory I am Demiurge and Creator I cant do anything but adjust software, filter, text borders on the way to cold death and evanescence if its not empty, what should it be a filter has its own political economy world quick a is this said, I Azure, hello, * filtering through wet sand beneath this world which moves submerged, that is the time active filters are maintained through the energy of the other which allows us to see in the first place with vast expectations and the world they come from which threads, sutures, and creates the real always already beset by virtuality here at the laboratory I am Demiurge and Creator while the true world gnaws my dreams and fears of dying I cant do anything but adjust software, filter, text borders on the way to cold death and evanescence if its not empty, what should it be but filter, flat, gone world, enlightened, black me! surprises always that * filtering through wet sand which is everything Im not through the energy of the other the first place is always that of the other and ways and means of taking granted things and the world they come from which threads, sutures, and creates the real always already beset by virtuality while the true world gnaws my dreams and fears of dying I cant do anything but adjust software, filter, text borders on the way to cold death and evanescence if its not empty, what should it be but filter, flat, gone world, enlightened, black a filter has its own political economy father world true the from farther be could nothing * while now emanents move, submerged and quality of worlds. ontologies active filters are maintained through the energy of the other the first place is always that of the other we appear as an afterthought with vast expectations and the world they come from which threads, sutures, and creates the real always already beset by virtuality here at the laboratory I am Demiurge and Creator while the true world gnaws my dreams and fears of dying I cant do anything but adjust software, filter, text nothing gives way but plasma cut across borders on the way to cold death and evanescence if its not empty, what should it be but filter, flat, gone world, enlightened, black conceive us let Other, and world of mother * filtering through wet sand this makes a new and wild thing and quality of worlds. ontologies active filters are maintained through the energy of the other the first place is always that of the other with vast expectations and the world they come from which threads, sutures, and creates the real always already beset by virtuality here at the laboratory I am Demiurge and Creator while the true world gnaws my dreams and fears of dying I cant do anything but adjust software, filter, text nothing gives way but plasma cut across borders on the way to cold death and evanescence if its not empty, what should it be but filter, flat, gone world, enlightened, black a filter has its own political economy exalt move, us let bother, Other an of child a * filtering through wet sand this makes a new and wild thing and quality of worlds. ontologies active filters are maintained through the energy of the other perhaps the good nature of the other the first place is always that of the other we appear as an afterthought with vast expectations and the world they come from always already beset by virtuality here at the laboratory I am Demiurge and Creator while the true world gnaws my dreams and fears of dying I cant do anything but adjust software, filter, text nothing gives way but plasma cut across borders on the way to cold death and evanescence if its not empty, what should it be but filter, flat, gone world, enlightened, black plasma, our ourselves, besides clear something * filtering through wet sand this makes a new and wild thing while now emanents move, submerged and quality of worlds. ontologies active filters are maintained through the energy of the other the first place is always that of the other we appear as an afterthought with vast expectations and ways and means of taking granted things and the world they come from always already beset by virtuality here at the laboratory I am Demiurge and Creator while the true world gnaws my dreams and fears of dying I cant do anything but adjust software, filter, text borders on the way to cold death and evanescence if its not empty, what should it be but filter, flat, gone world, enlightened, black all and thought, nightmare, dream, particle, virtual, * this makes a new and wild thing while now emanents move, submerged and quality of worlds. ontologies active filters are maintained through the energy of the other the first place is always that of the other with vast expectations and ways and means of taking granted things and the world they come from always already beset by virtuality here at the laboratory I am Demiurge and Creator while the true world gnaws my dreams and fears of dying I cant do anything but adjust software, filter, text borders on the way to cold death and evanescence if its not empty, what should it be but filter, flat, gone world, enlightened, black night the through way its thinging hallucination relevant * filtering through wet sand this makes a new and wild thing which is everything Im not while now emanents move, submerged and quality of worlds. ontologies through the energy of the other with vast expectations and the world they come from which threads, sutures, and creates the real always already beset by virtuality here at the laboratory I am Demiurge and Creator while the true world gnaws my dreams and fears of dying I cant do anything but adjust software, filter, text borders on the way to cold death and evanescence if its not empty, what should it be but filter, flat, gone world, enlightened, black a filter has its own political economy night the is there night, the is here * filtering through wet sand while now emanents move, submerged and quality of worlds. ontologies always already beset by virtuality I cant do anything but adjust software, filter, text borders on the way to cold death and evanescence if its not empty, what should it be but filter, flat, gone world, enlightened, black a filter has its own political economy stage completion * filtering through wet sand while now emanents move, submerged and quality of worlds. ontologies through the energy of the other the first place is always that of the other with vast expectations and ways and means of taking granted things always already beset by virtuality here at the laboratory I am Demiurge and Creator while the true world gnaws my dreams and fears of dying I cant do anything but adjust software, filter, text borders on the way to cold death and evanescence http://www.alansondheim.org/socialmoss.jpg From netwurker at gmail.com Fri Jun 13 15:34:47 2008 From: netwurker at gmail.com (mez breeze) Date: Fri, 13 Jun 2008 23:34:47 +1000 Subject: [NetBehaviour] [Non] Fiction Eclipsing + Synthetic Presencing Message-ID: *[Non] Fiction Eclipsing + Synthetic Presencing * ** *Entertainment* is associated with the concepts of fiction and non-fiction. Fiction involves the projection of a *willing suspension of disbelief*with variables designed to further narrative progression. Indicators of traditional fiction include characterisation, foregrounding, plot and/or sub-plot[s]. Non-fiction is fiction's logical counterpoint; chronology, history and "fact" play clear parts in non-fiction constructions. There are *many variations* on the standard fiction/non-fiction dichotomy. Fiction and non-fiction classifications are designed to map to boundaries of known forms [think: cinema, literature, television and music]. They are so designed to provoke audience responses *introspectively*and *externally*. Current synthetic practices are *refashioning*this entertainment base via the perpetuation of types of unintentional and *deliberately augmented* recreation. These recreation types are reliant on immediacy of response, *play* , and Pranksterism. They employ *Sandboxing*, *Gonzoism* and *spontaneous engagement* . This type of *entertainment* is termed _*Presencing*_. Presencing involves loose clusters of pursuits that evolve in, or are *associated with* , synthetic environments. Examples include the* Streisand Effect *, *Supercutting*, *Flashmobbing* , the *Slashdot/Digg Effect *, acts by the group *Anonymous,* * Image macro generation * and *Internet meme threading* . Less defined examples include: MMOG guild* interactions*[think: user generated games-within-games], Virtual World *involvements* , and Social Networking via *application adoption*and *creation* . These instances illustrate how Presencing pushes recreation beyond a fictionalised/non-fictionalised framework. Presencing showcases accidental or reflexive entertainment elements where the fictional/non-fictional divide is erased; associated validity qualifiers are also removed and reconceptualised. *Amateur*production is equated with valued expression. Presencing also offers adaptive potential for *augmented attempts*at mediating geophysical constraints. -- : http://augmentology.com : http://knott404.blogspot.com : http://netwurker.livejournal.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From info at x-arn.org Fri Jun 13 17:36:43 2008 From: info at x-arn.org (info) Date: Fri, 13 Jun 2008 17:36:43 +0200 Subject: [NetBehaviour] [Non] Fiction Eclipsing + Synthetic Presencing In-Reply-To: References: Message-ID: <4852940B.9060204@x-arn.org> http://www.laboratoire-aleatoire.com/1482/ conceptual post-networked formalism. or conceptual networked post-formalism. potentially understandable only by bots in fac-simile Open Source and Web 2.0 Sandbox > _*Presencing*_. (...) 74.6.22.153 - - [13/Jun/2008:16:53:01 +0200] "GET /1482/36/1 HTTP/1.0" 200 6463 "-" "Mozilla/5.0 (compatible; Yahoo! 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Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:16:57:33 +0200] "GET /1482/1/21 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:16:57:36 +0200] "GET /1482/1/26 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:16:57:46 +0200] "GET /1482/1/10 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:16:57:47 +0200] "GET /1482/1/20 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:16:59:02 +0200] "GET /1482/27/1 HTTP/1.0" 200 6463 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:16:59:16 +0200] "GET /1482/21/1 HTTP/1.0" 200 6462 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:00:50 +0200] "GET /1482/1/37 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:01:14 +0200] "GET /1482/17/1 HTTP/1.0" 200 6462 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:01:15 +0200] "GET /1482/30/1 HTTP/1.0" 200 6463 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:01:34 +0200] "GET /1482/1/39 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:02:09 +0200] "GET /1482/22/1 HTTP/1.0" 200 6462 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:02:22 +0200] "GET /1482/1/32 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:03:14 +0200] "GET /1482/10/1 HTTP/1.0" 200 6462 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:04:46 +0200] "GET /1482/1/16 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:05:02 +0200] "GET /1482/15/1 HTTP/1.0" 200 6462 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:06:57 +0200] "GET /1482/1/25 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:07:04 +0200] "GET /1482/9/1 HTTP/1.0" 200 6423 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:09:06 +0200] "GET /1482/1/14 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:09:52 +0200] "GET /1482/9/32 HTTP/1.0" 200 6423 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:11:57 +0200] "GET /1482/29/1 HTTP/1.0" 200 6463 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:12:14 +0200] "GET /1482/1/11 HTTP/1.0" 200 6422 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:13:29 +0200] "GET /1482/14/1 HTTP/1.0" 200 6462 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:14:38 +0200] "GET /1482/1/1 HTTP/1.0" 200 6421 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:15:32 +0200] "GET /1482/23/1 HTTP/1.0" 200 6462 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:17:31 +0200] "GET /1482/29/30 HTTP/1.0" 200 6463 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:19:32 +0200] "GET /1482/25/1 HTTP/1.0" 200 6462 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" 74.6.22.153 - - [13/Jun/2008:17:20:42 +0200] "GET /1482/25/24 HTTP/1.0" 200 6462 "-" "Mozilla/5.0 (compatible; Yahoo! Slurp; http://help.yahoo.com/help/us/ysearch/slurp)" (...) From llacook at yahoo.com Fri Jun 13 21:59:45 2008 From: llacook at yahoo.com (Lewis LaCook) Date: Fri, 13 Jun 2008 12:59:45 -0700 (PDT) Subject: [NetBehaviour] An engineer's ocean In-Reply-To: <7wgndFjR.1213313591.7906120.james@jwm-art.net> Message-ID: <896793.7178.qm@web35505.mail.mud.yahoo.com> mental arithmatic gymnastica, mos def---no harvesting or algorithmic manipulation other than the organic algorithms in da head---- thanks!!!! Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook --- On Thu, 6/12/08, james jwm-art net wrote: > From: james jwm-art net > Subject: Re: [NetBehaviour] An engineer's ocean > To: "NetBehaviour for networked distributed" > Date: Thursday, June 12, 2008, 7:33 PM > Hi Lewis, > > I've many harvest a spent ingrained hour sword > processioning on my ivory > stilts. > > I mean I like this engineers ocean. Is it like mental > arithmatic > gymnastica, or digital harvest/process? > > James. > > On 12/6/2008, "Lewis LaCook" > wrote: > > > > > > > > >http://www.xanaxpop.org/2008/06/12/an-engineers-ocean/ > > > > > > > > > > > >You wake to nausea a negated sea and the clock starting > over and over > > > >staring at you across much earlier than > you?€™d like. Earlier your ears > > > >remembered the alarm going off and debt haunting like > traces of semen > > > >pulled over your mouse pad like you moved there, but of > necessity > > > >performative, neither from nor to but inhabiting. Well. > The burned are > > > >already whispering to you those secrets that recoil > while firing flames > > > >gnawing at the mid-range in her belly of sounds. But > why does the first > > > >connection attempt fail? Because of sophistication > testicular references > > > >enhance nascent craters arching busty like a parsed > vellum a level of > > > >velor and unbridled candor or abandoned. On between as > in and or among. > > > >Fucking time-based art you wake to, a nigger sea is me > creased and > > > >siphoning left feelings eating > others?€™ regard for me the wastes of > some > > > >distance to love up on ivory stilts. And on her belly > of sounds. You?€™re > > > >rigid at the gears that arch her back along an > engineer?€™s ocean. Anyone > > > >can have a word-processing. Well, the burned are up and > at it again > > > >their gain flailing knobs and flooding headphones while > uploads whisper > > > >those secrets that recoil after pressing on with the > business. Oh, there > > > >are many wonderful things to worry about! Like kind of > partially > > > >incomplete. SARS. Upturned leaves today give the > appearance of > > > >immaculate dogwood god-hungry jackal, slipping orbs > almost Orphic but > > > >moodily ore your ears scream, screw your ears. Damage > like this is a > > > >diamond to spell check. Almost anyone can have a habit > of > > > >word-processing. This avian flu has come muddied with > dust moaning > > > >yellow bathes in salt last month the whole belly of > sounds bean tucked > > > >away in raining folds thickening rapidly. Damn! Tits > are a lovely > > > >reminder of gravity! But it?€™s > only a lake as of yet, here where glaciers > > > >must have you on the coffee-table. > You?€™ll maybe spend a few hours on > > > >your ivory stilts maybe walking or lurching through > cities the crust > > > >removed and so exposed soft bread fiber at fruit. > Having a sudo bash. > > > > > > > >Oh, she?€™s got this beautiful > tapering down below! You wake to now slowly > > > >wooden swollen fists. Later on the alarm has rungs. > > > > > > > > > > > > > > > >Lewis LaCook > >Director of Web Development > >Abstract Outlooks Media > > > >440-989-6481 > > > > > >http://www.abstractoutlooks.com > >Abstract Outlooks Media - Premium Web Hosting, > Development, and Art Photography > > > >http://www.lewislacook.org > >lewislacook.org - New Media Poetry and Poetics > > > >http://www.xanaxpop.org > >Xanax Pop - the Poetry of Lewis LaCook > > > > > > > > > > > > > > > > > >_______________________________________________ > >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 Jun 14 02:56:14 2008 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 13 Jun 2008 20:56:14 -0400 (EDT) Subject: [NetBehaviour] who are you doing it with Message-ID: who are you doing it with hello I cant do anything but adjust software, filter, text but filter, flat, gone world, enlightened, black while the true world gnaws my dreams and fears of dying here at the laboratory I am Demiurge and Creator how are you through the energy of the other I cant do anything but adjust software, filter, text but filter, flat, gone world, enlightened, black here at the laboratory I am Demiurge and Creator if its not empty, what should it be and the world they come from which threads, sutures, and creates the real which is everything Im not where are you through the energy of the other I cant do anything but adjust software, filter, text but filter, flat, gone world, enlightened, black here at the laboratory I am Demiurge and Creator if its not empty, what should it be and the world they come from which threads, sutures, and creates the real which is everything Im not what are you doing through the energy of the other active filters are maintained I cant do anything but adjust software, filter, text while now emanents move, submerged but filter, flat, gone world, enlightened, black always already beset by virtuality and quality of worlds. ontologies here at the laboratory I am Demiurge and Creator if its not empty, what should it be borders on the way to cold death and evanescence and the world they come from which threads, sutures, and creates the real which is everything Im not a filter has its own political economy who are you doing it with through the energy of the other active filters are maintained I cant do anything but adjust software, filter, text while now emanents move, submerged but filter, flat, gone world, enlightened, black always already beset by virtuality and quality of worlds. ontologies here at the laboratory I am Demiurge and Creator if its not empty, what should it be borders on the way to cold death and evanescence and the world they come from which threads, sutures, and creates the real which is everything Im not why are you doing it with her through the energy of the other active filters are maintained I cant do anything but adjust software, filter, text while now emanents move, submerged but filter, flat, gone world, enlightened, black always already beset by virtuality and quality of worlds. ontologies here at the laboratory I am Demiurge and Creator if its not empty, what should it be borders on the way to cold death and evanescence and the world they come from which threads, sutures, and creates the real which is everything Im not why are you doing it with him through the energy of the other active filters are maintained I cant do anything but adjust software, filter, text while now emanents move, submerged but filter, flat, gone world, enlightened, black always already beset by virtuality the first place is always that of the other and quality of worlds. ontologies here at the laboratory I am Demiurge and Creator if its not empty, what should it be borders on the way to cold death and evanescence and the world they come from which threads, sutures, and creates the real which is everything Im not a filter has its own political economy when are you doing it through the energy of the other active filters are maintained I cant do anything but adjust software, filter, text while now emanents move, submerged but filter, flat, gone world, enlightened, black always already beset by virtuality and quality of worlds. ontologies here at the laboratory I am Demiurge and Creator if its not empty, what should it be borders on the way to cold death and evanescence and the world they come from which threads, sutures, and creates the real which is everything Im not From marc.garrett at furtherfield.org Sat Jun 14 12:40:29 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Sat, 14 Jun 2008 11:40:29 +0100 Subject: [NetBehaviour] Review of Glorious Ninth/Interview with Marius Watz at Furtherfield. In-Reply-To: <896793.7178.qm@web35505.mail.mud.yahoo.com> References: <896793.7178.qm@web35505.mail.mud.yahoo.com> Message-ID: <4853A01D.7000508@furtherfield.org> Review of Glorious Ninth Interview with Marius Watz. www.furtherfield.org Artists - Glorious Ninth Review Title - love_potion and Invisibility_Phial Reviewer - Marc Garrett When I first began writing this review I thought that I'd just be writing a couple of quick paragraphs in response to Glorious Ninth's latest artwork Invisibility_Phial. However this work has not only uncovered for me aspects of the nature of their artistic collaboration, but also how bringing everyday life into art adds essential value to art and culture. Through their recent work, Glorious Ninth (Kate Southworth & Patrick Simons) have created an intriguing interface introducing a more personal and emotional context. Their own lives become part of the works, that serve to introduce us to their world via their intuitive, creative practice. Permlink - http://www.furtherfield.org/displayreview.php?review_id=305 A FORM OF TECHNOLOGICAL MIMESIS Interview with Marius Watz by Franz Thalmair Marius Watz, an artist concerned with generative systems for creating visual form, still, animated, or realtime, argues in the following interview: "One of the privileges of Generative Art is that the author can easily be surprised by her own creation." Watz discovered the computer at age eleven and immediately found his direction in life. At age 20 he defected from Computer Science studies to do graphics for raves, using his programming to create organic shapes in 2D and 3D. In 2005 Watz started Generator.x, a platform for Generative Art and Design which so far has resulted in a conference, a blog, a travelling exhibition and concert tour. Watz currently lives in Oslo and New York. His tools of choice are Java, Processing, VVVV and Flash. He continues to edit the Generator.x blog and prepare future Generator.x events, as well as teaching workshops in Computational Design and Generative Art. Permlink - http://www.furtherfield.org/displayreview.php?review_id=304 From sondheim at panix.com Sun Jun 15 04:27:48 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 14 Jun 2008 22:27:48 -0400 (EDT) Subject: [NetBehaviour] our 7th wedding anniversary Message-ID: http://www.alansondheim.org/gord1.mp3 http://www.alansondheim.org/gord2.mp3 http://www.alansondheim.org/gord3.mp3 sound from an unknown 1980s small keyboard with 2-key polyphony i had to fix the keyboard today and it's our seventh wedding anniversary today and if it weren't for azure and her kindness against all odds i'd probably not be alive sometimes there are gifts out of nowhere and undeserved our wedding was one of them poor azure! but i'm very happy, personally From dion at dionlaurent.com Sun Jun 15 06:06:12 2008 From: dion at dionlaurent.com (Dion Laurent) Date: Sat, 14 Jun 2008 23:06:12 -0500 Subject: [NetBehaviour] EarthMan and EarthBase, England and Paris June-July 2008 Message-ID: <002501c8ce9d$3b00bab0$dbb4b1d8@homec9cecdf675> EarthBase 1, the third shelter/survival base in a series of installations by Dion Laurent since 2002 for the EarthMan (EarthHuman, EarthWoman) project will be installed in Paris, July 4 - 20, 2008. First showin in Montreux, Switzerland and subsequently invited to show in Geneva in 2007, the installation will evolve throughout the exposition in Paris and will include a series of EarthMan performances. http://www.dionlaurent.com/earth_base_1.htm http://www.dionlaurent.com/earthman.htm Exposition "Paris-Lodi" Espace des Blancs Manteaux 48 rue Vielle du Temple 75004 Paris Du 4 au 20 juillet 2008 Ouvert tous les jours, de 12h a 21h. Entree libre. Contact 06 84 05 04 12 Additionally, Dion Laurent has been invited to perform EarthMan in Brighton, Royal Tunbridge Wells and Clapham Common in London on June 21 as part of the Revolve Eco-Rally. EarthMan is a performance piece which allows the viewer to consider our global biosphere on a human scale. The Texan-based artist, Dion Laurent, blends art & science by appearing in public places wearing a self-sustaining suit capable of maintaining a human in otherwise unlivable environments on earth or even in outer space. The EarthMan suit consists of a solar-powered system including fans, air ducts, lights, terrarium and plants that reproduces the symbiotic relationship between humans and plants through the exchange of CO2 and oxygen. http://www.dionlaurent.com/earthman.htm http://www.dionlaurent.