[NetBehaviour] MyDanceTheSKull - Anna Yausheva

Betty Martins beth.martins at gmail.com
Sun Feb 28 21:56:55 CET 2010


Hi all, sorry for cross posting,


*MY DANCE THE SKULL* presents the book launch of Anna Yausheva and its
pleased to announce its step into the music world with the strictly limited
cassette-only release of 'Let Us Be Thankful We Have Commerce' by
electro-acoustic musician Talvihorros.



MDTS invites you to a night of experimental disco vibes, eccentric dance
music and healing sounds.

Event on the 6th of March, 21:00

Grosvenor Pub

17 Sidney Road, Stockwell, London, SW9 0TP

£3



Follow us on Twitter:

Twitter.com/MyDanceTheSkull



ANNA YAUSHEVA

''Anna Yausheva, 26, currently living in Moscow, is, in her own words 'an
old-fashioned girl in almost everything'. She also takes heaps of pictures
using analog cameras. Although in casual conversation she might refer to it
as a 'hobby', photographs taken by her tend to leave one (well, me, anyway)
flustered with joy. A definition that fits 'art', among other things. The
kind of joy we talk here is of a special kind, materialized in pictures that
have a very distinctive, raw, and ultimately sexy set of feelings and ideas
on display.''

Diego Gerlach

http://www.mydancetheskull.com/catalogue/anna-yausheva/

http://www.flickr.com/people/anna_yausheva/



WOODPECKER WOOLIAMS

'There’s a feel of living on a pagan Scottish island and getting the urge to
burn a Christian policeman in a ritualistic sacrifice, there’s obscure
instrumentation in the way the BBC Radiophonic Workshop pioneers would be
proud, and there’s a haunting beauty that melts your heart and invites you
in to sit on soft furnishings and drink the best warm mug of mead you’ve
ever tasted.'

Bearded Magazine

www.myspace.com/woodpeckerwooliams



TOM WHITE

Tom White (b. 1986) is an artist currently based in London, UK. Working with
found sounds, tape collage, mic feedback and fragments of instrumentation,
to create composition, sound art and film sound. White also works with video
and photography, often combining all practices. Releases Sight See (3’’CDr)
Smallfish records 2009 A Well Known Phrase (CD-Mini Album) Under The Spire
2009 In Poor Visibility (CD-Album)

http://tomwhitesound.com/

www.myspace.com/tomwhites



TALVIHORROS

Talvihorros is the studio project of London based Ben Chatwin, exploring the
electronic manipulation of acoustic instruments. Acoustic, electric and
prepared guitars are integrated with organ, piano, mandolin, analogue
synthesizer and an array of percussion instruments to create paradoxical
feelings of warmth and impending doom.

www.talvihorros.com

www.myspace.com/talvihorros


On Sun, Feb 28, 2010 at 12:00 PM, <netbehaviour-request at netbehaviour.org>wrote:

> Send NetBehaviour mailing list submissions to
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> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of NetBehaviour digest..."
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>
> Today's Topics:
>
>   1. violation fabric (the last of these, thank god) (Alan Sondheim)
>   2. Zero Dollar Laptop Workshops Update... (info)
>   3. brodeur's last bat and the glove from above (Jim Andrews)
>   4. Why water flows downhill, oud and (Alan Sondheim)
>   5. Vancouver (Jim Andrews)
>   6. o and (Jim Andrews)
>   7. Re: Vancouver (Simon Biggs)
>   8. Re: Vancouver (Jim Andrews)
>   9. The google search frequency tone* (mail at noemata.net)
>  10. The Philosophy of Punk Rock Mathematics ? Technoccult
>      interviews Tom Henderson. (marc garrett)
>  11. TAGallery 2007-2010, a project by CONT3XT.NET <http://cont3xt.net/>(info)
>  12. Refresh . March 04?April 18, 2010 (info)
>  13. Staging Citizenship: Performance, Politics,       and Cultural
>      Rights (info)
>  14. PROJECT ALPHaALPHA (info)
>  15. Predictive text (Simon Biggs)
>  16. Re: Vancouver (Simon Biggs)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sat, 27 Feb 2010 12:02:56 -0500 (EST)
> From: Alan Sondheim <sondheim at panix.com>
> Subject: [NetBehaviour] violation fabric (the last of these, thank
>        god)
> To: netbehaviour at netbehaviour.org
> Message-ID: <Pine.NEB.4.64.1002271202470.24297 at panix3.panix.com>
> Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed
>
>
>
> ==========================================================================
>
> violation fabric
>
> ==========================================================================
>
>        in one or another violation fabric, cotton, silk, of pinafore
>   violation fabric of European hegemony, ah!
> _violation fabric,_ a weaving of language and gesture that wears like a
> a name for these, violation fabric, ah!
> a name for these, violation fabric, ah!
> and fevers. Now you've got dis-eased, violation fabric. You write: this
> away, torn to pieces, a form of violation fabric; it becomes more and
> can save me), violation fabric, torn fabric - that _this_ post therefore
> disbelief, rise up into violation fabric!", ah!
> escape from violation fabric or web inversion; embodiment is always a
> every number unique, virtual, violation fabric in the midst of stripped
> g.txt:women. I imagine violation fabric, web inversion, binding, liquidi
> grabbed, dissolved, disinterred. (I'm folded into the violation fabric
> hurtle violently to the ground; everything is violation fabric; everyone
> in violation fabric clara has long uneasy net for the dissemenation of
> lights by the quayside nothing visible cranes down in violation fabric
> looming broadca ure violation fabric more murder ary have over your, ah!
> misrecognition _to be sure,_ violation fabric, more murders, earthquake
> misrecognition _to be sure,_ violation fabric, more murders, earthquake
> misrecognition _to be sure,_ violation fabric, more murders, earthquake
> misrecognition _to be sure._ violation fabric, the disaster of theory in
> mourn the pa ure violation fabric top down through radiation chemical cata
> my life is a violation fabric, torn in two, thinking itself through this
> myself becoming world thoughts language ravage violation fabric, ah!
> of teeth. muller, graves, anyone who will lis tures, violation fabrics
> of the Net. He writes his first post, about violation fabric., ah!
> only the anger's violation fabric. Everything becomes derailed; every-
> or _violation fabric_ across foreclosed and corporate domains and names.
> sistent click, violation fabric of welcome and masquerade? You turn away
> the burned atoms of plasma, surface of a neutron star, violation fabric of
> the seas of the moon poured tears of violation fabric xxxxxx, ah!
> the seas of the moon poured tears of violation fabric xxxxxx, ah!
> the untoward violation fabric of the world (re: Cinematograph, M). The
> to my uneasy dreams, turn clothed in violation fabric. Clara has long
> to the limit, violation fabric to the winds., ah!
> tures, violation fabrics against that unmistakable odor of cunt and cock
> universal edge and violation fabric membrane collapses by forced Clara
> violation fabric
> violation fabric
> violation fabric, brought only absence at the end of the clearing, down
> violation fabric, hives appear, coughing, blood-eyes watering,
> violation fabric: abjection-perversion breakdown and emission
> violation fabric: abjection-perversion breakdown and emission
> waves tearing into violation fabric, ah!, ah!
> who can only be a figuration in violation fabric, dune and wadi., ah!, ah!
> women. I imagine violation fabric, web inversion, binding, liquidity, and
> work, the textual substance (what I've called _violation fabric_) inherent
> world suffocates beneath violation fabric., ah!, ah!, ah!
>
> ==========================================================================
>
> addenda, ah! ah! ah! ah!
>
> O Violation Fabric of Torn Space and Time!
> O Violation Fabric of Torn Space and Time!
>    Violation fabric of everyday life
> VIOLATION FABRIC: THE DISTURBANCE
> VIOLATION FABRIC: THE DISTURBANCE
>
> ==========================================================================
>
>
>
> ------------------------------