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From marc.garrett at furtherfield.org Sun Jun 15 15:51:44 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Sun, 15 Jun 2008 14:51:44 +0100 Subject: [NetBehaviour] An Interview with Douglas R. Hofstadter, following ''I am a Strange Loop''. In-Reply-To: <896793.7178.qm@web35505.mail.mud.yahoo.com> References: <896793.7178.qm@web35505.mail.mud.yahoo.com> Message-ID: <48551E70.6090608@furtherfield.org> An Interview with Douglas R. Hofstadter, following ''I am a Strange Loop''. Reviewed by Tal Cohen. Douglas R. Hofstadter is best-known for his book G?del, Escher, Bach (GEB for short). In his latest book, I am a Strange Loop, he visits once again many of the themes originally presented in that book. The interview below was conducted in September 2007 and was originally published, in Hebrew, in the online culture magazine Haayal Hakore. The interview was conducted by Tal Cohen and Yarden Nir-Buchbinder. http://tal.forum2.org/hofstadter_interview From marc.garrett at furtherfield.org Sun Jun 15 19:09:53 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Sun, 15 Jun 2008 18:09:53 +0100 Subject: [NetBehaviour] Second Open Visualisation Workshop, Saturday 21st June 2008, Trampoline Systems. UK. In-Reply-To: References: Message-ID: <48554CE1.1060302@furtherfield.org> Second Open Visualisation Workshop, Saturday 21st June 2008, Trampoline Systems. At the first Open Visualisation Workshop last month, we found there was significant demand for regular workshops. Hence, there will be a second Open Visualisation Workshop next Saturday! Details are as follows: * When: Saturday 21st June 2008, 11am - 5pm * Where: Trampoline Systems, 8-15 Dereham Place, London, EC2A 3HJ * Map: http://tinyurl.com/58br3u * Wiki: http://okfn.org/wiki/OpenVisualisation/Workshop Once again, the event should be a good opportunity for people new to this area to learn a bit more about the range of open source visualisation software packages that are out there - and for open source visualisation veterans to showcase their work and to exchange their experiences. This time we hope to get stuck into to tinkering around with several software packages, and possibly start work on a new project visualising some open material. If you are interested in participating, please add your name to the wiki page. Attendance is free! Warm regards, Jonathan Gray The Open Knowledge Foundation http://okfn.org/ From marc.garrett at furtherfield.org Sun Jun 15 19:11:46 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Sun, 15 Jun 2008 18:11:46 +0100 Subject: [NetBehaviour] THE OPEN WALL - Call for premiered art competition! In-Reply-To: References: Message-ID: <48554D52.4000402@furtherfield.org> THE OPEN WALL. Call for premiered art competition! http://org.ntnu.no/thewall The Open Wall, a 80 x 30 pixels resolution 201 inch LED screen. ITovation, a project by the Faculty for Information Technology, Mathematics and Electrical Engineering, NTNU, and Trondheim Electronic Arts Centre, TEKS, invites you to an open art competition! The Open Wall is a wall-mounted LED installation consisting of 96 circuit boards containing 25 orange LED lights each, 2400 in total, with 5 cm distance in all directions to the next light. The wall is 480 cm long and 180 cm high. One goal of the Open Wall project is to inspire reflection about Information and Communication Technology with focus on openness, copyrights, and authorship. The source code governing the Open Wall is available as an open source project on sourceforge. Concept: The artist perspective for the contest is to exploit the artistic potential of possible technologies that can be implemented in the The Open Wall. Boundaries between digital art expressions and computer gaming are vanishing. We will in particular ask the contesters to investigate in artistic concepts that applies to the wall being an interactive and ?living? object. We aim at raising awareness and curiosity about multidisciplinary issues at the intersection between art and technology. Artistic expressions for the contest may look into ways of establishing interactive dialogs between an audience at sight or/and remote located, and the LED wall. Project contributions can be expressed as a combination of sensor and actuator technologies that by example reads data from sources like sound, movement, climate, GPS, social mapping etc., as well as other methods for fetching external data information. Actuators in addition to the LEDs, if you find that necessary for your project, can be anything from sound output to robotic technologies. Your imagination is the limit! The suggested artistic concept and content will be the jury?s main factor to consider. This means that though the technical aspects are vital for realizing this project, the contest will focus on the artistic concepts and ideas. We are therefore accepting contributions where the techniques necessary for realizing your project aren?t fully developed or in detail described. The jury expects nevertheless all technologies suggested by the contesters to be technical realizable. The Open Wall project provides an interface for exploring possibilities for further development of artistic expressions used for permanent public installations. This contest is part of Trondheim Electronic Arts Centre?s strategy for trying to develop permanent interactive installations in the public space of the Trondheim region. The Open Wall can therefore be considered as a fragment of a greater installation. As this is a concept competition, we accept contributions that aren?t limited in size to this particular physical wall as such. Contesters will have the opportunity to start a dialog with Trondheim Electronic Arts Centre independently of the contest result for further development of projects. Prizes: The price award will take place at this year?s festival for art and technology in Trondheim, Trondheim Matchmaking, the 16th - 18th of October. The contest is divided in two prize categories: - The Open Wall open contest. 1st prize 2000 ?, 2nd prize 1500 ?, 3rd prize 1000 ?. - The Open Wall Student Contest. In addition to automatically participate in the Open Contest, contributions from NTNU students will be separately evaluated free of the guidelines for the open contest. Innovative technologies, outstanding use of tech tools and playful interactions are welcomed. Surprise the jury! 3 prizes of 2000 NOK each. The jury: The jury consist of five members: * Stacey Spiegel, Artist, President of Parallel World Labs Inc * Trine Eidsmo, Artist, Director of Trondheim Electronic Arts Centre * Per Platou, Artist, Coordinator of The Production Network of Electronic Arts Norway * Bj?rn Alterhaug, professor, Department for Music, NTNU * Letizia Jaccheri, professor, Department for Computer and Information Science, NTNU Deadline: Latest date for submissions is Monday the 15th of September 2008. Content: Contest submissions must contain a 2-300 words description of your project in addition to technical information, all formatted as PDF documents. Other necessary illustrative material of your choice are accepted. All material must be digital, and sent by email to thewall at list.stud.ntnu.no with ?The Open Wall? as the subject. In addition you can deliver software and other necessary files for running your project on the wall if you like. The technical documentation of the project is available. The source code governing the Open Wall is available as an open source project on sourceforge. Contact information: * e-mail: thewall at list.stud.ntnu.no. All about the competition: http://org.ntnu.no/thewall Other links: http://prosjekt.idi.ntnu.no/sart http://teks.no We are looking forward! Espen Gangvik, project manager, TEKS Letizia Jaccheri, professor, NTNU Bjarne Muri, student, organization Online, NTNU From marc.garrett at furtherfield.org Sun Jun 15 19:13:51 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Sun, 15 Jun 2008 18:13:51 +0100 Subject: [NetBehaviour] The People Speak - Peckham TV 4pm, 21st June (UK). In-Reply-To: References: Message-ID: <48554DCF.8000904@furtherfield.org> The People Speak - Peckham TV 4pm, 21st June (UK). Dear Person That Speaks Come to Peckham TV on Saturday 21st June, 4pm. Peckham TV isn't a TV channel. It's just a bloody massive telly (actually a 10m2 LED screen) that we've got in Peckham Square next Saturday. And we're going to use it to play a game of "Who Wants to Be?", the ask the audience game show. The goal of the show is to get the audience to collectively design an advert for Peckham. They'll do this by suggesting ideas which we will visualise instantly on the giant screen. Then people will vote on them using our computer vision voting system, advised by a panel of experts, chaired by Harold Offeh. http://uk.youtube.com/watch?v=pYfaxnWCCvA http://whowantstobe.co.uk I say Peckham, you say... ? Harold Offeh and The People Speak were commissioned to make a piece of art for Peckham Square. Instead of coming up with our own idea we asked the people. They said what needed changing most in the area was people's perception of Peckham. That's why we're all getting together to make an advert. Give your ideas and your vote to the process. Date: Saturday, June 21, 2008 Time: 4:00pm - 8:00pm Location: Peckham Square, Peckham Road, London SE15 8RS ADMISSION FREE -- The People Speak | 17-25 Cremer St. London E2 8HD | http://theps.net land +44 (0)20 76133001 | mikey +44 (0)7961 365 375 | ms at theps.net From marc.garrett at furtherfield.org Sun Jun 15 19:18:23 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Sun, 15 Jun 2008 18:18:23 +0100 Subject: [NetBehaviour] CLASS WARGAMES SUMMER CAMPAIGN (UK). In-Reply-To: References: Message-ID: <48554EDF.3050408@furtherfield.org> CLASS WARGAMES SUMMER CAMPAIGN http://www.classwargames.net Class Wargames will be holding its next club night on: Tuesday 17th June 7.00-11.00pm. The Flea Pit 49 Columbia Road London E2 7RG http://www.fleapit.com We will be playing - and teaching people how to play - Guy Debord's The Game of War. '[The Game of War] was his most autobiographical work, the only one that would be recognised as a work, because it was inexhaustible.' Vincent Kaufman, Guy Debord: revolution in the service of poetry. Future Engagements Tuesday 22nd July: Terrorbull Games present 'The War on Terror'. Tuesday 19th August: London v. New York on-line 'Game of War'. From marc.garrett at furtherfield.org Sun Jun 15 19:26:57 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Sun, 15 Jun 2008 18:26:57 +0100 Subject: [NetBehaviour] EarthMan and EarthBase, England and Paris June-July 2008 In-Reply-To: <002501c8ce9d$3b00bab0$dbb4b1d8@homec9cecdf675> References: <002501c8ce9d$3b00bab0$dbb4b1d8@homec9cecdf675> Message-ID: <485550E1.5010308@furtherfield.org> Hi Dion, >Clapham Common in London on June 21 as part of the Revolve Eco-Rally. Hey Dion - how long are you in the UK for? marc > > EarthBase 1, the third shelter/survival base in a series of > installations by Dion Laurent since 2002 for the EarthMan > (EarthHuman, EarthWoman) project will be installed in Paris, July 4 - > 20, 2008. First showin in Montreux, Switzerland and subsequently > invited to show in Geneva in 2007, the installation will evolve > throughout the exposition in Paris and will include a series of > EarthMan performances. > http://www.dionlaurent.com/earth_base_1.htm > > http://www.dionlaurent.com/earthman.htm > > > Exposition "Paris-Lodi" > Espace des Blancs Manteaux > 48 rue Vielle du Temple 75004 > Paris > Du 4 au 20 juillet 2008 > Ouvert tous les jours, de 12h a 21h. Entree libre. > Contact 06 84 05 04 12 > > > > Additionally, Dion Laurent has been invited to perform EarthMan in > Brighton, Royal Tunbridge Wells and Clapham Common in London on June > 21 as part of the Revolve Eco-Rally. > > *EarthMan* is a performance piece which allows the viewer to consider > our global biosphere on a human scale. The Texan-based artist, Dion > Laurent, blends art & science by appearing in public places wearing a > self-sustaining suit capable of maintaining a human in otherwise > unlivable environments on earth or even in outer space. The EarthMan > suit consists of a solar-powered system including fans, air ducts, > lights, terrarium and plants that reproduces the symbiotic > relationship between humans and plants through the exchange of CO2 and > oxygen. > http://www.dionlaurent.com/earthman.htm > > > > http://www.dionlaurent.com > ------------------------------------------------------------------------ > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour From dion at dionlaurent.com Sun Jun 15 21:05:14 2008 From: dion at dionlaurent.com (Dion Laurent) Date: Sun, 15 Jun 2008 14:05:14 -0500 Subject: [NetBehaviour] EarthMan and EarthBase, England and Paris June-July 2008 References: <002501c8ce9d$3b00bab0$dbb4b1d8@homec9cecdf675> <485550E1.5010308@furtherfield.org> Message-ID: <019001c8cf1a$bf9a5100$dbb4b1d8@homec9cecdf675> Hey Marc, I'll be in London the 19th -24th. Are you around? ----- Original Message ----- From: "marc garrett" To: "NetBehaviour for networked distributed creativity" Sent: Sunday, June 15, 2008 12:26 PM Subject: Re: [NetBehaviour] EarthMan and EarthBase, England and Paris June-July 2008 > Hi Dion, > > >Clapham Common in London on June 21 as part of the Revolve Eco-Rally. > > Hey Dion - how long are you in the UK for? > > marc >> >> EarthBase 1, the third shelter/survival base in a series of >> installations by Dion Laurent since 2002 for the EarthMan >> (EarthHuman, EarthWoman) project will be installed in Paris, July 4 - >> 20, 2008. First showin in Montreux, Switzerland and subsequently >> invited to show in Geneva in 2007, the installation will evolve >> throughout the exposition in Paris and will include a series of >> EarthMan performances. >> http://www.dionlaurent.com/earth_base_1.htm >> >> http://www.dionlaurent.com/earthman.htm >> >> >> Exposition "Paris-Lodi" >> Espace des Blancs Manteaux >> 48 rue Vielle du Temple 75004 >> Paris >> Du 4 au 20 juillet 2008 >> Ouvert tous les jours, de 12h a 21h. Entree libre. >> Contact 06 84 05 04 12 >> >> >> >> Additionally, Dion Laurent has been invited to perform EarthMan in >> Brighton, Royal Tunbridge Wells and Clapham Common in London on June >> 21 as part of the Revolve Eco-Rally. >> >> *EarthMan* is a performance piece which allows the viewer to consider >> our global biosphere on a human scale. The Texan-based artist, Dion >> Laurent, blends art & science by appearing in public places wearing a >> self-sustaining suit capable of maintaining a human in otherwise >> unlivable environments on earth or even in outer space. The EarthMan >> suit consists of a solar-powered system including fans, air ducts, >> lights, terrarium and plants that reproduces the symbiotic >> relationship between humans and plants through the exchange of CO2 and >> oxygen. >> http://www.dionlaurent.com/earthman.htm >> >> >> >> http://www.dionlaurent.com From dave.miller.uk at gmail.com Sun Jun 15 21:06:14 2008 From: dave.miller.uk at gmail.com (dave miller) Date: Sun, 15 Jun 2008 20:06:14 +0100 Subject: [NetBehaviour] EarthMan and EarthBase, England and Paris June-July 2008 In-Reply-To: <485550E1.5010308@furtherfield.org> References: <002501c8ce9d$3b00bab0$dbb4b1d8@homec9cecdf675> <485550E1.5010308@furtherfield.org> Message-ID: I want to see Dion as well - what time at Clapham Common? dave 2008/6/15 marc garrett : > Hi Dion, > > >Clapham Common in London on June 21 as part of the Revolve Eco-Rally. > > Hey Dion - how long are you in the UK for? > > marc >> >> EarthBase 1, the third shelter/survival base in a series of >> installations by Dion Laurent since 2002 for the EarthMan >> (EarthHuman, EarthWoman) project will be installed in Paris, July 4 - >> 20, 2008. First showin in Montreux, Switzerland and subsequently >> invited to show in Geneva in 2007, the installation will evolve >> throughout the exposition in Paris and will include a series of >> EarthMan performances. >> http://www.dionlaurent.com/earth_base_1.htm >> >> http://www.dionlaurent.com/earthman.htm >> >> >> Exposition "Paris-Lodi" >> Espace des Blancs Manteaux >> 48 rue Vielle du Temple 75004 >> Paris >> Du 4 au 20 juillet 2008 >> Ouvert tous les jours, de 12h a 21h. Entree libre. >> Contact 06 84 05 04 12 >> >> >> >> Additionally, Dion Laurent has been invited to perform EarthMan in >> Brighton, Royal Tunbridge Wells and Clapham Common in London on June >> 21 as part of the Revolve Eco-Rally. >> >> *EarthMan* is a performance piece which allows the viewer to consider >> our global biosphere on a human scale. The Texan-based artist, Dion >> Laurent, blends art & science by appearing in public places wearing a >> self-sustaining suit capable of maintaining a human in otherwise >> unlivable environments on earth or even in outer space. The EarthMan >> suit consists of a solar-powered system including fans, air ducts, >> lights, terrarium and plants that reproduces the symbiotic >> relationship between humans and plants through the exchange of CO2 and >> oxygen. >> http://www.dionlaurent.com/earthman.htm >> >> >> >> http://www.dionlaurent.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 paulorcbarros at uol.com.br Sun Jun 15 21:40:37 2008 From: paulorcbarros at uol.com.br (PAULO R. C. BARROS) Date: Sun, 15 Jun 2008 16:40:37 -0300 Subject: [NetBehaviour] "Microvision" Message-ID: <014701c8cf1f$b1c93af0$fefefe0a@toshibauser> Hi friends, http://paulorcbarros.com/portfolio.htm Enjoy! Paulo Greetings from Brazil. -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Sun Jun 15 22:27:47 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 15 Jun 2008 16:27:47 -0400 (EDT) Subject: [NetBehaviour] http://www.alansondheim.org/unknown.mp4 Message-ID: http://www.alansondheim.org/unknown.mp4 From sondheim at panix.com Tue Jun 17 05:56:11 2008 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 16 Jun 2008 23:56:11 -0400 (EDT) Subject: [NetBehaviour] 4 experimental works perhaps beautiful Message-ID: 4 experimental works that look and sound, i think, beautiful? the following amazes me; altered bodies were coupled by root transform- ations, bvh files were displaced 2.5 seconds, and the rest was automated. {sexual proximity is differently calculated than among organisms; sheave- skin operates at a distance and coupling follows Bell's work on QM.} http://www.alansondheim.org/avafuck.mp4 the following is an earlier hi-speed experiment along the same lines; in this one behavior collisions dominate and obstruct. {constant repair did nothing to the ruin which is photographed from two different positions, male and female.} http://www.alansondheim.org/avafuckbad.mp4 edited very low frequency recording of close-by lightning {lightning without the whistlers, recorded at 96 hz, notch filtered and graphic equalization in cool-edit} http://www.alansondheim.org/vlflightning.wav thunder and house sounds from anomalous transmission at 33.235 mhz coupled with lightning static interference {recorded from scanner with coupled antenna} http://www.alansondheim.org/housethunder.mp3 === From jennifer.stoddart at folly.co.uk Tue Jun 17 12:46:30 2008 From: jennifer.stoddart at folly.co.uk (Jennifer Stoddart) Date: Tue, 17 Jun 2008 11:46:30 +0100 Subject: [NetBehaviour] Last Chance to Book for "Open Source City" in Liverpool Message-ID: <0256B6C2667A3E4882F0FEF08218671335E1CF@follyone.FOLLY.local> A micro-festival of open source practice in the production of media art and music This week is your last chance to book yourself onto one of the workshops for folly and SoundNetwork 's micro-festival of art and music in Liverpool, Open Source City, happening this weekend - 20th - 22nd June 2008. Please register now for these exciting workshops below by calling Jennifer on 01524 388 550 or emailing jennifer.stoddart at folly.co.uk: Workshop: Creating Open Source Projects with the Random Information Exchange Alpha 0.2 Friday 20th June presented by Will Scrimshaw and Dominic Smith of Polytechnic ?25 waged ?12.50 unwaged Workshop: Making Music with Pure:Dyne Saturday 21st June presented by Rob Canning and Heather Corcoran of goto10 ?25 waged ?12.50 unwaged Workshop: Video Sniffin Friday 20th June & Saturday 21st June presented by Stuart Bowditch and Terry Slepcevic of Mediashed ?40 waged, ?20 unwaged Masterclass: 0xA - Performing Music Live with Pure Data Friday 20th June (half day masterclass) presented by Aymeric Mansoux and Chun Lee of goto10 ?15 waged, ?7.50 unwaged Masterclass: Controlling SuperCollider in 3 Dimensions Saturday 21st June presented by Simon Blackmore ?25 waged, ?12.50 unwaged There is also a programme of art, talks and gigs that you can turn up to on the day. To view the whole programme for the festival, and to get hold of the booking form to book your workshop places, visit the folly website at http://www.folly.co.uk/click/1060/9 Open Source City is a Liverpool European Capital of Culture Commission - a micro-festival of open source practice in media art and music presented by folly and SoundNetwork. A Cultural Commission for Liverpool 2008 European Capital of Culture. Supported by Arts Council England and P H Holt Trust. From sondheim at panix.com Tue Jun 17 17:03:38 2008 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 17 Jun 2008 11:03:38 -0400 (EDT) Subject: [NetBehaviour] isolation elegy (in the style of moselle) Message-ID: isolation elegy our dancer has disappeared into physical therapy my assistant works invisible regular hours we hope he never shows for radio or video or other work arrangements are a thing of the past his interest is that of a mortician my musician friend has disappeared he took the hard drive with him and we live in silence the brilliant ex-student is on the road supposedly we're collaborating but he never showed a show at the university arts center never happened our tenant flaked out on the pittsburgh tour so much for moving out of the choking city (new york) the dance department head has disappeared as well performances at the local club fell through work in the three-dee cave seems impossible at this point { our principles on the nsf grant are wonderful and busy we meet and write and go our separate ways } we had a bad storm last night hurrah hurrah now we spend days talking to the cat and ourselves we work at home approaching and withdrawing from the machine the machine dominates our lives in utter silence our closest hometown friends have disappeared we're outside the potential well of the real we're floating in plasma the consistency of jello our voices are muffled and disappear according to x^1/8 i listen to other lives on the scanner whispering day and night we're on automatic trying to leave the big city (new york) we've no destination in three worlds and ten directions i've done all i can to decorate this one buddha stays silent all of them and oh what a beautiful sunset i say to azure oh yes indeedy she says in response and maybe we'll go down to the lab and dance a little dance or i'll work on the phenomenology of filters and watch tv tv is our friend but it never seems to listen did i mention nick and nick have never called i wonder what it's like to have breakfast in omaha i seem to recollect we left our voices there columbus ohio will do just as well sometimes i'll pick up a guitar and make my noise i build small walls around a massive depression grey goo isn't nano but a condition of everyday life i can't see the forest because of the trees we're tired of poverty and isolation i'm tired of stress and headaches and twitches and pains bad eyes going worse i can't see the boring world did i mention the second life performance seems canceled the curator has disappeared and we're left holding the avatars it's not much of a stretch to drop objects on the ground but in second life i'm just a noisy visitor and where was the show going to happen in the first place anyway no one's ever there so it's like our house i'm waiting for the mail and someone to check the electric she might come this week or the next or down in dark september that should be as exciting as boycotting the olympics we couldn't watch the olympics but china's our future don't forget people here don't believe in evolution and set out to do anything to disprove it i've always wanted to say "if you've read this far" but if you've read this far you're just about here and now there's nothing else going on but clumps of letters i think i'll stay awake a few more hours From llacook at yahoo.com Tue Jun 17 18:00:32 2008 From: llacook at yahoo.com (Lewis LaCook) Date: Tue, 17 Jun 2008 09:00:32 -0700 (PDT) Subject: [NetBehaviour] My giggle Message-ID: <904984.40681.qm@web35508.mail.mud.yahoo.com> http://www.xanaxpop.org/2008/06/17/my-giggle/ There?s a giggle that rises while I serene about scenes outside my window on C Street They say the city?s dying and I too am on loan from somewhere But someone below my window sings softly into this vivisected morning and the notes what holds the notes together Where is the difference between a melody and a chord Kittens bat whatever can be found on the floor around the house A wound I?ve long cowered in unwinds Untied hunger and thirst As it?s just a giggle a crack of sound in the shift She?s sewn her summer dresses up around her head Walking fields Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook From james at jwm-art.net Tue Jun 17 23:54:27 2008 From: james at jwm-art.net (james jwm-art net) Date: Tue, 17 Jun 2008 21:54:27 +0000 Subject: [NetBehaviour] rellishb Message-ID: ( rellishb @ http://jwm-art.net/o7.php?p=j20080617-2203 ) - http://www.jwm-art.net/art/audio/rellishb.mp3 @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ @@@| | @@@| | @@@| | @@@james at Scrapyard:~$ lame --preset hifi ^ @@@LAME 3.97 32bits (http://www.mp3dev.or^ @@@CPU features: MMX (ASM used), 3DNow! (^ @@@Using polyphase lowpass filter, transi^ @@@Encoding rellishb.wav to rellishb.mp3 ^ @@@Encoding as 44.1 kHz average 160 kbps ^ @@@ Frame | CPU time/estim |^ @@@ 12155/12155 (100%)| 0:23/ 0:23|^ X @@@ 32 [ 37] * ^ / @@@ 40 [ 7] % ^ / @@@ 48 [ 4] % ^ / @@@ 56 [ 4] % ^ / @@@ 64 [ 5] % ^ / @@@ 80 [ 5] % ^ / @@@ 96 [ 4] % ^ / @@@112 [ 159] %* ^/ @@@128 [ 3114] %%%%**********************^ @@@160 [ 8010] %%%%%%%%%%%%%%%***********^ @@@192 [ 464] %%** ^ @@@224 [ 191] %* ^ @@@256 [ 100] % ^ @@@320 [ 51] % ^ @@@--------------------------------------^ @@@ kbps LR MS % long sw^\ _P @@@ 154.2 22.3 77.7 94.1 ^ \ / @@@Writing LAME Tag...done ^ \ / @@@ReplayGain: -6.7dB ^ \ / @@@james at Scrapyard:~$ play rellishb.mp3 ^ Y @@@| | @@@Input Filename : rellishb.mp3 ^ @@@Sample Size : 16-bits ^ @@@Sample Encoding: MPEG audio (layer I, ^ @@@Channels : 2 ^ @@@Sample Rate : 44100 ^ @@@| | @@@Time: 00:01.76 [00:00.00] of 00:00.00 ^ @@@| | @@@Aborted. ^ @@@james at Scrapyard:~$ ls -lh *.mp3 ^ @@@-rw-r--r-- 1 james james 2.6M 2008-06-^--------\__ @@@-rw-r--r-- 1 james james 5.9M 2008-06-^--------/ | @@@| | | @@@So there she goes, there be blows, ^ o @@@in there the sewing crew terra gone ^ @@@moonshine rebel slow ^ @@@| | @@@So there he crows, dare be crows, ^ @@@stone the drawing flow and be ^ @@@doomed, sledge hammer slow, ^ @@@insides crossed with gloom. ^ @@@| | @@@Herrings flow, double blow, and in ^ @@@the city, I'll be gone and then ^ @@@sometimes it shall be none, cod ship. ^ @@@| | @@@(((((((%cod_shit))))))) ^ @@@| | @@@Try cycling, triphase multi grep ^ @@@hellium vellum and in the west gates ^ @@@the trite system is seasonal in ^ @@@flowers, fellow. ^ @@@| | @@@And always, in all ways, always in ^ @@@dissed guises, ^ @@@they flow, in the creative ^ @@@scenario, created by me me me and my ^ @@@self myslef my flesh, and I eye, AI. ^ @@@| | @@@Jumbled. ^ # @@@--- ^ # @@@So I must wait to say again until anot^ # @@@those things - i keep meaning - times ^ # @@@| | ## @@@confused there must be a chase and wai^ #### @@@you what is there? watt exa###########^####### @@@be ##########es, that ye######member n^####### @@@now and befo########### midweek as las^ ###### @@@flecks of weekend cre############eak) ^ ##### @@@| | ### @@@&&(crawling slowly forwards); ^ ## @@@| | # @@@nice. ni########ation, but !###ed. slo^ @@@#####p. ################## and can you^ @@@unsaid, as #########s to be those thin^ @@@| | @@@continue; ^ @@@| | @@@yet ######ow s###ly slo### && think yo^ @@@t##########. && that's alrig####s. bec^ @@@read this. you ! know *this(place to w^ @@@#####t ##sts); po## #ost# I #ight regr^ @@@bes##e #he ##int and ram#ling #ost #n ^ @@@######ow # #ake. # tak# # a#d p#e#e#t#^ @@@. ^ @@@| | @@@gz#r#e c#u#bl# #n#ce #hnk#,# #= t#u# #| @@@| | @@@| | @@@| | @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ http://www.jwm-art.net/art/audio/rellishb.mp3 From sondheim at panix.com Wed Jun 18 06:29:01 2008 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 18 Jun 2008 00:29:01 -0400 (EDT) Subject: [NetBehaviour] conversations, Spain, Online Message-ID: 1 Someone, Online I don't know these people, where they are, who they are, where the transmitter is. close to a half-hour, more interesting towards the middle perhaps --- http://www.alansondheim.org/listening.mp3 2 Spain, Online wonderful text modified from discussion for upcoming Second Life show Sugar Seville is OnlineSeville: hi !You: Hi Sugar!Alan!- Sandy should be coming on around now. I've been playingwith objects here. What I thought to do if it's possible, make dozens of thesein the space that has video projections; people would have move through them one way or another get screens. so it akind rubble... we'd perform same as well did you want show images?i really like they look me, what you're referringto? can more other walls are beautiful!ah, was looking at back great, they'd workhere images posted and sent me link called" double" They'd work. There lot well. Any...sandy Taifun maybe good maingallery think sorts objects?Sandy's Taifun: yes holloSandy!This bad acid trip! great!don't drink purple coolaidfor long time wasn't able object s-now seem again (place environment) just plugged earpohnes, no mic tonightyes, Sugar, hear me?she amazing see sugarsorry can'tturn voiceOk, communicate by text speaking but dont headphonesproblemprob lemaccepted your inventory offer.Maybe we transport stuff sure, give forth easy enoughmany could take us place? I'd my home moment alan: pixelate does oscillates machine It's clean objct; bandwidth probably. dsl Tomorrow meet either rl sl?btw some new musical instruments, traded crazyutoday moundsvgille SOUNDWISE CAN DO ANYTHING!!! !!!!!!!!!!!!!sl, certainly. practice.now, any files onlinedirectory? perhaps both set up helpe.g. alansondheim.orgprobably all them; I'm not sure format needsthough whether mp4 w/h264 workable ok. cuz quickly wvudirectory. let's wants. Sugar?yes?Is this stairs here?A few questions Mattes still returnWhen doesSevi comne down Ah. Home position set.here, come workj 0 each will need own parcelokcurrently divided into 3So thre streams?top screen youll says zone 1 Yesooh, mine zone2?then may over line 2hee hee, that's right.guess screens where subdivide parcels fit fill much objects, in, how screens?building rotatedd 8 degrees off axisSL 352 axis..rotate prims calls z package: avatar / avatar. knives. cut. avatar-man talks. inside he says. it. construction torsion near edge-space. limits world. anorecticlisten avatar-man. dream-woman.dream- woman contaminated. condemned. weird call y please slow upm thankssooryproblem:-)part things unfamiliarw/ walkthrough, think, setting stream scripted well, know. point it? otherwise, go tutorial something similar? whenever ready url try i'm second there's an 'avafuck.mp4' put love might too http://www.alansondheim,.org/avafuck.mp4 I'll check www.alansondheim.org comma got in. most recent there compressed h264 & handle ok, object/screen format? running left ear right depends serverevery watching connecting separately We'd file from West Virginia Univiersity use it, since risqueNikuko annoying times...mouse floor click World Menu select About Land Media tab option sequence framesuploaded played script what? shouold perhaps?saying cause out rangeopen world menu about landmedia lets do?sorry, drawback besides push play, standing view llle: viewed servers which lagadvantage hand changedeleting named 'x' putting name case what'spossible firstyes. stream.http://www.alansond- heim.org/avafuck.mp4 ? moving university speak, looks file,FreeView Flatscreen TV: Welcome free,open-source television! niceidea is!** Error deeded group. You must Remote control TV Guide. remote Video -> Configuration menu. Please refer notecard further assistance. New URL press play controllerviewerbetter friendplays automaticallyanything screen? Perhaps facking back; gaz. gaz side, strangeworked once isntseeing move, static picture?Sugar!!!!secfixxing horizontal ground?That's possibly fly object? hard better?Yes, went The poster beautifulmovie shd far good...never felt enormous life!gosh naked... :-)lost petit literally?fors:-)))having always seems happen No texture found. Settingdefault: 71b8ff26-087d-5f44-285b-d38df2e11a81 Error: Cannot modify settings. owned owner. doing brbthank Offlineworking quite shd.Not yet... By keep small keyboard; we'll very fancy (traded) server. um,there, slightly different name... prudish that? problem. 'videox' 'videoy' 'videoz' when upload thosethree streams/slots; proper easily done. changing so.current title gallery, graphic excellent, nothing all; also doesn't 'clear up' reason sharp you? Bad Day Black Rock on, Azure's absolutely incredible movie... no, other's seen.so, progress. Think btw, tomorrow... vary diverse textures? half half; quality rubbe thanpresen- tation. forget who trouble where? movie?let know backgroundoh spencer tracy?nasty nastier climaxwesterns curious: one's, one's trancsendental definitely, realize reminds L'Avventura missing character center... reading Nagarjuna...ther's why shouldnt oh, buddhist westerns. thinking eltopo others period. desert. sugar: guys button slinterface? Buddhists forest Vedas! haven't seen topo... i.e. our end?donMan Michinaga getting end.quicktime playersuggest then?wait little catch Ok.i'll laterWe tomorrow stay -- figure mean pretty dayits qujicktime .mp4 .movaccording linden needed compression1876.12 kbits/sthats data ratekinda high ask tech supportconsumes huge itselfsay ahead h ere placeholder prim meeting late afternoon early evening?How prim? (Apologies ignorance)rename info you, time? bye!works earlier, 9stead ten? grr...!Sandy, sometime?Let Skype?which?conversation w/sugar?were range?godtaken down, range.What?did- n't that.whew!save Are available skype phone call?email bed. talk afternoon? kids doctor From marc.garrett at furtherfield.org Wed Jun 18 10:30:15 2008 From: marc.garrett at furtherfield.org (marc.garrett at furtherfield.org) Date: Wed, 18 Jun 2008 04:30:15 -0400 Subject: [NetBehaviour] Sweden sets sights on new snoop law. Message-ID: <380-22008631883015279@M2W029.mail2web.com> Sweden sets sights on new snoop law. This Wednesday at 9am the Swedish Parliament is voting on a new wiretapping law which would enable the civil agency (FRA ? Defense Radio Agency) to snoop on all traffic crossing the Swedish border. E-mail, fax, telephone, web, SMS, etc. 24/7 without any requirement to obtain a court order. Furthermore, by law, the sitting Government will be able to instruct the wiretapping agency on what to look for. It also nullifies anonymity for press tipsters and whistleblowers. Many agencies within Sweden have weighed in on this, with very hefty criticism, e.g. S?PO (akin to FBI in the US), the Justice Department, ex-employees of FRA, and more. Nonetheless, the ruling party block is supposedly pressuring its members to vote 'yes' to this new proposed law with threats to unseat any dissidents. After massive activity on blogs by ordinary citizens, and street protests, the story has finally been picked up by major Swedish news sources. The result will likely be huge street protests on Wednesday (today). People have been completely surprised since this law has not gotten any media uptake until very late in the game. http://www.thelocal.se/12370.html -------------------------------------------------------------------- mail2web.com - Microsoft? Exchange solutions from a leading provider - http://link.mail2web.com/Business/Exchange From marc.garrett at furtherfield.org Wed Jun 18 10:40:07 2008 From: marc.garrett at furtherfield.org (marc.garrett at furtherfield.org) Date: Wed, 18 Jun 2008 04:40:07 -0400 Subject: [NetBehaviour] Review of Net Art in Colombia by Eduardo Navas Message-ID: <380-2200863188407308@M2W015.mail2web.com> Review of Net Art in Colombia: It?s Ugly and Doesn?t like the Cursor, by Eduardo Navas. This text is published in collaboration with Latinart.com; originally published on March 5, 2008. Curator: Juan Devis Banco de la Rep?blica - Museos de Arte y otras colecciones September 5, 2007 to March 5, 2008 http://www.artenlared.org/ The exhibition Net Art in Colombia: It?s Ugly and Doesn?t Like the Cursor curated by Juan Devis consists of online projects developed by Colombian artists who approach the Internet as a medium worthy of aesthetic exploration, as well as a tool of dissemination. While some members of online new media communities in different parts of the world might consider the term ?net art? historically and geographically specific, as it becomes obvious in this exhibition, the term is still at play in online culture with diverse interests, and it need not be considered part of the past. Devis contextualizes the exhibit as an expanding discourse driven by conceptual preoccupations closely tied to political interests. Devis took two years to organize this exhibition for Colombia?s Bank of the Republic, being aware that he has not lived in Colombia for many years; he currently resides in Los Angeles. This reality provides him, simultaneously, with critical distance and cultural insiderism that he has utilized to choose critical work which at times is aesthetically pleasing; although, as the title of the exhibition implies, aesthetics is not the primary preoccupation of all the artists. The result is a carefully selected survey that reflects on the politics of Colombian culture. more... http://newmediafix.net/daily/?p=1982 -------------------------------------------------------------------- mail2web - Check your email from the web at http://link.mail2web.com/mail2web From marc.garrett at furtherfield.org Wed Jun 18 10:45:41 2008 From: marc.garrett at furtherfield.org (marc.garrett at furtherfield.org) Date: Wed, 18 Jun 2008 04:45:41 -0400 Subject: [NetBehaviour] Edge-notched cards: stacks of papercraft hypertext. Message-ID: <380-22008631884541649@M2W003.mail2web.com> Edge-notched cards: stacks of papercraft hypertext. Kevin Kelly brings us an extraordinary reminiscence of the not-entirely-defunct (?) "edge-notched card," a punchcard hypertext technology that inspired visionaries and weirdos for decades before the PC came along. Edge-notched cards were invented in 1896. These are index cards with holes on their edges, which can be selectively slotted to indicate traits or categories, or in our language today, to act as a field. Before the advent of computers were one of the few ways you could sort large databases for more than one term at once. In computer science terms, you could do a "logical OR" operation. This ability of the system to sort and link prompted Douglas Engelbart in 1962 to suggest these cards could implement part of the Memex vision of hypertext. http://www.kk.org/thetechnium/archives/2008/06/one_dead_media.php -------------------------------------------------------------------- mail2web.com - Microsoft? Exchange solutions from a leading provider - http://link.mail2web.com/Business/Exchange From marc.garrett at furtherfield.org Wed Jun 18 10:52:26 2008 From: marc.garrett at furtherfield.org (marc.garrett at furtherfield.org) Date: Wed, 18 Jun 2008 04:52:26 -0400 Subject: [NetBehaviour] Video: New Zealand's Band of Robots. Message-ID: <380-2200863188522671@M2W041.mail2web.com> Video: New Zealand's Band of Robots. New Zealand band The Trons is made up of four robots who play guitars, drums and keyboard to convincing effect. They sound like a perfectly quantized version of The Velvet Underground. Meet Ham the gregarious frontman (vocals, rhythm guitar), Wiggy the lead guitarist who plays a single string, Swamp the drummer (you know how they are) and Fifi the keyboard player, most recently completed, who pounds out convincing basslines in the lower register of his/her/its instrument. http://blog.wired.com/music/2008/06/video-robots-pl.html -------------------------------------------------------------------- mail2web.com ? What can On Demand Business Solutions do for you? http://link.mail2web.com/Business/SharePoint From marc.garrett at furtherfield.org Wed Jun 18 10:57:16 2008 From: marc.garrett at furtherfield.org (marc.garrett at furtherfield.org) Date: Wed, 18 Jun 2008 04:57:16 -0400 Subject: [NetBehaviour] Geospatial Technologies and Human Rights. Message-ID: <380-2200863188571620@M2W026.mail2web.com> Geospatial Technologies and Human Rights. The AAAS Science and Human Rights Program, with funding from the MacArthur Foundation, the Oak Foundation, and the Open Society Institute, is working to expand the applications of geospatial technologies to human rights issues through its Geospatial Technologies and Human Rights Project. Geospatial technologies include a range of modern tools, such as satellite images, geographic information systems (GIS), and Global Positioning Systems (GPS) that allow for mapping and analysis of multiple layers of georeferenced data. Analysis of such data can provide critical information on the impact of remote, isolated conflicts on civilians, environmental and social justics issues, indigenous rights, and more. Geospatial technologies can broaden the ability of non-governmental organizations to rapidly gather, analyze, and disseminate authoritative information, especially during times of crisis. They can also provide compelling, visual proof to corroborate