>
> Message: 2
> Date: Sat, 27 Feb 2010 23:53:55 +0000
> From: info <info at furtherfield.org>
> Subject: [NetBehaviour] Zero Dollar Laptop Workshops Update...
> To: NetBehaviour for networked distributed creativity
>        <netbehaviour at netbehaviour.org>
> Message-ID: <4B89B093.4070504 at furtherfield.org>
> Content-Type: text/plain; charset=UTF-8; format=flowed
>
> Zero Dollar Laptop Workshops Update...
>
> Week 6. Spraying our stencils!
> http://www.furtherfield.org/zerodollarlaptop/?p=246
>
> The Zero Dollar Laptop Project aims to change the way we all think about
> technology.
>
> Workshops have been running in London since January 2010 with clients of
> St Mungo?s charity for homeless people. We are recycling hardware,
> breaking Windows and installing Free and Open Source Software to build
> media laptops and create music, graphics and video for distribution over
> the Internet. Participants will leave the project with street-smart
> technical knowledge and a wireless enabled media laptop, classier than
> any shiny power-book.
>
> The Zero Dollar Laptop is a recycled computer, running Free Open Source
> Software (FOSS) that is fast and effective- now and long into the future.
>
> Artistic Team: Jake Harries and James Wallbank (Access Space) Ruth
> Catlow, Marc Garrett and Olga Panades (furtherfield.org)
> http://www.furtherfield.org/zerodollarlaptop
>
>
> ------------------------------
>
> Message: 3
> Date: Sat, 27 Feb 2010 16:33:21 -0800
> From: "Jim Andrews" <jim at vispo.com>
> Subject: [NetBehaviour] brodeur's last bat and the glove from above
> To: "NetBehaviour" <netbehaviour at netbehaviour.org>
> Message-ID: <885A7276940445E28658EE48BC4D92A4 at OwnerPC>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>        reply-type=original
>
> it was a game for the pucky ages: canada vs slovakia for a berth in the
> olympic gold medal game at the vancouver winter olympics of 2010 against
> the
> usa. for the ages? ya sure. ah but the olympics are storied over ages.
>
> the canadians dominated the first two periods, winning the first period 2-0
> and the second period 1-0 with ryan getzlaf's goal, the 3-0 goal, which
> would prove to be the winner. the slovakians were to play a third period
> like few others we have seen in hockey before, with such skill and
> determination that the outcome of the game was not decided until the final
> horn blared and the vancouver audience went bonkers, absolutely bonkers
> with
> delight over the thrilling 3-2 game and its momentous outcome for the
> beleagured canuck squad recovered from their earlier loss to the usa and
> problems against much lower-rated clubs.
>
> we learned that marian gaborick, the foxy slovak winger who plays for the
> new york rangers, makes plays behind his own back that are so clever and
> deceptive even he himself is caught by surprise.
>
> we saw ryan getzlaf, the strongly emerging canadian star, execute the best
> backhand shot i have ever seen in my life from the slot into the top left
> corner of the slovakian net--a net manned like a human spider by jaroslav
> halak, the montreal canadiens's goalie. halak pounced like a hairy,
> heavily-padded spider around the net. only the truly bona fide unstoppable
> shots made it past halak.
>
> we saw marian hossa, another of the wily slovak wingers, cause two
> canadians
> to crash into one another while hossa dipsy doodled past the keystone
> canadian defenders. but hossa did not score. while the two crumpled
> canadians dusted themselves off and got up quickly, other canadian
> defenders
> mobilized to deal with hossa's magic, and he didn't even get a shot on net,
> that time.
>
> the first two canadian goals, in the first period, were both deflections of
> screen shots from well inside the blue line. halak stood no chance
> whatsoever. halak kept the slovakians in the game with brilliant save after
> brilliant save, while roberto luongo, the canadian netminder, was effective
> but not challenged to display the arachnoid quicksilver that the slovakian
> halak dazzled us with time after time.
>
> the third period. o the third period and the glove from above. the story of
> the glove from above.
>
> but, first, recall brodeur's last bat. in the qualification round, three
> games earlier, martin brodeur, the canadian national team's netminder since
> his brilliant 2002 gold medal performance in salt lake city, perhaps the
> most celebrated goaltender of all time, faltered in the canadian goal
> during
> a 5-3 loss to the usa. early in the game, the usamericans blazed past the
> center line and dumped the puck in, forcing brodeur to play it with his
> stick well out of his crease. brodeur batted the moving puck cricket-style,
> attempting to clear the zone. instead, the puck went directly to a
> usamerican forward who promptly shot it in the gaping canadian net. this
> fate was also to befall mikka kiprusof, the finnish goalkeeper, in the
> finnish-usa game, a startling reenactment of what appears to be a
> semi-planned play on the part of the usamericans: charge into the zone in
> the first minutes of the game, shoot the puck in in such a way as to force
> the goalie to come out and play the puck with the stick while the forwards
> close in with terrifying deadly speed.  the usamericans have unmanned two
> of