on-the-ground reporting of conflicts and natural disasters affecting human rights. http://shr.aaas.org/geotech/ -------------------------------------------------------------------- mail2web LIVE ? Free email based on Microsoft? Exchange technology - http://link.mail2web.com/LIVE From sondheim at panix.com Wed Jun 18 17:44:38 2008 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 18 Jun 2008 11:44:38 -0400 (EDT) Subject: [NetBehaviour] getting ready for the big second life show in odyssey after all Message-ID: getting ready for the big second life show in odyssey after all that thing in the middle is the avatar nikuko is the avatar generating hir elements hir limbs are disconnect (UDP) (netsplit) hir body are skein (TCPIP) 5 body are piece-modeled on floor, wall, ceiling hir body are gathering from floor, wall, ceiling, thing don't bump into thing! sometime s/he is there for your performance pleasure will be videos image-imaginaries here is maquette-marionette of hir big day coming http://www.alansondheim.org/slex1.jpg http://www.alansondheim.org/slex2.jpg http://www.alansondheim.org/slex3.jpg http://www.alansondheim.org/slex4.jpg http://www.alansondheim.org/slex5.jpg http://www.alansondheim.org/slex6.jpg http://www.alansondheim.org/slex7.jpg http://www.alansondheim.org/slex8.jpg == From sondheim at panix.com Thu Jun 19 08:39:24 2008 From: sondheim at panix.com (Alan Sondheim) Date: Thu, 19 Jun 2008 02:39:24 -0400 (EDT) Subject: [NetBehaviour] new music Message-ID: new music http://www.alansondheim.org/wonderwav1.mp3 http://www.alansondheim.org/wonderwav2.mp3 You: this took the whole day to do; screens are set up in % away that allows them be viewed but it's difficult get there % She's % onlineI just sent her messageThat might due transparency do you % thnk?tried cut back on % itHi % boys!have number of % questions % helloAlso is too % risque?i'm not concerned with risque % part- yes, totally dark darker?yes i can here % heartotal freedom whatever wishIf world midnight looks % great!very % purpleThey could anywhere I'd tomorrowno % problemI'll send BUNCH soundPut ANYWHERE!!i'll show real % qwikOk, I've done % ok, One % minutesupload would betterdon't anything =need your preferences able % play it? % videao independent mp % did put final game % in?still uploading. will videoy.mpbrbokwhat time % tomorrow?what's good for % you?x sureevening best mearound if that's or latermorning night me, % is. may night. % lets thats % evening?workswork % earlierfine % better?stuff durring at my end most days full stuffing...lol!so, % want?We'll give you!Anytime amsleeps thnkagainlike % people shouldn't broadcast their baby % monitors...oh % dearis? : % )sweet chinny chin % funnyhee circling van % recordingOh and sitting home GETTING OFF % ONLITTLE CHIILDREN! % That's great, see then. morenow? Would appreciate any feedbak % installation ok. going now. bye. thanks % .our goodbyes always lateHeh!The closeups images somewhat % disturbing, % least hope We should ready well before % thinksounds kind bump into these % things...default physicalthought % Then avatar now go blind it! can't % through prims! % its % fittingYes, % agreemuch bumping % aboutYes video though?phantom?phantom, % Onlinemake sense imagesince ultimately % flatother % geometriesplaneagree; end?Oktransparentswant use floor..we testhow % wanted hole floor % another prim try % yourself?texturethen omg streamrecorderwhich much?let's trip over them...[:] yuo want! % course... % From cahen.x at levels9.com Thu Jun 19 15:32:55 2008 From: cahen.x at levels9.com (xavier cahen) Date: Thu, 19 Jun 2008 15:32:55 +0200 Subject: [NetBehaviour] . fiction DOCUMENTAIRE 2007.2008, Universite Paris 8, Saint Denis, France. Message-ID: <485A6007.9060702@levels9.com> .fiction DOCUMENTAIRE 2007.2008 ?The truth is somewhere between the documentary and fictional, and that is what I try to show. What is real one moment has become imaginary the next. You believe what you see now, and the next second you don?t anymore.? (Robert Franck : my and my brother 1964-1968) /"La v?rit? est quelque part entre le documentaire et la fiction, c'est ce que je cherche ? montrer. Ce qui est r?el ? un moment devient imaginaire ensuite. Vous croyez ce que vous voyez imm?diatement et quelques secondes plus tard vous n?y croyez plus."/ +++++++++ acc?s direct / Direct access Beranger Roussel [Sph?re blanche] http://www.arpla.univ-paris8.fr/~canal14/2008/beranger_roussel/ Camille Bui [Lieux - Etapes] http://www.arpla.univ-paris8.fr/~canal14/2008/bui_camille/ [Corps contraint] http://www.arpla.univ-paris8.fr/~canal14/2008/bui_camille2/ Carlos Fontainha [discursos et paroles] http://www.arpla.univ-paris8.fr/~canal14/2008/fontainha_carlos/documents/accueil.htm [Silence, por favor] http://www.arpla.univ-paris8.fr/~canal14/2008/fontainha_carlos2/documents/accueil.htm Celine Rousseau [Combien pour ce ciel?] http://www.arpla.univ-paris8.fr/~canal14/2008/rousseau_celine/ [Les gueules cass?es] http://www.arpla.univ-paris8.fr/~canal14/2008/rousseau_celine2 Chloe Barbot [V?nus 2007] http://www.arpla.univ-paris8.fr/~canal14/2008/barbot_chloe/ Charlotte Laporte [PSG/NANCY] http://www.arpla.univ-paris8.fr/~canal14/2008/laporte_charlotte/ Kyungmi Nonnon [La vague] http://www.arpla.univ-paris8.fr/~canal14/2008/cho_kyungmi_nonnon/cho.html Fanny Estournet [consommation conscience contradiction] http://www.arpla.univ-paris8.fr/~canal14/2008/estournet_fanny/ [LE MASQUE] http://www.arpla.univ-paris8.fr/~canal14/2008/estournet_fanny2/ Julie Barranger [Sang blanc] http://www.arpla.univ-paris8.fr/~canal14/2008/julie_barranger/ Kim Youngha [La Trace De La Rue] http://www.arpla.univ-paris8.fr/~canal14/2008/kim_youngha/ Li Hui [LA CIT? DE DEMAIN] http://www.arpla.univ-paris8.fr/~canal14/2008/li_hui/ Liu Hsiao Wen [Les Autres] http://www.arpla.univ-paris8.fr/~canal14/2008/liu_hsiao_wen/main.htm [Conteurs] http://www.arpla.univ-paris8.fr/~canal14/2008/liu_hsiao_wen2/index.htm Styve Nirlot [VICTIME DU DIPLOME] http://www.arpla.univ-paris8.fr/~canal14/2008/styve_nirlot/ [La trace de l'Homme] http://www.arpla.univ-paris8.fr/~canal14/2008/styve_nirlot2/ +++++ 2007.2008 http://www.arpla.univ-paris8.fr/~canal14/index.php?art=47 Canal 14 /xavier cahen/. fiction DOCUMENTAIRE http://www.arpla.univ-paris8.fr/~canal14/ N'oubliez pas de visiter les autres canaux ! http://www.arpla.univ-paris8.fr/index2.html +++++++++++++++++++++++++++++ Retrouvez l'ensemble des travaux sur Arpla : ? Arpla est le serveur p?dagogique du D?partement Arts plastiques de l'Universit? Paris 8, ? Saint-Denis, 93. Il accueille des travaux d'?tudiants et des supports de cours. ? 1999>2008 -- XAVIER CAHEN -------------- cahen.x at levels9.com Paris France http://www.levels9.com http://00-00-0000.org Merci de penser ? l'environnement avant d'imprimer ce courriel From marc.garrett at furtherfield.org Thu Jun 19 17:18:07 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Thu, 19 Jun 2008 16:18:07 +0100 Subject: [NetBehaviour] How to Talk to Images,Exhibition by Richard Wright In-Reply-To: <380-2200863188571620@M2W026.mail2web.com> References: <380-2200863188571620@M2W026.mail2web.com> Message-ID: <485A78AF.5060706@furtherfield.org> How to Talk to Images Exhibition by Richard Wright at HTTP Gallery. 4th July - 3rd August 2008 Opening Reception: Friday 4th July 6-9pm Exhibition open: Fri-Sun 12noon-5pm www.http.uk.net No one is sure how many images there are on the Internet. Google has nearly a billion. Some say it is hundreds of times more than that. People say that you can find a picture of anything on the internet, as though the entire visual world is reflected there. For How to Talk to Images at London's HTTP Gallery, Richard Wright has compiled a database of 50,000 random Internet images as the raw content for two artworks. The Internet Speaks and The Mimeticon both explore new conceptions of the image, called for by the sheer quantity of visual information now available via the Internet. In this era, finding our way through the world of images is so overwhelming, that the dominant mode is to ?search? rather than to ?see?. An image is an answer to a question, a search query. The Internet Speaks gives us one of the simplest imaginable ways of searching this set of images, stepping through them, one by one in random order, without context. In contrast, The Mimeticon is a wilfully complex and ?baroque? search engine that allows us to search for images by visual similarity rather than by typing in keywords. These 'search images' are 'drawn' by us using letters from the history of the alphabet. As part of How to Talk to Images, Richard Wright?s first solo exhibition in London, a selection of Wright?s animated films demonstrates the development of his current interest in the Baroque. The exhibition is also the occasion of publication of a limited-edition poster featuring an essay by the artist illustrated by the entire visual history of the Western alphabet ? from its pictorial Egyptian origins 5,000 years ago to its perfected form under the Romans, as well as a new book documenting the artists twenty year long practice. Richard Wright is a visual artist working in the fields of digital moving image and networked interaction. During the 1990s, Richard was one of the pioneers of digital animation as a distinct artistic form, with films being shown at numerous festivals and exhibitions and broadcast by television channels around the world. In 1998 he received a PhD in the aesthetics of digital film making and has published nearly forty book chapters, articles and reviews. In 2004 he joined Mongrel ? an artists group internationally recognized for their work in software art and 'free-media'. Since 2007 Richard has been Artist in Residence at Furtherfield.org in London. HTTP Gallery Unit A2, Arena Design Centre, 71 Ashfield Rd, London N4 1NY. Friday - Sunday: 12noon - 5pm http://www.http.uk.net HTTP Gallery is Furtherfield.org?s (www.furtherfield.org) dedicated space for exhibiting networked media art. Furtherfield.org is a not-for-profit, artist-led organisation. Based in Harringay, North London, we provide an online and physical platform for creating, exhibiting, commissioning, and discussing networked media arts. From marc.garrett at furtherfield.org Thu Jun 19 17:19:07 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Thu, 19 Jun 2008 16:19:07 +0100 Subject: [NetBehaviour] How to Talk to Images - Exhibition by Richard Wright In-Reply-To: <380-2200863188571620@M2W026.mail2web.com> References: <380-2200863188571620@M2W026.mail2web.com> Message-ID: <485A78EB.3010404@furtherfield.org> How to Talk to Images Exhibition by Richard Wright at HTTP Gallery. 4th July - 3rd August 2008 Opening Reception: Friday 4th July 6-9pm Exhibition open: Fri-Sun 12noon-5pm www.http.uk.net No one is sure how many images there are on the Internet. Google has nearly a billion. Some say it is hundreds of times more than that. People say that you can find a picture of anything on the internet, as though the entire visual world is reflected there. For How to Talk to Images at London's HTTP Gallery, Richard Wright has compiled a database of 50,000 random Internet images as the raw content for two artworks. The Internet Speaks and The Mimeticon both explore new conceptions of the image, called for by the sheer quantity of visual information now available via the Internet. In this era, finding our way through the world of images is so overwhelming, that the dominant mode is to ?search? rather than to ?see?. An image is an answer to a question, a search query. The Internet Speaks gives us one of the simplest imaginable ways of searching this set of images, stepping through them, one by one in random order, without context. In contrast, The Mimeticon is a wilfully complex and ?baroque? search engine that allows us to search for images by visual similarity rather than by typing in keywords. These 'search images' are 'drawn' by us using letters from the history of the alphabet. As part of How to Talk to Images, Richard Wright?s first solo exhibition in London, a selection of Wright?s animated films demonstrates the development of his current interest in the Baroque. The exhibition is also the occasion of publication of a limited-edition poster featuring an essay by the artist illustrated by the entire visual history of the Western alphabet ? from its pictorial Egyptian origins 5,000 years ago to its perfected form under the Romans, as well as a new book documenting the artists twenty year long practice. Richard Wright is a visual artist working in the fields of digital moving image and networked interaction. During the 1990s, Richard was one of the pioneers of digital animation as a distinct artistic form, with films being shown at numerous festivals and exhibitions and broadcast by television channels around the world. In 1998 he received a PhD in the aesthetics of digital film making and has published nearly forty book chapters, articles and reviews. In 2004 he joined Mongrel ? an artists group internationally recognized for their work in software art and 'free-media'. Since 2007 Richard has been Artist in Residence at Furtherfield.org in London. HTTP Gallery Unit A2, Arena Design Centre, 71 Ashfield Rd, London N4 1NY. Friday - Sunday: 12noon - 5pm http://www.http.uk.net HTTP Gallery is Furtherfield.org?s (www.furtherfield.org) dedicated space for exhibiting networked media art. Furtherfield.org is a not-for-profit, artist-led organisation. Based in Harringay, North London, we provide an online and physical platform for creating, exhibiting, commissioning, and discussing networked media arts. From marc.garrett at furtherfield.org Thu Jun 19 17:22:42 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Thu, 19 Jun 2008 16:22:42 +0100 Subject: [NetBehaviour] How to Talk to Images - Exhibition by Richard Wright In-Reply-To: <485A78EB.3010404@furtherfield.org> References: <380-2200863188571620@M2W026.mail2web.com> <485A78EB.3010404@furtherfield.org> Message-ID: <485A79C2.2070005@furtherfield.org> Apologies for posting twice, the 1st mail froze and it seemed not to post... marc > How to Talk to Images > Exhibition by Richard Wright > at HTTP Gallery. > > 4th July - 3rd August 2008 > Opening Reception: Friday 4th July 6-9pm > Exhibition open: Fri-Sun 12noon-5pm > www.http.uk.net > > No one is sure how many images there are on the Internet. Google has > nearly a billion. Some say it is hundreds of times more than that. > People say that you can find a picture of anything on the internet, as > though the entire visual world is reflected there. > > For How to Talk to Images at London's HTTP Gallery, Richard Wright has > compiled a database of 50,000 random Internet images as the raw content > for two artworks. The Internet Speaks and The Mimeticon both explore new > conceptions of the image, called for by the sheer quantity of visual > information now available via the Internet. > > In this era, finding our way through the world of images is so > overwhelming, that the dominant mode is to ?search? rather than to > ?see?. An image is an answer to a question, a search query. The Internet > Speaks gives us one of the simplest imaginable ways of searching this > set of images, stepping through them, one by one in random order, > without context. In contrast, The Mimeticon is a wilfully complex and > ?baroque? search engine that allows us to search for images by visual > similarity rather than by typing in keywords. These 'search images' are > 'drawn' by us using letters from the history of the alphabet. > As part of How to Talk to Images, Richard Wright?s first solo exhibition > in London, a selection of Wright?s animated films demonstrates the > development of his current interest in the Baroque. The exhibition is > also the occasion of publication of a limited-edition poster featuring > an essay by the artist illustrated by the entire visual history of the > Western alphabet ? from its pictorial Egyptian origins 5,000 years ago > to its perfected form under the Romans, as well as a new book > documenting the artists twenty year long practice. > > Richard Wright is a visual artist working in the fields of digital > moving image and networked interaction. During the 1990s, Richard was > one of the pioneers of digital animation as a distinct artistic form, > with films being shown at numerous festivals and exhibitions and > broadcast by television channels around the world. In 1998 he received a > PhD in the aesthetics of digital film making and has published nearly > forty book chapters, articles and reviews. In 2004 he joined Mongrel ? > an artists group internationally recognized for their work in software > art and 'free-media'. Since 2007 Richard has been Artist in Residence at > Furtherfield.org in London. > > HTTP Gallery > Unit A2, Arena Design Centre, > 71 Ashfield Rd, London N4 1NY. > Friday - Sunday: 12noon - 5pm > http://www.http.uk.net > > HTTP Gallery is Furtherfield.org?s (www.furtherfield.org) dedicated > space for exhibiting networked media art. Furtherfield.org is a > not-for-profit, artist-led organisation. Based in Harringay, North > London, we provide an online and physical platform for creating, > exhibiting, commissioning, and discussing networked media arts. > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > From propaganda at goto10.org Thu Jun 19 19:16:45 2008 From: propaganda at goto10.org (propaganda at goto10.org) Date: Thu, 19 Jun 2008 18:16:45 +0100 Subject: [NetBehaviour] Call for projects - make art 2008 Message-ID: <20080619171645.GZ4531@hee.jungle> Hey! sorry for >< please >> -- (french version below) -- _ _ _ ____ _ _ _______|_| | |_ _| | _|____|_ | | _|_| | _____| | _|__|_ | | |____| | | |___|_| | |_____ | | |__| | | | ____ | | ___|_ | _____| | | | | | |_ | | | | |_|_ | |_______ |_|_ |_| |___| |_| |_| |_| |_________| |_|_ ____ _______ _________ |_| _|____|_ | _____|_ |___ ___|_ _ | |____| | | |_____|_| | | |_| |_| from 24th | __ | | _ _| | | to 30th of | | |_ | | | |_|___ _|_| NOVEMBER 08 |_| |_| |_| |___| |_| MAKE ART 2008 - OpenOS CALL FOR PROJECTS Make Art is an international festival dedicated to the integration of Free/Libre Open Source Software (FLOSS) in digital art. The third edition of make art - OpenOS - will take place in Poitiers (FR), from the 24th to the 30th of November 2008. make art offers performances, presentations, workshops and an exhibition, focused on the blurred line between art and software programming. We're currently seeking new, innovative FLOSS based works and projects: music and audiovisual performances, presentations, software demos, and installations. This year make art focuses on the *OpenOS*: artistic, free, creative use of the Operating System, hackability and modularity of FLOSS and GNU/Linux, scripts as digital glue between applications, enhanced possibilities for the technical expression of ideas, user empowerment and artistic freedom. For more details, please visit http://makeart.goto10.org/call -- _ _ _ ____ _ _ _______|_| | |_ _| | _|____|_ | | _|_| | _____| | _|__|_ | | |____| | | |___|_| | |_____ | | |__| | | | ____ | | ___|_ | _____| | | | | | |_ | | | | |_|_ | |_______ |_|_ |_| |___| |_| |_| |_| |_________| |_|_ ____ _______ _________ |_| _|____|_ | _____|_ |___ ___|_ _ | |____| | | |_____|_| | | |_| |_| | __ | | _ _| | | du 24 au 30 | | |_ | | | |_|___ _|_| NOVEMBRE 08 |_| |_| |_| |___| |_| MAKE ART 2008 - OpenOS APPEL A PROJET make art est un festival international d?di? ? l'int?gration des Logiciels Libres et Open Source (FLOSS[1]) dans l'art num?rique. La troisi?me ?dition de make art ? OpenOS - se d?roule ? Poitiers (FR), du 24 au 30 novembre 2008. make art propose des performances, des pr?sentations, des workshops et une exposition, centr?s sur la rencontre entre l'art num?rique et le logiciel libre. Nous recherchons actuellement des projets r?cents, innovants, bas?s sur des logiciels libres et open source : performances musicales et audio-visuelles, pr?sentations, d?monstrations de logiciels et installations. Cette ann?e make art portera une attention particuli?re ? l'OpenOS: l'utilisation artistique, libre, cr?ative du syst?me d'exploitation (OS[2]), la "hackabilit?" et la modularit? des Logiciels Libre et Open Source (FLOSS) et de GNU/Linux, les scripts comme glu num?rique pour interconnecter les applications, les possibilit?s accrues pour l'expression technique des id?es, l'autonomisation de l'utilisateur (empowerment) et la libert? artistique. [1] FLOSS: Free/Libre/Open Source Software [2] OS:Operating System Pour plus de d?tail, veuillez visiter l'adresse suivante : http://makeart.goto10.org/call/index.fr.html -- :* From sondheim at panix.com Fri Jun 20 03:56:05 2008 From: sondheim at panix.com (Alan Sondheim) Date: Thu, 19 Jun 2008 21:56:05 -0400 (EDT) Subject: [NetBehaviour] process of reverse excavation Message-ID: Reverse excavation and installation of materials for Second Life solo exhibition, The Accidental Artist It's difficult manipulating since the Nikuko avatar flies blind; it's impossible to see around the body extrusions. Mouse-view only works so far since nothing can be done except looking when it's open. Ctl-Alt-D, which changes camera viewpoint, helps a bit, but not much. The prims are so many and so complex, it seems that the world is close to overload; at one point I had set most transparent, but the ray-tracing gets too complex for slower machines. There will be three video streams, twelve sound sources with ten-second samples, and a continuous source, as well as these sculptures and other images on the wall. Sugar likens it to pinball. Even with a small avatar body, moving about the gallery is difficult. Most of the objects are impossible in physical space - or at least would require a lot of Plexiglas support. Most of the images on or within the sculptures are external body, some imitative of internal organs. The images are distorted and have to be perceptually disentangled; they're either tiled or awkwardly wrapped. The affair is a gaudy circus one. It's a stage for performance (by Sandy Baldwin and myself) as well; moving about the space in alien choreographies will be just as difficult for as as for the spectators. I can easily imagine a dancespace filled, as this one is, but with phantom or invisible objects; the avadancers would find themselves and the rest of us among the absent ruins. Here however garishness is the premise and the promise of the virtual; there's no reason for camouflage in an airless space. But it's difficult maneuvering in an eyeless space, literally flying or walking blind, sometimes falling out of the gallery altogether, ending up wedged and lawless. Occasionally a section of floorboard appears like a vector; we (Nikuko and myself) might be headed in the right direction. Camera angles, when the avatar stills hirself, through a series of alternating rotations and translations, can approach just about anything within ten meters or so; beyond that, chaos reigns. While these images are somewhat hit or miss, they convey the sense of new physics, lost structure and boundary within the space. Now Nikuko hirself is at rest, in a realm as absent as the rest of us, until we log on together, momentarily, to work on installing sound. (Thanks to Sugar Seville and Sandy Baldwin for everything.) http://www.alansondheim.org/ slshow jpgs - go to the webpage, click on 'Last Modified' twice to bring the most recent files to the surface; there are 20 of them. ======== From eduardo at navasse.net Fri Jun 20 05:49:51 2008 From: eduardo at navasse.net (Eduardo Navas) Date: Thu, 19 Jun 2008 20:49:51 -0700 Subject: [NetBehaviour] =?iso-8859-1?q?The_State_of_Swift_Production=3A_In?= =?iso-8859-1?q?teractivos=3F_=B9_08_=28part_2_of_3=29?= Message-ID: The State of Swift Production: Interactivos??08 (part 2 of 3), by Eduardo Navas Access this article with proper images at http://remixtheory.net/?p=319 Image: Interactivos??08 Collaborators, June 14, 2008 (click to view larger image) Also see Part 1: http://remixtheory.net/?p=315 The projects for Interactivos??08 were completed on Saturday June 14, just in time for the exhibition opening scheduled for 6:30 PM. When the project proposals were initially presented during the first two days of the workshops and lectures of May 30 and 31, it was quite understandable if anyone in the audience, and even among the collaborators and artists doubted the completion of the proposals in just two weeks, given their complexity. Fortunately, all projects were up and running. The key element to meet the deadline was the fact that artists did not work alone, as some people may expect of studio artists, who from time to time might hire or ?collaborate? with say a printmaker, or a metalcaster. In Interactivos??08 collaborators had an incredibly important role to play in, both, decision making as well as actual execution of the works. How much this was so of course varied from project to project, but it is safe to say that there was a certain consensus in the air which was that artists and collaborators live up to the possibility of working together for a common goal, and that they truly contribute in all levels of the creative process, even if some of the work developed did not become part of the final product. Had artists and collaborators not believed this, the selected projects would not have been completed on time, if at all. Upon asking many participants about their role in the overall production of the projects, this sense of contribution was confirmed. Critiques and informal discussions took place throughout the two weeks, which were extremely important to bring together everyone who participated; and, as would be expected, some fruitful modifications came about. Image: ?Stage Fright? by Nova Jiang Some projects were more open for interpretation and development than others. For instance, ?Stage Fright? by Nova Jiang, was proposed to consist of a swing linked to a movement sensor which sends a signal to a computer to trigger a selected video projection. The footage was edited to go forward and back as the user swings in front of the projection, thus creating a physical relationship between the projected video and the user?s action. This project allowed collaborators to come up with video content of their preference that ranged from shots of dusk till dawn as well as of an Afro-Colombian man swinging upside down, with his hands almost touching the ground. Image: ?Daedalus_ex_Machina [DexM]? by Walter Langelaar ?Daedalus_ex_Machina [DexM]? by Walter Langelaar changed as the artist considered possibilities of both code and the actual space available to exhibit. Langelaar?s initial proposal was a formal and conceptual exercise of the Droste Effect, but as he began to develop the code and talk to various collaborators, he decided to modify the project to be an open ended implementation of the Recursive Descent Parser, which he implemented as a large projection of the Medialab?s entry hall, in the entry hall, itself. The final project shows a detailed 3-D rendering of the Medialab?s entrance, which omits persons who are walking in or out of the lab; however, they appear on the screen inside of the 3-D rendering. The end result is that the Medialab?s entrance repeats everytime, but the viewer who is entering or leaving the space does not appear in the 3-D renderings. Image: ?Immodesty? by Karolina Sobenka A project open for contribution of content from anyone, especially outside of the Medialab is ?Immodesty? by Karolina Sobenka. In this case, however, while there was a lot of input in creating a rig consisting of several digital cameras set up to shoot a sequence reminiscent of the Matrix?s famous Bullet Shot, the actual content, according to the artist, can keep on changing. The installation presents a basic example of the interaction of the viewer and the projection. In ?Immodesty,? a movement sensor is also used to detect the position of the viewer within the horizontal space directly in front of the projection. The sensor triggers a projected photo sequence that moves back and forth according to the movement of the user. The footage used for the Medialab presentation was a series of shots of all the collaborators who worked with Sobenka, which gives them prominent recognition in the creative process. Image: ?augment(0)scope? by Eloi Maduel ?augment(0)scope? by Eloi Maduell was open for content development. Maduell envisioned an optical box that presented images from across the world in some abstract form. He was quite open for suggestions because he had not defined the layout of the images as well as the type of images to be presented. In the end he decided to develop social commentary on world pollution. He contacted Greenpeace, who provided him with a large database of images. The majority of the images were landscapes, which allowed Maduell to categorize and assemble the images as a large spiral that can be navigated freely while viewing inside the visual box through a small whole. The viewer decides where to go in the virtual space by moving back and forth the special handles located on both sides of the device. Image: ?Spiral Drawing? by Esther Polak The rest of the projects stayed close to the original proposal only allowing collaborators to contribute mainly in problem solving. ?Spiral Drawing? by Esther Polak, which consists of a robot that moves in the form of a spiral, fast if the sunlight is bright or slow if the sun is dim, was very much executed as originally described in the proposal. Polak considers the work to allude to our current concerns of global warming. Selected drawings as abstract documents of the process were shown inside the gallery, while the actual sand drawing was shown in the courtyard. Image: ?M.A.S.K. (My Alter Self Konsciousness)? by Jordi Puig M.A.S.K. (My Alter Self Konsciousness) by Jordi Puig allowed for quite a bit of problem solving in terms of code writing and debugging, but like Polak?s the project also stayed close to the original concept. Image: ?Expanded Eye? - Ana?sa Franco The same is true for ?Expanded Eye? - Ana?sa Franco, which consists of the viewer?s eye (left or right, depending on the viewer?s choice) to be projected inside of a transparent sphere. With each blink the eye multiplies and very shortly the visitor finds herself viewing hundreds of reproductions of her eye. The viewer essentially is looking at herself. Image: ?360? score? by Philippe Chatelain (artist working with installation drawing in the background) ?360? score? by Philippe Chatelain is also quite close to what the artist envisioned. Chatelain also originally wanted to create a sound installation defined by, both, how the viewer moved across the room as well as how the viewer manipulated manually a laser which read an abstract geometrical drawing in order to produce sound. For the installation at the Medialab, Chatelain opted to develop the former. Image: ?Biophionitos? by Paola Guimerans, Horacio Gonz?lez, and Igor Gonz?lez (wooden box for exhibition being constructed, just hours before exhibition?s opening.) ?Biophionitos? by Paola Guimerans, Horacio Gonz?lez, and Igor Gonz?lez also stayed true to the original proposal. Collaborators found creative possibilities in developing text copy and translating it to English as well as shooting and editing an instruction video which showed how to create your own smart pet with basic materials such as cardboard and glue. The idea behind Biophionitos is to create an updated version of a Zoetrope which presents an interactive animation of a ?virtual pet? that reacts to the person?s speech and proximity. Image: ?BLOOP? by Martin Nadal Finally, ?BLOOP? by Martin Nadal is another project that stayed close to the original premise. The user can choose a still from a video sequence to then draw on it with an interface similar to design programs like Photoshop and Illustrator. Once the still is adjusted as desired, the user can choose to view the video sequence, which consists of frames that have been altered by various gallery visitors. Nadal eventually would like to develop further the project so that online users can also contribute their own video, to then allow others to draw on each frame as described above. As previously stated, it is quite remarkable that all of these projects were developed in just two weeks. Medialab-Prado has created a platform where artists can come together and develop work in a very short period of time. How successful each project may be in the long run can only be decided with reflection and openness to the ongoing discourse of art practice. Artists and collaborators of Interactivos??08 are aware of this, and many of them opted for calling their projects ?prototypes? which can be improved in the near future. Interactivos??08, then, successfully brings together many of the key elements that make new media production so appealing to contemporary art practice. Medilab-Prado understands the importance of global collaboration, but most importantly, it understands that bringing together people who may live in different parts of the world to a local setting to collaborate may be the best way to foment international relations through local investment. Interactivos??08 Collaborators: Abraham Manzanares, Alexander Narv?ez, ?lvaro Cassinelli, Ana Montejana, Ana?sa Franco, ?ngela Ramos, Carla Capeto, CarlesGuti?rrez, Carlos Corpa, Carlos Panero, Clayton Shaw, Coco Moya, Colette Lalibert?, Cristina Branco, Daniel Canogar, Daniel Fern?ndez, Daniel Pietrosemoli, Eduardo Navas, Edwin Dertien, Eloi Maduell, Esther Polak, Felipe del?guila, Gabriel Lucas, Guillermo Casado, Gwenn Joyaux, Horacio Gonz?lez, Igor Gonz?lez, Izaskum Escand?n, Jacqueline Steck, Jordi Puig, Jos? Miguel Medrano, Julian Oliver, Karolina Sobecka, Laura Fern?ndez, Laura Olalde, Laureano Solis, Leonor Soto, Lorena Campos, Mar Canet, Marcos Garc?a, Max Kazemzadeh, M?nica Cachafeiro, M?nica Sorribes, Nerea Garc?a Garmendia, Nova Jiang , Nuria Quintana Villar, Oswald Aspilla P?rez, Pablo Ripoll?s, Paola Guimerans, Patricia Larrondo, Paula Pin, Paula Villegas, Philippe Chatelain, Pix, Quique Tom?s, Ra?l Gonz?lez, Roc?o Lara, Sara Vel?zquez Garc?a, Simone Jones, Sofy Yuditskaya, Sonia D?ez Thale, Sytse Wieringa, Tais Biels Rey, Tio Patinhas, Valeria Marraco, V?ctor Maz?n, Walter Langelaar, Wendy Ann Mansilla, Yolanda Sp?nola. Medialab Prado?s Main site: http://medialab-prado.es/ Interactivos? main website: http://www.interactivos.org/ List of projects with proper descriptions: http://medialab-prado.es/article/interactivos08_-_juegos_de_la _vision_lista_de_comunicaciones_y_proyectos_seleccionados Medialab Flickr: http://www.flickr.com/photos/medialab-prado/ Medialab Wiki: http://wiki.medialab-prado.es/index.php/Main_Page Other lines of work, year round: Visualizar: http://medialab-prado.es/visualizar Inclusiva: http://medialab-prado.es/inclusiva-net Commons Lab: http://medialab-prado.es/laboratorio_del_procomun AVLAB: http://medialab-prado.es/avlab2 From sondheim at panix.com Sat Jun 21 03:15:12 2008 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 20 Jun 2008 21:15:12 -0400 (EDT) Subject: [NetBehaviour] Azure Carter's Avatar Man With Dream Woman song Message-ID: Azure Carter's Avatar Man With Dream Woman song http://www.alansondheim.org/avatardream.mp3 (music, voice, Azure Carter, lyrics from Alan Sondheim's words, Azure Carter) I write to I you write not to simply you Hello you my now name not Anna, many think to that see now Hello many name surprise Anna, see think letter, to ask I a to lot you of not time simply give I me, not so you. want surprise will by get that acquainted where with I you. took You so by want where get took with yours and e-mail? I Certainly to it you secret later and in tell not later a in secret this I letter. in from Cheboksary Russia very live long city this Cheboksary letter. very I long from there it was has one bothered after me, relations in has there bothered there our after are me agencies about acquaintance my me good about girlfriend good of girlfriend acquaintance which to also acquainted prompted the got husband the USA husband through USA prompted through got agency, this have of gone acquaintances agency paid acquaintances agency, paid gone money my helped have find 1000 prince that 1000 find roubles yours distances and e-mail told address roubles told me person I approaches and here you sit person wish of much letter, myself. to To you 29 tell years not like volleyball be much engaged I fitness to volleyball I spend fitness on I open love air. classical am Gentle romantic and love time classical on music. open Gentle air. fragile love girl and demands I respect. you interests demands why to such find beautiful to does the itself beautiful young does man not country, you certainly it, can very explain simply it, had had can we 2 were relations together with 2 the while we started that enjoy wish trust. find And the is I able do Because with do is search to for love short the create hope present I happy short family. relations hope wish knowingly agency spent acquaintances me. this send and photos you letter me. pleasant very Your I new hope friend that Anna it looks much forward looks hearing to From sondheim at panix.com Sat Jun 21 16:17:49 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 21 Jun 2008 10:17:49 -0400 (EDT) Subject: [NetBehaviour] The Accidental Artist - Second Life Exhibition Message-ID: The Accidental Artist: Solo Exhibition opening June 25th, Odyssey, Second Life (in collaboration with Sugar Seville, Sandy Baldwin, Azure Carter) completed gallery installation shots: http://www.alansondheim.org/ slfinalmap series mapping video on the gallery floor: http://www.alansondheim.org/warped1.jpg http://www.alansondheim.org/warped2.jpg more information later From marc.garrett at furtherfield.org Sun Jun 22 01:58:22 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Sun, 22 Jun 2008 00:58:22 +0100 Subject: [NetBehaviour] Three Myths About the Internet That Refuse to Die. In-Reply-To: <485A79C2.2070005@furtherfield.org> References: <380-2200863188571620@M2W026.mail2web.com> <485A78EB.3010404@furtherfield.org> <485A79C2.2070005@furtherfield.org> Message-ID: <485D959E.2080405@furtherfield.org> Three Myths About the Internet That Refuse to Die. By Annalee Newitz, AlterNet. The Internet will not magically bring the world together; nor is it likely to destroy us. Since I started writing this column in 1999, I've seen a thousand Internet businesses rise and die. I've watched the Web go from a medium you access via dial-up to the medium you carry around with you on your mobile. Still, there are three myths about the Internet that refuse to kick the bucket. Let's hope the micro-generation that comes after the Web 2.0 weenies finally puts these misleading ideas to rest. more... http://www.alternet.org/mediaculture/88923/ From sondheim at panix.com Sun Jun 22 06:39:30 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 22 Jun 2008 00:39:30 -0400 (EDT) Subject: [NetBehaviour] avatars of a different kind Message-ID: avatars of a different kind infrared closeups of the Philippi mummies http://www.alansondheim.org/rachelfrank14.jpg http://www.alansondheim.org/rachelfrank15.jpg http://www.alansondheim.org/rachelfrank16.jpg http://www.alansondheim.org/rachelfrank17.jpg http://www.alansondheim.org/rachelfrank18.jpg http://www.alansondheim.org/rachelfrank19.jpg http://www.alansondheim.org/rachelfrank20.jpg From sondheim at panix.com Sun Jun 22 18:34:52 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 22 Jun 2008 12:34:52 -0400 (EDT) Subject: [NetBehaviour] My enemy the digital, why not to live Message-ID: My enemy the digital, why not to live It's on the verge of something, on the tip of the tongue, something about the digital and its relation to truth and mass accountancy and the ability to harness languaging on an unprecedented scale, something about the evanescence or shadowing of truth, about dictatorial tendencies and the ability to spread and modify code across whole continents, that this isn't an academics but an unmitigated furor - and in this sentence the digital or any specification/speciation becomes a disease of separation and the wager of truth, that is to say a political economy of truth that relies not on facticity but on a market or gaming in which truth is the outcome, not the forerunner, of stakes. One doesn't stake on truth, but on an apparatus that produces truth vis-a-vis accountancy, the digital; it is this manipulation that permits staking in the first place. My digital my love, my digital my enemy; these inscriptions produce skein, structure, market: Every market is an inscription, every inscription a market. It becomes increasingly useless to survive, to the extent that survival is a condition of change or altruism; instead, the same old game repeats itself indefinitely, a game of strategy within which slaughter, dis/ease, anomie, become byproducts or residues of categorization. It was writing, the writing of the concrete and concrete writing, that began a slide towards miasma, no matter how much it was curtailed by that very same writing. And what a slide, because also a harnessing of miasma, withdrawal from the real; it's a miasma of the imaginary and it's within the imaginary that the market is the most violent: without bounds and gaming, truth appears both certain and purchasable, and is always, within the digital and accountancy, infinitely alterable, without tethering. Without tethering there are no bounds, the world is boundless and frontiers are infinitely mobile; with infinite mobility comes exponential consumption of resources until asymptotic limits are incoherently named and approached - while the rich get richer, their class rapidly diminishes and dissipates. There's no end to all of this pseudo-fecundity except defuge, exhaustion, extinction, and each hour we are all the closer to the chaos of the retrievable. What was canonic is nameless, just as genre dissipates into an absence of meaning leaving organism without a _not_ to stand on; sure slow death results - no one notices, no one has the capacity to notice, all that accountancy grounded in backup is lost, the files topple, electricity cut off for longer and longer periods, finally none at all. I think of Hitler and all those records, arms marked by integers, bodies cut out, decomposed elsewhere, increased complexity of coding, Auschwitz, sludge... = From sondheim at panix.com Mon Jun 23 02:42:54 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 22 Jun 2008 20:42:54 -0400 (EDT) Subject: [NetBehaviour] Haptic - touch at the limits Message-ID: Haptic The Hapticmath program was written at WVU for a Phantom2 haptic stylus; move the stylus, and the cursor can 'feel' the graph of a mathematical expression as a groove, which is also visible on a screen. In the following series of images, the program is demonstrated and applied to equations with anomalous curves. The sin(x) - a sinewave - maps simply, as does tan(x) - the tangent curve. But the latter goes asymptotically to + and - infinity, and the stylus can't connect at the juncture. This is a well-defined vertical line. Of greater interest is sin(tan(x)), which has an anomalous region; most of the images are of that. The expression was biased to fill the screen, i.e. 3*(sin(tan(1.5*(x+3)))). While dashes are visible, nothing connects with the stylus, which tends to disappear, become absorbed in the region. The visible haptic anomalous region, in other words, becomes a paradoxically indeterminate haptic surface with an invisible cursor. Metaphorically, touch has been compromised and absorbed in a virtual space barely hinted at. As with my other work, this indicates an informal limit where other phenomena appear, and the usual extensions of the body, as well as body image, cannot be taken for granted. http://www.alansondheim.org/haptic01.jpg http://www.alansondheim.org/haptic02.jpg http://www.alansondheim.org/haptic03.jpg http://www.alansondheim.org/haptic04.jpg http://www.alansondheim.org/haptic05.jpg http://www.alansondheim.org/haptic06.jpg http://www.alansondheim.org/haptic07.jpg http://www.alansondheim.org/haptic08.jpg http://www.alansondheim.org/haptic09.jpg http://www.alansondheim.org/haptic10.jpg http://www.alansondheim.org/haptic11.jpg http://www.alansondheim.org/haptic12.jpg http://www.alansondheim.org/haptic13.jpg (Thanks to Frances van Scoy and the West Virginia VEL for use of the equipment.) (video possibly forthcoming) From marc.garrett at furtherfield.org Mon Jun 23 11:18:08 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 23 Jun 2008 10:18:08 +0100 Subject: [NetBehaviour] Montreal's public bike system. In-Reply-To: <485A79C2.2070005@furtherfield.org> References: <380-2200863188571620@M2W026.mail2web.com> <485A78EB.3010404@furtherfield.org> <485A79C2.2070005@furtherfield.org> Message-ID: <485F6A50.8030505@furtherfield.org> Montreal's public bike system integrates Web, RFID Cyndy Aleo-Carreira With gas prices climbing daily, many commuters are looking for a more economic (and ecologically responsible) way to travel. Treehugger reports that the City of Montreal has launched one possible solution: the Public Bike System. The Public Bike System is comprised of modular units that can be moved and added to as needed depending on volume. Users visit a web site to locate a rental unit close to their location and get a real-time update detailing how many bikes are at that location. With an access card or credit card, they can then choose a bike and rent it for any length of time, simply returning it to another station when they reach their destination. The software behind the Public Bike System tracks every bike in the system, gauging how many bikes are at each location and the functional status of each bike, as well as the status of solar panels running the system and the electronics. Users can alert the system from the rental units if a bike is damaged, and the stats are monitored for traffic and usage patterns, allowing for stations, docks, and bikes to be redeployed as needed. more... http://tinyurl.com/5myp6h From marc.garrett at furtherfield.org Mon Jun 23 12:37:21 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 23 Jun 2008 11:37:21 +0100 Subject: [NetBehaviour] Socially Engaged Art, Critics and Discontents: An Interview with Claire Bishop In-Reply-To: <46C9DB8D.1000000@robmyers.org> References: <5QqmeecA.1187636801.8967870.james@jwm-art.net> <46C9DB8D.1000000@robmyers.org> Message-ID: <485F7CE1.4030509@furtherfield.org> Socially Engaged Art, Critics and Discontents: An Interview with Claire Bishop By Jennifer Roche What criteria should we use to evaluate socially engaged art? London-based critic Claire Bishop recently raised provocative questions and poked at the critical status quo about the discourse surrounding what she term, "relational" practices ? socially engaged art, community-based art, experimental communities, dialogic art, littoral art, participatory, interventionist, research-based and collaborative art. In her article for Artforum (February 2006), titled "The Social Turn: Collaboration and its Discontents," Bishop argues that the creativity behind socially engaged art is said to "rehumanize" a "numb and fragmented" society. However, she emphasizes that she believes socially engaged art has fallen prey to circumscribed critical examinations. The discourse, she argues, has focused mainly on the artist's process and intentions, or the project's socially ameliorative effects, to the neglect of the work's aesthetic impact. "Artists are increasingly judged by their working process ? the degree to which they supply good or bad models of collaboration," she writes. "Accusations of mastery and egocentrism are leveled at artists who work with participants to realize a project instead of allowing it to emerge through consensual collaboration." ?There can be no failed, unsuccessful, unresolved, or boring works of collaborative art because all are equally essential to the task of strengthening the social bond," she continues. "While I am broadly sympathetic to that ambition, I would argue that it is also crucial to discuss, analyze, and compare such work critically as art.? more... http://tinyurl.com/r6s73 From marc.garrett at furtherfield.org Mon Jun 23 12:52:38 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 23 Jun 2008 11:52:38 +0100 Subject: [NetBehaviour] Drawing sound in both directions. In-Reply-To: References: Message-ID: <485F8076.70903@furtherfield.org> Drawing sound in both directions. Algomantra recently posted on a project by Caleb Coppock, which allows the composition of music by directly drawing onto paper discs. Since the kind of graphite marks made by ordinary pencils conduct electricity it provides a system for drafting a visual score in sectored patterns on paper discs. The Graphic Music Sequencer uses wire brushes that contact a paper disc as it spins on a standard record player. When the wire sensors move across the conductive graphite a tone is generated, the pitch of the tone is further regulated by the thickness of the pencil line. It?s interesting that in nearly all musical scores, including those of experimental layout, there needs to be some system of decoding and mediation to translate mark into sound. In this case it would be fair to say that score is a direct isomorph of the music it makes, requiring no human mediation. Another example of a similar system could be claimed to be that of the experimental Russian ANS synthesizer mentioned on these pages a while back. more... http://dataisnature.com/?p=448 From marc.garrett at furtherfield.org Mon Jun 23 13:01:34 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 23 Jun 2008 12:01:34 +0100 Subject: [NetBehaviour] June 08 issue Furthernoise.org In-Reply-To: <46C9DB8D.1000000@robmyers.org> References: <5QqmeecA.1187636801.8967870.james@jwm-art.net> <46C9DB8D.1000000@robmyers.org> Message-ID: <485F828E.1030506@furtherfield.org> Welcome to the June 08 issue Furthernoise.org where we are pleased to announce the launch of our new net release compilation Explorations in Sound, Vol 3. Music of Sound. Inspired by the ideas of Pierre Schaeffer and Musique Concr?te, contributing artists were invited to respond to the natural tones and rhythms in raw acoustic or constructed sound and field recordings. It is available as a high quality mp3 compilation, free to download from the site with folded printed sleeve. More information including artists statements in the Exploration in Sound feature. Our audio player has again been restocked with new tracks from the issues reviews, so turn up the volume and sit back and enjoy ! Furthernoise issue June 2008 http://www.furthernoise.org/index.php?iss=68 "Twenty Hertz profiled: Romancing the Drone" (feature) Twenty Hertz is a musical platform for Paul Bradley and other sympathetic artists, including Monos, Keith Berry and Ubeboet. Since eponymous debut in 2003, on sometime collaborator, Colin Potter?s ICR label, Bradley has released a stream of textural works exploring the drone-based landscape. Sounds drawn from natural environments are combined with instruments - chiefly guitar ? and shapeshifted through DSP manipulations into rich sonorous driftzones. http://www.furthernoise.org/page.php?ID=239 feature by Alan Lockett "Explorations in Sound, Vol 3: Music of Sound - Various Artists" (review) Explorations in Sound, Vol 3, The Music Of Sound is a compilation of sound works inspired by the tones, drones and rhythms of everyday life. Drawing on the ideas of Pierre Schaeffers' Musique Concr?te movement, contributing artists were invited to respond to the tones, timbre and rhythms present in everyday acoustic sound, and field recordings. http://www.furthernoise.org/page.php?ID=247 review by Roger Mills "La Reponse est aux pieds - Jos? Luis Redondo" (review) José Luis Redondo's album of solo guitar compositions is a testament to Redondo's dexterity and imagination. Using an unusual collection of stringed instruments, he accentuates the noises that most guitarists try to remove. http://www.furthernoise.org/page.php?ID=240 review by Caleb Deupree "Musick for Two Machines - Barry Chabala & Phil Hargreaves" (review) Musick for two machines is a double CD release, designed to be played on two CD/ MP3 players simultaneously, with both machines in shuffle mode. It is another collaboration in a line of Phil Hargreaves releases created via long distance file sharing on the net. http://www.furthernoise.org/page.php?ID=246 review by Roger Mills "Palimpsesto - Thanos Chrysakis, Dario Bernal Villegas and Oli Mayne" (review) Deriving from the Greek words for ?again? and ?to rub smooth?, a palimpsest is, traditionally, a parchment that has been rubbed clean and then reused, each re-writing leaving its own faint traces. The musicians featured on Palimpsesto have set out to achieve this through sound: http://www.furthernoise.org/page.php?ID=242 review by Stacey Sewell "Signal - Various Artists" (review) SIGNAL, the first CD release by a UK label called Finetuned, compiles a broad spectrum of sound art, phonography and electro-acoustic composition. If I had to generalize, SIGNAL tends to feature pieces that are composed of abstract hums, meandering noises, or incidental digital artifacts devoid of human composition. http://www.furthernoise.org/page.php?ID=245 review by Derek Morton "Slope - Steve Jansen" (review) Steve Jansen plays an integral, though easily overlooked, role in the efforts of one David Sylvain in his endeavors as Nine Horses. On Jansen's first solo work, his first opportunity to step to the fore, one can hear tell of what he says only through the voice of another, through an intermediary. http://www.furthernoise.org/page.php?ID=241 review by Max Schaefer "Substrate, L'Inondation -Yui Onodera & Mathias Delplanque" (review) This tendency to dote on the sea, would it be owing to metaphor or metamorphosis? The latter is infinitely compelling, but then there is that transfixing tale, recounted by Emil Cioran, of the sea as consisting of God's tears. Hence our desire to drown in it, as a short-cut to God through his tears. http://www.furthernoise.org/page.php?ID=243 review by Max Schaefer "The Subliminal Relation Between Planets, Dark Night - Andrea Marutti & Edward Ruchalski" (review) A black surface from which no light escapes, a white dwarf that, having shed its envelop, burns unremittingly at the core, Andrea Marutti's work pushes dark ambient to its limit. The Subliminal Relation Between Planets, while continuing in this vein, sees his work spill over onto another logic, one that tears it open, lifts it up out of itself, and gives it a luminosity, dim and red. http://www.furthernoise.org/page.php?ID=244 review by Max Schaefer Roger Mills Editor, Furthernoise http://www.furthernoise.org From jennifer.stoddart at folly.co.uk Mon Jun 23 13:43:29 2008 From: jennifer.stoddart at folly.co.uk (Jennifer Stoddart) Date: Mon, 23 Jun 2008 12:43:29 +0100 Subject: [NetBehaviour] CALL FOR CONTRIBUTOR TO DIGITAL ARTISTS' HANDBOOK Message-ID: <0256B6C2667A3E4882F0FEF08218671335E25F@follyone.FOLLY.local> folly, a leading digital arts organisation working in the Northwest of England and online, is looking to commission an article on "Video Editing with Open Source Tools" for the Digital Artists' Handbook. www.digitalartistshandbook.org The Digital Artists' Handbook is an up to date, reliable and accessible source of information that introduces artists to different tools, resources and ways of working related to digital art. The goal of the Handbook is to be a signpost for tools, resources, and methods. A source of practical information and content that bridges the gap between new users and the platforms and resources that are available, but not always very accessible. The Handbook will be slowly filled with articles written by invited artists and specialists, talking about their tools and ways of working. Articles can take the shape of introductions to tools, as well as descriptions of methodologies and technologies. When discussing software, the focus of this Handbook is on Free/Libre Open Source Software. The Handbook aims to give artists information about the available tools but also about the practicalities related to Free Software and Open Content, such as collaborative development and licenses. All this to facilitate exchange between artists, to take away some of the fears of artists when it comes to open content licenses, sharing code, and allowing them to have a look at various ways of working and collaborating. The focus is on practical consequences, not on political implications. The Handbook was launched in March 2008. A number of articles were commissioned for this launch, including introductions to all the main handbook sections. One area we are seeking to increase the depth of content in is "Working with Digital Video", and we are looking for someone to write an article on the topic of "Video Editing with Open Source Tools". An introduction to "Working with Digital Video" has been published at www.digitalartistshandbook.org/node/28. We would like the article to pick up on the ideas introduced in the final paragraph of the introduction, using a number of tools in way of examples: "When you start working with free software as a videomaker, it is likely that you need to invest some time and energy in understanding certain basics of the video production process. Sometimes this might mean you have to look for alternative workflows, to dive 'under the hood' of a digital tool, or reconfigure an existing solution to suit your needs. Investigating the tools you use as a video maker is an important part of the job, it can help gain insights, it can be an inspiration to explore new ways of working and imagemaking." Peter Westenberg, Working with Digital Video, Digital Artists' Handbook, October 2007 A fee of ?185 ex VAT is available to the writer of the "Video Editing with Open Source Tools" article. For further information please email jennifer.stoddart 'at' folly.co.uk or call +44 (0)1524 388550 The deadline for expressions of interest is Friday 18th July 2008, 5.30pm BST. Expressions of interest should be sent by email to Jennifer Stoddart. From sondheim at panix.com Mon Jun 23 17:39:03 2008 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 23 Jun 2008 11:39:03 -0400 (EDT) Subject: [NetBehaviour] Azure's song and haptic video Message-ID: Azure's song and haptic video Azure Carter's Avatarman song - Avatar Man with Dream Woman I've become imaginary Disappearing in the movement I've become contaminated Raster of clock time Avatar Man with Dream Woman Don't listen to me, Dream Woman Don't listen to me, Avatar Man *** This avatar package Already dead inside This building is condemned We know nothing's alive You can look inside He says You can do it Avatar edge Shooting out to infinity Limits of the world Images of lost fecundity Fragility of good things We're doomed to novelty You can look inside Dream Woman The imaginary rides No world No limit No grid Nothing Our male likes death It excites him sexually We know meat in his absence Gamespace economy You can look inside She says Death meat body Hierarchy Not holarchy Dream woman enters a hole Twisting through forbidden space There's no moment to her moment Hair fluid across face You can look inside Avatar Hemisphere eye Prim edge Geek construct Linden brain *** I have done my work here Return us to ourselves The imaginary leaves us As nothing ever will Avatar Man with Dream Woman Don't listen to me, Dream Woman Don't listen to me, Avatar Man Haptic video clumsy fooling around leads to impressive results by 'haptic track' I continued to mean 'haptic trap' as I was trapped in the track of linguistic change. http://www.alansondheim.org/haptic.mp4 From drp01mc at gold.ac.uk Mon Jun 23 17:53:25 2008 From: drp01mc at gold.ac.uk (Maria Chatzichristodoulou) Date: Mon, 23 Jun 2008 16:53:25 +0100 (BST) Subject: [NetBehaviour] Thursday Club Open Call Message-ID: <4354.79.129.146.115.1214236405.squirrel@secure2.gold.ac.uk> THURSDAY CLUB OPEN CALL ** THURSDAY CLUB OPEN CALL ** THURSDAY CLUB --Please Circulate-- OPEN CALL FOR PROJECTS & PROPOSALS The Thursday Club is an open forum discussion group for anyone interested in the theories and practices of cross-disciplinarity, interactivity, technologies and philosophies of the state-of-the-art in today?s (and tomorrow?s) cultural landscape(s). The Club is supported by the Goldsmiths Digital Studios (GDS) and the Goldsmiths Graduate School. Originally set up in October 2005 by GDS as a more informal setting for research discussions, it has grown to include 193 members: artists, technologists, scientists ? in fact, a growing diversity of people from different communities worldwide, that are connected via a mailing list and online forum. Most importantly, there are regular meetings in ?real' space at the Ben Pimlott site of Goldsmiths, University of London. Anyone can attend these events. By keeping these meetings free, informal and open to all, we provide a platform for diverse and open ended discourse, for people who perhaps would not have the opportunity to discuss ideas outside of their chosen discipline. The Thursday Club brings together people from diverse fields and degrees of expertise, aiming to initiate discussion and debates among postgraduate students, researchers, academics, artists, theorists, and other cultural practitioners. Since it focuses on interdisciplinary practices, the Club is interested to experiment with innovative formats of presentation that are appropriate to the nature of the subject. We particularly welcome the proposal of round table discussions, panels, screenings, 'hearings', live gigs and performance lectures. We are also interested to platform experimental work-in-progress of both practical and theoretical nature. Submission Materials 1. A Title and 300 word abstract of your proposal 2. A 1,000 word proposal that will substantiate your abstract as well as include information regarding issues of methodologies and format of presentation; also, this should explain why you think that the Thursday Club is an appropriate forum for the presentation of your work. 2. A 200 word biog 3. Your contact details: name, address, email, telephone number 4. Any relevant links to your work 5. A jpg of your work (if relevant) Please send any submissions by email to Prof. Janis Jefferies and Patrick Tresset writing 'Thursday Club Submission' as a Subject. The deadline for the submission of proposals is 10AM, ON MONDAY 4 AUGUST 2008. The submissions will be reviewed by the Thursday Club Board. THURSDAY CLUB BOARD Dr. Tim Blackwell Department of Computing, Goldsmiths; co-Head, Live Algorithms for Music Network. Maria Chatzichristodoulou [aka Maria X] PhD Candidate Goldsmiths Digital Studios; Visiting Lecturer Goldsmiths; Curator. Kelli Dipple Webcasting Curator Tate Prof. Janis Jefferies, Thursday Club Convener Professor of Visual Arts, Department of Computing, Goldsmiths; Co-director Goldsmiths Digital Studios; Director Constance Howard Resource and Research Centre in Textiles; Curator; Artist. Alex McLean PhD Candidate Goldsmiths Digital Studios; Sound artist. Myrto Karanika MFA Student Goldsmiths Digital Studios. Dr. Sarah Kember Reader in New Technologies of Communication, Department of Media and Communications, Goldsmiths; Writer. Nanda Khaorapapong MFA Student Goldsmiths Digital Studios. Prof. Carrie Paechter Professor of Educational Studies, Goldsmiths; Dean of Goldsmiths Graduate School. Stanza Artist; AHRC Fellow Goldsmiths Digital Studios. Patrick Tresset PhD Candidate Goldsmiths Digital Studios; Artist. Prof. John Wood Professor in Design, Goldsmiths. Matthew Fuller Reader, Centre for Cultural Studies, Goldsmiths; Writer. -- Maria Chatzichristodoulou [aka maria x] PhD Art & Computational Technologies Goldsmiths Digital Studios From netwurker at gmail.com Tue Jun 24 00:01:21 2008 From: netwurker at gmail.com (mez breeze) Date: Tue, 24 Jun 2008 08:01:21 +1000 Subject: [NetBehaviour] Crowd-sourced SL "Defense Co-op" Message-ID: ---------- Forwarded message ---------- Subject: Now forming Defense Co-op Red76 and Ars Virtua invite the Second Life Builder and Arts communities to an informal gathering to discuss a new crowd-sourced socially responsible project, "Defense Co-op." What is this? Defense Coop (http://defense-coop.org) is a forum that connects Second Life artists and builders with public defense attorneys throughout the United States to help illustrate scenarios, using 3d graphic movies (machinima), for the defense of indigent clients at trial. "When a defendant stands trial, it is an agonizing experience. She faces the accusations of the District Attorney, the police, and any independent witnesses the State brings to testify against him. The police are trained how to talk to and persuade juries. They know to come across as affable, good natured people; they know to look at the jury when the speak; they know how to answer the District Attorney's questions in a way that effectively narrates the events in controversy. They have reports that they wrote just after the events in controversy, which they review prior to testifying. They understand the elements that the District Attorney must establish in order to convict a defendant. Most importantly, they testify all the time - they have lots of experience in the courtroom, and generally feel comfortable there." -- Laura Baldwin (Red76 member, and Portland, Oregon public defense lawyer) A typical defendant has none of this and is frequently faced with limited resources, compared to those of the state, to make a compelling, memorable, believable case to the jury. This is where Second Life simulation / machinima can be of vital use. When is it? June 26 @ 6.30 pacific time (SLT - Second Life Time) Where? Liberty Hall (http://slurl.com/secondlife/Seventh%20Eye/245/173/301) in Second Life We will have a brief presentation by Laura Baldwin to talk about the issues and then a discussion about what we think we can do to help as Second Life builders and artisans, and concerned individuals committed to justice, and legal equality for all peoples regardless of race, class, sexual orientation, or ethnicity. Who should attend? Artists, builders, machinimists or just people in Second Life (or from outside) who just want to see these people get a fair chance in court. How will this be accomplished? This is really a community based project so very little is decided except the bare bones of the Defense Co-op framework. Defense Co-op, at its core, is a connection point wherein two disparate skills set can meet and work together for the benefit of the under-served within the United States judicial system. One of the possibilities here is to create a library of objects, places, and gestures that make it easy for a lawyer to get a compelling machinima fairly quickly and easily with the assistance of Second Life artisans, and also to consider and construct a flow of the process for making these videos efficiently. Why? Because the system is frequently stacked against the defendant in this sort of case, to use machinima and SL for the community and for a social good. Who chooses the cases? The Defense Co-op discussion board serves as a way-station for the needs of indigent clients. As an example, public defenders may use it to place calls to the community for assistance on trials. Our goal is for the Defense Co-op site to become an open resource, mailable to the needs of those who need our services most. -------------------- -- : http://augmentology.com : http://knott404.blogspot.com : http://netwurker.livejournal.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From marc.garrett at furtherfield.org Tue Jun 24 02:07:07 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Tue, 24 Jun 2008 01:07:07 +0100 Subject: [NetBehaviour] Recording Industry Decries AM-FM Broadcasting as 'A Form of Piracy'. In-Reply-To: <46C9DB8D.1000000@robmyers.org> References: <5QqmeecA.1187636801.8967870.james@jwm-art.net> <46C9DB8D.1000000@robmyers.org> Message-ID: <48603AAB.9090102@furtherfield.org> Recording Industry Decries AM-FM Broadcasting as 'A Form of Piracy'. The recording industry and U.S. radio companies have squared off for decades about whether AM and FM radio broadcasters should pay royalties to singers, musicians and their labels. But now the debate is getting meaner; there's more at stake as the recording industry seeks new income avenues in the wake of wanton peer-to-peer piracy and declining CD sales in part due to the iPod and satellite radio. A U.S. House subcommittee could vote as early as Thursday on a royalty measure. On Monday, the recording industry sent the National Association of Broadcasters -- the trade group representing the $16 billion a year AM-FM broadcasting business -- a can of herring to underscore that it believes its arguments against paying royalties are a red herring. The NAB says its members should not pay royalties because AM-FM radio "promotes" the music industry. http://blog.wired.com/27bstroke6/2008/06/recording-indus.html From sondheim at panix.com Tue Jun 24 08:25:11 2008 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 24 Jun 2008 02:25:11 -0400 (EDT) Subject: [NetBehaviour] Odyssey presents: The Accidental Artist (Alan Sondheim in SL) (fwd) Message-ID: Odyssey presents: THE ACCIDENTAL ARTIST Alan Sondheim Opening with performance June 25th 10pm EDT and June 26th 10pm CET location: http://slurl.com/secondlife/Odyssey/48/12/22 VIDEO PERFORMERS: Foofwa d'Imobilite, Azure Carter, Kira Sedlock, David Bello, Alan Sondheim. PERFORMANCE: Sandy Baldwin, Alan Sondheim Thanks to Sugar Seville, Sandy Baldwin, NYSCA, Frances van Scoy, Virtual Environments Laboratory at West Virginia University, Gary Manes WRITE HOME: ACCIDENTS HAPPEN! Poor little avatars hide behind poor little avatars! Avatars ab/use! Avatars don't need air! You can't weigh them! They don't know the meaning of the word! THESE avatars don't know anything! They're weighed down by coordinates! They can't fuck! Their prims bend, smash! Smashed prims are prims. Hello, hello! Video and performance spewed from a laboratory of virtual environments. IN MY WORLD, THERE ARE NO ERRORS, ONLY SEDUCTIONS! The human figure's place in art gets turned inside out here in this world of unfolded and refolded geometries. What remains of the body in the domain of the virtual? What survives the transition? Could this still be called a body? Where are we going in this crossing over into bits, why are we going there/nowhere and what does it say about the nature of human desire? At what point does a beautiful accident become a tragic mistake? Is there truly such a thing as a mistake? A pioneer in virtual worlds and networked environments, Alan Sondheim brings his latest work to Odyssey http://odysseyart.ning.com/, an international community of artists working on 2 servers in the networked 3d virtual world called Second Life. An autobiography of Sondheim's career as an artist can be found here http://www.alansondheim.org/COMPBIO.TXT This exhibit is being presented in the networked environment Second Life on the Odyssey simulator. To view this work you must have a Second Life account and avatar, which is free of charge and takes about 30 minutes to set up and learn the basic functionality. To set up an account, go here: http://secondlife.com/ Once you are logged into Second Life, click this link http://slurl.com/secondlife/Odyssey/48/12/22 in your web browser and the Second Life client will teleport your avatar to the location of the exhibit. Use the arrow keys on your keyboard to navigate your avatar through the exhibit and be sure to press play on both the audio and video buttons located on the lower right of your Second Life client. avatar : noun Etymology: Sanskrit avat?rah descent, from avatarati he descends, from ava- away + tarati he crosses over 1: the incarnation of a Hindu deity (as Vishnu) 2 a: an incarnation in human form b: an embodiment (as of a concept or philosophy) often in a person 3: a variant phase or version of a continuing basic entity 4: an electronic image that represents and is manipulated by a computer user (as in a computer game) From marc.garrett at furtherfield.org Tue Jun 24 10:23:04 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Tue, 24 Jun 2008 09:23:04 +0100 Subject: [NetBehaviour] What does it mean to be an Open Source author? In-Reply-To: References: Message-ID: <4860AEE8.9060101@furtherfield.org> What does it mean to be an Open Source author? A story from the inside Laurent Cohen . I hear daily about open source projects, the open source business model, what it means in terms of freedom, choice, risks, investment, etc... What I rarely hear about is what is life like for those who actually contribute and dedicate a part of their life to open source? I do not pretend to understand how it is for most open source contributors, or even that there are patterns to understand. However I do believe that there are stories worth telling. Here is mine, I'll let you appreciate ... or not :) First, the project is called JPPF (Java Parallel Processing Framework) and that's all I'm going to say about it. This article is not about the project itself, but about the difference it makes and the impact it has in people's lives, including mine. more... http://www.jroller.com/jppf/entry/what_does_it_mean_to From gif at 220hex.org Wed Jun 25 10:59:34 2008 From: gif at 220hex.org (220hex) Date: Wed, 25 Jun 2008 10:59:34 +0200 Subject: [NetBehaviour] piksel08 - code dreams :: open call Message-ID: <200806251059.34950.gif@220hex.org> <<<<<<<<>>>>>>>> **Piksel08: code dreams december 4-7 2008 Bergen, Norway How does code dream? What are the dreams of code? Piksel08 examines the other side of code, an alternative side to a hard-coded reality of work and play. Open hardware and free software project a utopic vision, yet exist within economies of capital, the dream factory of mainstream technology. Within the chance meeting of sewing machine and umbrella on the dissecting table, hardware and software are flattened. Piksel08: code dreams explores the dreams of this soft machine; bachelors coding for pleasure, reverse engineering paranoiac constructs of the real, automatic coding practice, soft hardware, and everyday magic. <<<<<<<<>>>>>>>> **open call: 1. Installations Projects related to the code dreams theme including but not restricted to: reverse engineering, soft hardware, code poetry, novel instruction sets, invisible exploration, ghosted computation... programmed by and running on free and open source software and/or open/DIY hardware. 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. <<<<<< Deadline - august 15. 2008 >>>>>> Please use the online submit form at: http://piksel.no/piksel08/subform.html or send documentation material - preferably as a URL to online documentation with images/video to piksel08 [AT] piksel [DOT] no <<<<<<<<>>>>>>>> **subsections: **real code real.co.[de][re] actively explores code which has strong effects on the real, constructing the world through prediction and description. The twelve hour real.co.[de][re] session will attempt the active construction of a working code model (of any form) which addresses a flattening of the distinction between software and hardware, to resolve a new political reference for real core code. **abstract code Abstract code is software whose results can be invisible, a software implementing different layers of action at the same time. Abstract code is a connection to parallel worlds, a poetic formula dealing with outer forces. Code is art, its action is subtile, effective, magic. procedural text maledictions, oracles, iambi, hymn, formula, refrains, hypnotic sentences, prayers, and other. <<<<<<<<>>>>>>>> Piksel is supported by the Municipality of Bergen, Arts Council Norway, Vestnorsk Filmsenter, Hordaland County Council and others. More info: http://piksel.no --- From marc.garrett at furtherfield.org Wed Jun 25 13:06:04 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Wed, 25 Jun 2008 12:06:04 +0100 Subject: [NetBehaviour] MAKE ART 2008/OpenOS/CALL FOR PROJECTS In-Reply-To: <200806251059.34950.gif@220hex.org> References: <200806251059.34950.gif@220hex.org> Message-ID: <4862269C.3010003@furtherfield.org> MAKE ART 2008 OpenOS CALL FOR PROJECTS make art is an international festival dedicated to the integration of Free/Libre/Open Source Software (FLOSS) in digital art. The third edition of make art ? OpenOS - will take place in Poitiers (FR), from the 24th to the 30th of November 2008. make art offers performances, presentations, workshops and an exhibition, focused on the encounter between digital art and free software. We're currently seeking new, innovative FLOSS based works and projects: music and audiovisual performances, presentations, software demos, and installations. This year make art focuses on the OpenOS: artistic, free, creative use of the Operating System, hackability and modularity of FLOSS and GNU/Linux, scripts as digital glue between applications, enhanced possibilities for the technical expression of ideas, user empowerment and artistic freedom. Please read the submission guidelines below, download the submission form, fill it in and return it to: makeart2008 =at= goto10 =dot= org before the 25th of July 2008. http://makeart.goto10.org http://goto10.org Timeline 20th of June ? Call for proposals 25th of July ? Deadline call for proposals Beginning of September ? Selected projects announced 24th - 30th of November ? Make Art 2008 Submission guidelines 1. Download the submission form here. The submission form is in OpenOffice .odt format. Please leave the document in this format when returning. 2. Only projects that are made using 100% FLOSS, running on a free Operating System, will be accepted. So NO Windows, OSX, MaxMSP, Reaktor or Ableton Live! 3. When submitting an installation, a performance or a presentation, please send us the following documentation: - performance: 2 high quality photos and 1 high quality audio or video file - installation: 2 high quality photos and 1 high quality video file - presentation or demo: 2 high quality photos (in case of software demo screenshots) If the files are >3 MB please send us a link instead of an attachment. We prefer to receive documentation in open formats. 4. When submitting an installation or performance, please include a technical rider describing the technical setup, the hardware you'll be bringing yourself and the hardware you need the festival to provide. Be precise and specific! 5. Incomplete submission forms will not be processed. Types of projects We are looking for installations, performances, and presentations that fit the focus of the festival. The festival theme OpenOS is not meant to be restrictive, and can be linked to both the content as the technical realisation of a work. For examples of previous editions, please visit the archives of: make art 2007 and make art 2006 Funding make art is a small festival, we can provide selected projects with housing, travel and a modest fee. We cannot provide artists with funding for the development of projects. Larger projects should look into finding additional funding to attend the festival. From sondheim at panix.com Thu Jun 26 09:09:49 2008 From: sondheim at panix.com (Alan Sondheim) Date: Thu, 26 Jun 2008 03:09:49 -0400 (EDT) Subject: [NetBehaviour] The Accidental Artist performance tomorrow etc. Message-ID: The performance (Sandy Baldwin and myself) went extremely well last night. The choreograpy was great. I also used chromatic harmonica, flute, and keyboard. Sandy had avatar theory automated with high-speed scrolling text; I used repeated text chunks from the avatar plays I've written. Sugar Seville and I recorded some of it. We have a second performance at 4 eastern daylight time (1 pacific) today, Thursday - see below. Please come. Some debris - Nikuko avatar configuring sculpted body prims http://www.alansondheim.org/holding.png http://www.alansondheim.org/holdin2.png dark faciality http://www.alansondheim.org/facial.jpg 3 study maquettes http://www.alansondheim.org/vgimage2.jpg http://www.alansondheim.org/vgimage3.jpg http://www.alansondheim.org/vgimage4.jpg Odyssey presents: THE ACCIDENTAL ARTIST Alan Sondheim Opening with performance June 25th 10pm EDT and June 26th 10pm CET location: http://slurl.com/secondlife/Odyssey/48/12/22 VIDEO PERFORMERS: Foofwa d'Imobilite, Azure Carter, Kira Sedlock, David Bello, Alan Sondheim. PERFORMANCE: Sandy Baldwin, Alan Sondheim Thanks to Sugar Seville, Sandy Baldwin, NYSCA, Frances van Scoy, Virtual Environments Laboratory at West Virginia University, Gary Manes WRITE HOME: ACCIDENTS HAPPEN! Poor little avatars hide behind poor little avatars! Avatars ab/use! Avatars don't need air! You can't weigh them! They don't know the meaning of the word! THESE avatars don't know anything! They're weighed down by coordinates! They can't fuck! Their prims bend, smash! Smashed prims are prims. Hello, hello! Video and performance spewed from a laboratory of virtual environments. IN MY WORLD, THERE ARE NO ERRORS, ONLY SEDUCTIONS! The human figure's place in art gets turned inside out here in this world of unfolded and refolded geometries. What remains of the body in the domain of the virtual? What survives the transition? Could this still be called a body? Where are we going in this crossing over into bits, why are we going there/nowhere and what does it say about the nature of human desire? At what point does a beautiful accident become a tragic mistake? Is there truly such a thing as a mistake? A pioneer in virtual worlds and networked environments, Alan Sondheim brings his latest work to Odyssey http://odysseyart.ning.com/, an international community of artists working on 2 servers in the networked 3d virtual world called Second Life. An autobiography of Sondheim's career as an artist can be found here http://www.alansondheim.org/COMPBIO.TXT This exhibit is being presented in the networked environment Second Life on the Odyssey simulator. To view this work you must have a Second Life account and avatar, which is free of charge and takes about 30 minutes to set up and learn the basic functionality. To set up an account, go here: http://secondlife.com/ Once you are logged into Second Life, click this link http://slurl.com/secondlife/Odyssey/48/12/22 in your web browser and the Second Life client will teleport your avatar to the location of the exhibit. Use the arrow keys on your keyboard to navigate your avatar through the exhibit and be sure to press play on both the audio and video buttons located on the lower right of your Second Life client. avatar : noun Etymology: Sanskrit avat?rah descent, from avatarati he descends, from ava- away + tarati he crosses over 1: the incarnation of a Hindu deity (as Vishnu) 2 a: an incarnation in human form b: an embodiment (as of a concept or philosophy) often in a person 3: a variant phase or version of a continuing basic entity 4: an electronic image that represents and is manipulated by a computer user (as in a computer game) From paulorcbarros at uol.com.br Fri Jun 27 00:03:26 2008 From: paulorcbarros at uol.com.br (Paulo R. C. Barros) Date: Thu, 26 Jun 2008 19:03:26 -0300 Subject: [NetBehaviour] "Spam Code" Message-ID: http://www.youtube.com/watch?v=moQFOj1xW2k All the best, Paulo From sondheim at panix.com Fri Jun 27 07:41:21 2008 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 27 Jun 2008 01:41:21 -0400 (EDT) Subject: [NetBehaviour] European opening and performance, Odyssey Message-ID: European opening and performance, Odyssey (the actual performance isn't imaged, but the discussion and interventions are) Arco Rosca's images from the second day performance at Odyssey http://www.flickr.com/photos/arcorosca/sets/72157605831668060/ Images of the layout and opening after the performance: http://www.alansondheim.org/ sldoc jpgs (the sldocs includge images of potentially locking elements) Video forthcoming -- From sondheim at panix.com Fri Jun 27 20:42:07 2008 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 27 Jun 2008 14:42:07 -0400 (EDT) Subject: [NetBehaviour] Nikuko, others, performing Message-ID: Nikuko, others, performing http://www.alansondheim.org/odyssey.mp4 High compression... this is from the workstation viewpoint... it's hard to see around the avatar which is enormous and glowing. Lucian Iwish came on later with a structure that enveloped the whole building... but with the show, the avatar I use is perhaps twenty-five feet high... Sandy's is both larger and smaller, variable, ghost-like... We had a few people the first night, a crowd the second (afternoon) who spoke mainly Italian. This sec= tion is from the first night. Live instruments included flute, chromatic harmonica, sampling keyboard. Sandy's texts flew amazingly, were from our theory writing on avatar and the like. My texts were paste-ins from the Jennifer, Nikuko, Doctor Leopold Konninger, Julu plays. Sound is from a number of simultaneous sources under the control of the viewer. You can talk or make live music in Second Life. Time of the recording was set to midnight. Second Life beyond the traditional physics (which can be countermanded to some extent by creating objects without physics) is incredibly malleable; a building roof can exist without support, marked- off territories may have no concrete barrier markers beyond the luminous floating signs; bodies can be modified at will; flying and teleportation are comment; one exists without breathing on land or sea; set carefully, one penetrates rocks; you might or might not see through your avatar's body; for that matter, objects may glow or be transparent; touch at a distance is possible and common; you may construct on land, in sea, within air; you normally disappear when your character logs out; environment and time may follow Second Life time or be set artificially; one might talk with one's voice, through internal instant messaging, or through chat; your avatar body may be distorted by others; everything depends on Linden corporation; Linden may well be able to hear any and all private conversa- tions; beyond Linden there's the horizon of bandwidth; particle emissions are quick and contain just about anything; buildings arise and fall in a twinkling of an eye... The time is midnight, the objects glow, intersect; I believe, without proof, that they are sliding in a fourth spatial dimen- sion through some flaw in the software; there are some bodies and some objects I may fly through; there are some I am held by; there are some who hold me; there are griefers and hackers; there are some who hold me... Who am I but avatar-Nikuko, Nikuko-avatar; she speaks through me; asserts her- self; possesses a literally uncanny insistence; turns towards withdrawn sexuality; is always waiting and awaiting, as I am always waiting and awaiting here. Flying through configurations, she settles on a certain appearance or style or look; I am back beyond the screen; she controls objects greater than any I have controlled; she is adroit. I am back beyond the screen; I'm blinded by the objects; for the most part I can't see ahead, only slight glimpses to the left and right, slight glimpses of the floorboards beneath her feet. There, beneath her feet, are the vector guides that somewhat make a mapping. I have three choices: stay within her body, breathe her breathless air, or fly her everywhere which gives me the slightest vision above the objects, or use mouselook, which allows me to see through Nikuko's eyes, gives me her sight, or scent, her touch, her perfume. But mouselook takes over the screen; the configuration menus and controls disappear; you're only there with her, in her, as she is in you; everyone else is present, easy to see and touch; you might run or swoop with delight; you might stay absolutely still; but your bound within her as your bound within Second Life as a Life, that is, as a being-in-the- world which gives you no escape, no meta-processes to fine-tune the process. You can't build that way; you are sunk in Nikuko's body, part of her avatar-flesh, sheave-flesh, sheave-mind, Linden-mind; your swallowing is her swallowing, your food her own. So in these performances, the more Nikuko gathers, the more I am flying blind, even building blind, speaking blind, dancing and yes choreographing blind, blind in this airless world with the trivial fact that it is I who see, dispersed-eye, not Nikuko who can only whisper through appearance, affect me through her slightest move- ment, walk and talk, sit and stand, nowhere at all. Yet there is something of a future here, not in Linden or the Corporation, neither in bandwidth nor in prim-counts, but in a peripheral and, again that uncanny insist- ence, that feeling that Nikuko is living, not as prosthetic or other device, not as prim, but perhaps as a not-so-prim woman or girl or neutral or male at the last or gender-ending moment of the real. For Nikuko has taken me, just like others have taken you into the unaccountable true world, with its lines of flight and inscriptions intensifications and dispersed gatherings of selves and bodies, the true world of scatterings, spews, emissions, radiations. And among all of this, Nikuko flies, swoops, cavorts, in nowhere, among an underground mathesis gone wild, presented for your pleasure or operating pleasure, for your frisson or sport- or spoor-world, for the spook or glow, fed by nothing, a picture for your pretty sight, a longing, for something, somewhere, languor ... ( stills still at http://www.alansondheim.org/ sldoc jpgs ) From paulorcbarros at uol.com.br Sun Jun 29 00:38:40 2008 From: paulorcbarros at uol.com.br (Paulo R. C. Barros) Date: Sat, 28 Jun 2008 19:38:40 -0300 Subject: [NetBehaviour] "Reworked" Message-ID: http://uk.youtube.com/watch?v=IzmXXLUItKY All the best, Paulo From sondheim at panix.com Sun Jun 29 16:23:04 2008 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 29 Jun 2008 10:23:04 -0400 (EDT) Subject: [NetBehaviour] new bodies for old Message-ID: new bodies for old http://www.alansondheim.org/ aabody series after advanced/character/ menu produced male and female characters accouterments and refused to return all hir objects Think of SL as an abstracted 4-dimensional space-time continuum: What are the built-in constraints? Fundamental forces like gravity have to be built-in; there's no _inherent_ reason for its existence. The ceiling instead - that which backgrounds the continuum - is corporate, and as such might as well be a corporate model for future-culture and cultural proc- esses in the 'real world.' The corporate model is fundamentally a tacit and leaky one. Tacit: because its operations are quickly treated as natural by body and mind (invisible prosthesis). And leaky: because it fills every space, construes every op- eration, colors and codes within and throughout the true world invisible. "Corporate" is not restricted to either a particular mode of capital or power, nor a particular mode of governance - but instead is a basic and backgrounding mode of quantification, related in Second Life and for that matter, the older MOOs and MUDs, by the assignment of hierarchies, parent- child processes, and identification numbers within the world, world-build- ing, and worlding "in general." Given this constraint, what are others, and how do they relate? At least for the moment, one logs in and out of SL; inactivity logs one out and for the most part, when one logs out, one's body disappears (unlike a MOO, for example, where a body might be found somnolent in a "body-bag"). In other words, one's activity is _framed_ by a process of intention and/or tend- ing-towards, a process which requires a particular action on the part of the participant - which in fact constructs the framing of the very concept of participation. One is constrained by the process of building, but this is also a matter of time, energy, money, and nuisance. A similar constraint exists for land-ownership - and within SL, ownership is both relative (in relation to the corporation and the continuous output of the corporation, in terms of finance, governance, capital, and power in general), and absolute: The land that is owned is purely and totally _intended_; it has no otherwise existence or mode of being, no wilderness. (One might designate or assign a region as wild, but this an intended act as well; it is neither obdurate or substance, "idiotic inert" no analog.) At least at the moment, one is constrained by three-dimensionality and its projection into the 2-space of the screen. Given that, objects may inter- sect and self-intersect and may or may not be "gravitationally" bound. One is constrained by modes of behavior, coded and uncoded; by bandwidth; by one's terminal (therefore one's economy and one's relationship to class and corporate in any world); by one's health in the physical world; by one's ability to script and code. Where is the internal (not to mention external) history, per participant and/or login, of Second Life and its denizens? Where are the rolls of land ownership and usage? The history of SL's code and coding? The detailing of its proprietary software? (The world itself is closed-source.) (For surely the world as a whole may be investigated, as a book of nature, a supine woman, an angry man, red in tooth and claw, as God's hand and God's shriveled hand, as systemic coordination and mathesis, as semiosis, as subject and object of dissection, of nothing whatsoever.) One's steam runs out ... From cahen.x at levels9.com Sun Jun 29 22:16:25 2008 From: cahen.x at levels9.com (xavier cahen) Date: Sun, 29 Jun 2008 22:16:25 +0200 Subject: [NetBehaviour] ))))) RadioList.org ((((( Plate-forme sonore des arts visuels ))))) | ))))) visual arts noise platform ((((( 16 Message-ID: <4867ED99.70308@levels9.com> RadioList.org Plate-forme sonore des arts visuels / visual arts noise platform (((((((((.)))))))))) # 16 .((((( Abonnement RSS : podcast, ipodder, sage, etc... http://radiolist.org/index.php?feed=rss2 .((((( Abonnement ? la newsletter http://radiolist.org Art-maniac : L?Art et la banni?re et autres pol?arts 29/06/2008 En attendant de se retrouver en septembre ? la rentr?e, 9 semaines vont s??couler donc 9 conseils de lectures de pol?arts dans les poches ? lire ? la campagne, ? la montagne, ? la plage ou au village pour ceux qui ne partent pas. Emission r?alis?e par : Fabrice Decamps http://www.radiolist.org/?p=227 Vous avez dit : Le Pot Dor? de Jean-Pierre Raynaud ! )))))))).(((((((((( Si vous vous promenez sur le parvis de Beaubourg, vous pourrez y voir le Pot Dor? de Jean-Pierre Raynaud r?alis? en 1985 qui a trouv? l? sa place d?finitive. C?est une des ?uvres les plus c?l?bres de l?artiste. Emission r?alis?e par : Manhal Issa http://www.radiolist.org/?p=226 Art-maniac : Gelitin, La Louvre, Paris )))))))).(((((((((( Art-maniac se d?place, fait le guide et la lecture d?une exposition mais propose toujours une bibliographie en rapport avec la visite. Emission r?alis?e par : Fabrice Decamps http://www.radiolist.org/?p=223 Sound & Vision # 6 : Ouvre les yeux vs La fleur de mon secret )))))))).(((((((((( Un bootleg (parfois appel? mashup ou tout simplement medley) est un d?tournement musical, l?art de mixer deux chansons pour en faire une troisi?me. Ici le d?tournement sonore est cin?matographique. Un lieu, un lien. Deux films : un m?me lieu. Ici Madrid. Emission r?alis?e par : Pierre M?nard http://www.radiolist.org/?p=221 Claudia and Paul : part #1 )))))))).(((((((((( Claudia and Paul is an audio version of a new media work by the same name. Emission r?alis?e par : Henry Gwiazda http://www.radiolist.org/?p=220 Art-maniac : Allemagne, les ann?es noires )))))))).(((((((((( Art maniac se d?place, fait le guide et la lecture d?une exposition mais propose toujours une bibliographie en rapport avec la visite. Emission r?alis?e par : Fabrice Decamps http://www.radiolist.org/?p=219 Voix off/on ~ La Chasse aux papillons ~ )))))))).(((((((((( Des voix off ayant perdues leurs images ou ne les ayant jamais trouv?es, prennent ici leur autonomie. Emission r?alis?e par : Edward Didenhoven http://www.radiolist.org/?p=217 Henry Gwiazda : introduction )))))))).(((((((((( Henry Gwiazda is a composer/new media artist. Since 1986, he has worked with sampling and sound effects to create a unique musical language that is derived from the interior musical characteristics of noise itself. In 1992 he turned his attention to virtual audio and created two works for immersive technologies. In 1995, he extended his interest of sampling natural sounds to include a sampling of all phenomenon that has movement: a comprehensive artistic approach that has resulted in work that is multimedia in nature. These new works make use of new media to create a virtual realism that is focussed on movement. Emission r?alis?e par : Henry Gwiazda http://www.radiolist.org/?p=218 Art-maniac : Cha?m Soutine )))))))).(((((((((( Art maniac se d?place, fait le guide et la lecture d?une exposition mais propose toujours une bibliographie en rapport avec la visite. Emission r?alis?e par : Fabrice Decamps http://www.radiolist.org/?p=216 Sound & Vision # 5 : Le genou de Claire vs H?las pour moi )))))))).(((((((((( Un bootleg (parfois appel? mashup ou tout simplement medley) est un d?tournement musical, l?art de mixer deux chansons pour en faire une troisi?me. Ici le d?tournement sonore est cin?matographique. Un lieu, un lien. Deux films : un m?me lieu. Ici le lac L?man. Emission r?alis?e par : Pierre M?nard http://www.radiolist.org/?p=215 -- RadioList.org (((((((.))))))) xavier cahen administrateur xavier.cahen at radiolist.org http://www.radiolist.org From sondheim at panix.com Mon Jun 30 07:07:26 2008 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 30 Jun 2008 01:07:26 -0400 (EDT) Subject: [NetBehaviour] structure, armature, breathing the vacuum Message-ID: structure, armature, breathing the vacuum http://www.alansondheim.org/bottomfeeder.mp4 http://www.alansondheim.org/armature1.jpg http://www.alansondheim.org/armature2.jpg http://www.alansondheim.org/armature3.jpg http://www.alansondheim.org/armature4.jpg http://www.alansondheim.org/armature5.jpg From cahen.x at levels9.com Sat Jun 28 12:49:36 2008 From: cahen.x at levels9.com (xavier cahen) Date: Sat, 28 Jun 2008 12:49:36 +0200 Subject: [NetBehaviour] pourinfos Newsletter / from 24-06 to 15-09-2008 Message-ID: <48661740.1040504@levels9.com> pourinfos.org l'actualite du monde de l'art / daily Art news ----------------------------------------------------------------------- >From Tuesday, Juin 24, 2008 through September 15, 2008 (included) ------------------------------------------------------------------- (mostly in french) Dear readers, pourinfos suspend its newsletter until mid-September. Have a pleasant summer 2008! Yours Xavier Cahen for the pourinfos' Team @ 001 (24/06/2008) Call: MAKE ART 2008 - OpenOS, Poitiers, France. http://www.pourinfos.org/art-35880-tit--MAKE-ART-2008-OpenOS-Poitiers- -------------------------------------------------------------------- @ 002 (24/06/2008) Call: VIDEOFORMES 2009, video competition, Clermont-Ferrand, France. http://www.pourinfos.org/art-35881-tit--VIDEOFORMES-2009-video-competition- -------------------------------------------------------------------- @ 003 (24/06/2008) Call: Piksel08: code dreams, Bergen, Norway. http://www.pourinfos.org/art-35882-tit--Piksel08-code-dreams-Bergen- -------------------------------------------------------------------- @ 004 (24/06/2008) Residency: Kuenstlerhaeuser Worpswede, Germany. http://www.pourinfos.org/art-35883-tit-Residence-Kuenstlerhaeuser-Worpswede- -------------------------------------------------------------------- @ 005 (24/06/2008) Call: THE OPEN WALL, Trondheim Electronic Arts Centre, Trondheim, Norway. http://www.pourinfos.org/art-35884-tit--THE-OPEN-WALL-Trondheim-Electronic-Arts -------------------------------------------------------------------- @ 006 (24/06/2008) Exhibition: .fiction DOCUMENTAIRE, 2007.2008, University Paris 8, Saint-Denis, France. http://www.pourinfos.org/art-35894-tit--fiction-DOCUMENTAIRE-2007-2008- -------------------------------------------------------------------- @ 007 (25/06/2008) Call: RENCONTRES INTERNATIONALES SCIENCES & CIN?MAS (RISC), 3rd edition, Marseille, France. http://www.pourinfos.org/art-35886-tit--RENCONTRES-INTERNATIONALES-SCIENCES- -------------------------------------------------------------------- @ 008 (25/06/2008) Call: One MINUTE 2009, VIDEOFORMES, Clermont-Ferrand, France. http://www.pourinfos.org/art-35887-tit--UNE-MINUTE-2009-VIDEOFORMES- -------------------------------------------------------------------- @ 009 (25/06/2008) Call: APPEL A PROJETS - DEDALE / CITE INTERNATIONALE UNIVERSITAIRE DE PARIS, Paris, France. http://www.pourinfos.org/art-35888-tit--APPEL-A-PROJETS-DEDALE-CITE -------------------------------------------------------------------- @ 010 (25/06/2008) Call fo participation : "Let's fuck, not fight!", wltf-mag, online magazine, Sao Paulo, Brazil. http://www.pourinfos.org/art-35889-tit--Let-s-fuck-not-fight-wltf-mag- -------------------------------------------------------------------- @ 011 (25/06/2008) Call: Cimatics, 08AVFestival, Brussels, Belgium. http://www.pourinfos.org/art-35890-tit--Cimatics-08AVFestival-Brussels- -------------------------------------------------------------------- @ 012 (25/06/2008) Divers : END THE PLAN TO ELIMINATE THE CENTER FOR CONTEMPORARY IMAGES (CIC) - SAINT-GERVAIS GENEVA, Switzerland. http://www.pourinfos.org/art-35891-tit-Divers-NON-A-LA-LIQUIDATION-DU-CENTRE-POUR -------------------------------------------------------------------- @ 013 (25/06/2008) Various: petition "ORPHAN WORKS BILL, Menace on copyrights, capic.org, Toronto, Canada. http://www.pourinfos.org/art-35892-tit-Divers-petition-ORPHAN-WORKS-BILL-Menace -------------------------------------------------------------------- @ 014 (25/06/2008) Various: Steven Kurtz, ARTIST CLEARED OF ALL CHARGES IN PRECEDENT-SETTING CASE, Buffalo, Usa. http://www.pourinfos.org/art-35897-tit-Divers-Steven-Kurtz-ARTIST-CLEARED-OF -------------------------------------------------------------------- @ 015 (25/06/2008) Training: workshop of PHOTOGRAPHY DES RENCONTRES D'ARLES, Arles, France. http://www.pourinfos.org/art-35898-tit-Formation-LES-STAGES-DE-PHOTOGRAPHIE-DES -------------------------------------------------------------------- @ 016 (25/06/2008) Education: MA Fine Arts, York St John University, United Kingdom. http://www.pourinfos.org/art-35899-tit-Formation-MA-Fine-Arts-York-St-John -------------------------------------------------------------------- @ 017 (25/06/2008) Education: Cycle professional "Diffusion International, Act, Nantes, France. http://www.pourinfos.org/art-35901-tit-Formation-Cycle-professionnel-Diffusion -------------------------------------------------------------------- @ 018 (25/06/2008) Job: flash animators, layout of a series of 2D animation, animation, Blue Spirit, Brussels, Belgium. http://www.pourinfos.org/art-35902-tit--animateurs-flash-layout-d-une-serie -------------------------------------------------------------------- @ 019 (25/06/2008) Training: Summer Workshops Digital Arts, iMAL, Brussels, Belgium. http://www.pourinfos.org/art-35903-tit-Formation-Ateliers-d-Ete-Arts-Numeriques- -------------------------------------------------------------------- @ 020 (25/06/2008) Call for participation: Folder ?FRAGILE?, esse arts + opinions, Montr?al, Canada. http://www.pourinfos.org/art-35904-tit--Dossier-FRAGILE-esse-arts-opinions- -------------------------------------------------------------------- @ 021 (25/06/2008) Call for participation: "Video Editing with Open Source Tools", Handbook, folly, Lancaster, United Kingdom. http://www.pourinfos.org/art-35906-tit--Video-Editing-with-Open-Source-Tools- -------------------------------------------------------------------- @ 022 (25/06/2008) Residency: residence of Production Art Web TOPO Agency, Montreal, Canada. http://www.pourinfos.org/art-35908-tit-Residence-residence-de-Production-d-Art -------------------------------------------------------------------- @ 023 (25/06/2008) Publication: Cheap n ? 3, Nantes, France. http://www.pourinfos.org/art-35909-tit--Cheap-n-3-Nantes- -------------------------------------------------------------------- @ 024 (25/06/2008) Publication: n#11-12 Opus , Opus, review of Sociology of art, Paris, Editions L'Harmattan, France. http://www.pourinfos.org/art-35910-tit--n-11-12-Opus-revue-Sociologie-de-l-art- -------------------------------------------------------------------- @ 025 (25/06/2008) Publication: N?13 [2008] Art and political review land & work, ENS Cachan, Cachan, France. http://www.pourinfos.org/art-35911-tit--N-13-2008-Art-et-politique-revue -------------------------------------------------------------------- @ 026 (25/06/2008) Publication: N?20 of the newspaper, Editions Particules, Paris, France. http://www.pourinfos.org/art-35913-tit--N-20-du-journal-Editions-Particules- -------------------------------------------------------------------- @ 027 (26/06/2008) Exhibiton: .fiction DOCUMENTAIRE, 2007.2008, University Paris 8, Saint-Denis, France. http://www.pourinfos.org/art-35893-tit--fiction-DOCUMENTAIRE-2007-2008- -------------------------------------------------------------------- @ 028 (26/06/2008) Various: Survey Commission of exhibition, Cipac, Paris, France. http://www.pourinfos.org/art-35895-tit-Divers-Enquete-commissariat-d-exposition- -------------------------------------------------------------------- @ 029 (26/06/2008) Education: Cycle professional "Cultural Action and the public relations", Act, Nantes, France. http://www.pourinfos.org/art-35900-tit-Formation-Cycle-professionnel-Action -------------------------------------------------------------------- @ 030 (26/06/2008) Call for participation: Call to participate, Bandits-Mages Festival, Bourges, France. http://www.pourinfos.org/art-35905-tit--Call-to-participate-Bandits-Mages -------------------------------------------------------------------- @ 031 (26/06/2008) Residency: Call for project residence - Discover & creation, the M?jannes Clap, France. http://www.pourinfos.org/art-35907-tit--Appel-a-projet-residence-Decouverte- -------------------------------------------------------------------- @ 032 (26/06/2008) Publication: Ari Marcopoulos, Wesley Willis, nieves ?dition, Zurich, Switzerland. http://www.pourinfos.org/art-35914-tit--Ari-Marcopoulos-Wesley-Willis-nieves -------------------------------------------------------------------- @ 033 (26/06/2008) Publication: "Pirates!", Number 733-734, revue Critique, Paris, France http://www.pourinfos.org/art-35921-tit--Pirates-numero-733-734-revue -------------------------------------------------------------------- @ 034 (26/06/2008) Exhibition: meetings Thursday, June 26, 2008 at the Olympic Cafe, PHOTSOC, International Festival of Photography Sociale in Sarcelles, Sarcelles, France. http://www.pourinfos.org/art-35925-tit--rencontres-jeudi-26-juin-2008-a -------------------------------------------------------------------- @ 035 (26/06/2008) Meetings: Seminar "social sciences in society" (sciences sociales en societe) - meeting on Thursday, June 26, 2008: "Social sciences, statistics and cultural policies in France", CERLIS, Paris, France. http://www.pourinfos.org/art-35927-tit--Seminaire-sciences-sociales-en-societe- -------------------------------------------------------------------- @ 036 (26/06/2008) Meetings: ? TALK IS CHEAP ? Adel Abdessemed, lecture-performance, Situations of contemporary art, Thursday, June 26, 2008, Mus?e du quai Branly, Paris, France. http://www.pourinfos.org/art-35932-tit--TALK-IS-CHEAP-Adel-Abdessemed- -------------------------------------------------------------------- @ 037 (27/06/2008) Exhibition : 2nd Exhibition of Contemporary Art Africain, Brussels, Belgium. http://www.pourinfos.org/art-35848-tit--2eme-Salon-d-Art-Contemporain-Africain- -------------------------------------------------------------------- @ 038 (27/06/2008) Exhibition : The gun with white hair, Museum of Purpose, Blois, France. http://www.pourinfos.org/art-35851-tit--Le-revolver-a-cheveux-blancs-Musee-de -------------------------------------------------------------------- @ 039 (27/06/2008) Publication: No. 23 "The fear of images" (La peur des images), La Part de l??il, annual review of thought visual arts, Brussels, Belgium. http://www.pourinfos.org/art-35915-tit--n-23-La-peur-des-images-La-Part-de -------------------------------------------------------------------- @ 040 (27/06/2008) Publication: FILIATIONS, VU MAG I, Editions Filigranes, Paris, France. http://www.pourinfos.org/art-35920-tit--FILIATIONS-VU-MAG-I-Editions -------------------------------------------------------------------- @ 041 (27/06/2008) Publication: "You write," (Vous ecrire), Amers Editions, Espace en Cours, Paris, France. http://www.pourinfos.org/art-35922-tit--Vous-ecrire-Amers-Editions-Espace-en -------------------------------------------------------------------- @ 042 (27/06/2008) Exhibition: + IF AFFINIT? 2008, association AFIAC, Village of FIAC, France. http://www.pourinfos.org/art-35926-tit--SI-AFFINITE-2008-association-AFIAC- -------------------------------------------------------------------- @ 043 (27/06/2008) Meetings: Estefan?a Pe?afiel-Loaiza, Virginie Poitrasson, June 27, 2008, Galerie Paul Fr?ches Paris, France. http://www.pourinfos.org/art-35928-tit--Estefania-Penafiel-Loaiza-Virginie -------------------------------------------------------------------- @ 044 (28/06/2008) Various: Troc?Art, Jardin d?EOLE, Paris, France. http://www.pourinfos.org/art-35837-tit-Divers-Troc-Art-Jardin-d-EOLE-Paris- -------------------------------------------------------------------- @ 045 (28/06/2008) Publication: E-formes : visual scriptures on digital media (?critures visuelles sur supports num?riques), the direction of Monique Maza and Alexandra Saemmer, University of Saint-Etienne, Saint-Etienne, France. http://www.pourinfos.org/art-35917-tit--E-formes-ecritures-visuelles-sur -------------------------------------------------------------------- @ 046 (28/06/2008) Meetings: travel motionless "le voyage immobile", Saturday, June 28, 2008, Forum des Halles, ARS LONGA, Paris, France. http://www.pourinfos.org/art-35931-tit--le-voyage-immobile-Samedi-28-juin-2008- -------------------------------------------------------------------- @ 047 (29/06/2008) Publication: new number, web access free devoted to Andr? Gorz, the magazine devices you speak, Paris, France. http://www.pourinfos.org/art-35916-tit--numero-web-en-acces-libre-consacre-a -------------------------------------------------------------------- @ 048 (29/06/2008) Publication: DROME 13, egality in omaggio, Roma, Italy. http://www.pourinfos.org/art-35919-tit--DROME-13-egalite-in-omaggio-Roma- -------------------------------------------------------------------- @ 049 (29/06/2008) Publication: "What artistic critique? For a critical function of art at the contemporary age" (Quelle critique artiste ? Pour une fonction critique de l?art ? l??ge contemporain), Aline Caillet, Collection L?art en bref, Editions L?Harmattan, Paris, France. http://www.pourinfos.org/art-35923-tit--Quelle-critique-artiste-Pour-une -------------------------------------------------------------------- @ 050 (29/06/2008) Publication: La prolif?ration des ?crans / Proliferation of Screens, Presse de l'Universit? du Qu?bec, Canada. http://www.pourinfos.org/art-35924-tit--La-proliferation-des-ecrans- ----------------------------------------------------------------------- http://pourinfos.org l'actualit? du monde de l'art / daily Art news Direction de la publication Xavier Cahen, webdesign Loz pourinfos.org est une page d?informations diverses et vari?es sur l'art contemporain, entendez ici, l?art qui se fait aujourd?hui. Cette lettre d?informations est bihebdomadaire. Contact humain xavier.cahen at pourinfos.org