> the best goalies in the game this way by forcing them to make big mistakes
> for very big, very bad goals. it rattled brodeur and it rattled kiprusof.
> more bad goals followed, in both cases, and the two celebrated goalies were
> chased from the net, ultimately and, very likely, from any further
> first-string status on their respective national teams. the usa won both
> those games against the canadians and the finns. the usa had their miracle
> on ice in the 1980 olympics; the game against finland was their massacre on
> ice. they clobbered the suddenly hapless and meek finns 6-0 in the first
> period and cruised to a 6-1 victory.
>
> this changing of the guard opened up, in the canadian's case, the
> opportunity of a lifetime for roberto luongo, the backup canadian
> goaltender
> who had not previously played any key games for the biggest canadian
> national team. luongo did well enough in subsequent games with germany and
> russia, winning them both, to earn the start against slovakia in the
> semi-final. and the games were in vancouver, where luongo plays for the
> vancouver canucks in the nhl. in fact he is captain canuck, the only goalie
> captain of an nhl team. his rink. his crowd. his country. and what a luongo
> crowd. they chant "llllouuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu"
> every time he makes a save, an awed and appreciative serenade of the
> canadian netminder every time he does anything. and they wail it with
> fervent devotion when he performs spectacular, sprawling, game-saving
> gymnastics on his keister.
>
> the glove from above came with 9 seconds left in the game. the score was
> 3-2 for the canadians against the deadly slovaks who were pressing like
> vlad's overwhelming forces in upon the canadian net for a goal and a chance
> to play overtime. luongo's vancouver canuck teammate pavol demitra, now
> playing for slovakia, was left with the puck at the side of the net with
> lots of open space to smack the puck into the goal. somehow the puck stayed
> out and glanced off the crossbar away from the net. several replays showed
> that luongo sprawled to place his glove quite close to--and above--the spot
> where demitra shot the puck. this forced demitra to shoot high. did the
> puck
> glance off luongo's glove and then the post? commentators said it was so.
> the glove from above. they said it was so. let us say the faithful do
> indeed
> believe unto fervent devotion in vancouver and canada where hockey is not a
> religion but an obsession totally out of control.
>
> perhaps we shall never know. perhaps unseen video will show it more
> clearly.
> the mysterious glove from above. did luongo touch the puck at all? was it
> divine intervention? or a trick of the camera? demitra put his hands over
> his head and shook his head in astonishment and shock when the play ended,
> the game was over, and utter joyful pandemonium ensued in the vancouver
> audience and on the ice for the canadian team.
>
> the glove from above trumped the brilliant performance of jaroslav halak
> despite a questionable first goal against luongo where the clever slovaks
> squeaked the puck behind luongo's knee via a corner shot from the goal
> line.
> it didn't matter. the glove from above hovers in bright mystery as the
> game-saving brilliance of a night full of brilliant plays by both squads.
>
> the glove from above was the exclamation point on a stupendous third-period
> performance by luongo. yes except for that first goal. he made timely
> saves.
> he made quite a few of them in the third period when the slovaks outshot
> the
> canadians 12-7 though, over the entire three periods, canada outshot the
> slovaks 28-21.
>
> the crowd, in the third period, when it was still 3-0 for canada, began
> chanting "we want the usa". but as the slovaks closed in and made it a 3-2
> game with 5 minutes left to play, that chant was totally silenced--the
> canadians were made to worry very deeply about just hanging on for the last
> 5 minutes.
>
> it was a thrilling conclusion to a match played so well it will indeed go
> down in canadian hockey history as one of the most thrilling, well-played
> games of all time. there were only 3 penalties in the entire game. the last
> slovak penalty resulted in getzlaf's winning goal, while the slovaks could
> not pot one during their one power play opportunity.
>
> the luongo legend deepens as canada moves on to play the usa in the gold
> medal game on sunday, two days from now, in a game that more or less every
> canadian on the planet will want to watch. and, i imagine, many more
> millions of usamericans. the usa has simply been perfect thus far in the
> tournament. they have beaten everyone they've played in regulation time.
> although they only have 3 olympic veterans on their squad, the young stars
> have emerged as the most formidable and impressive team in the tournament.
> they easily defeated canada 5-3 earlier in the tournament. and their
> goaltender, ryan miller, has been as good as any other. let's hope it's a
> beaut of a game.
>
> ja
> http://vispo.com
>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Sun, 28 Feb 2010 01:15:44 -0500 (EST)
> From: Alan Sondheim <sondheim at panix.com>
> Subject: [NetBehaviour] Why water flows downhill, oud and
> To: netbehaviour at netbehaviour.org
> Message-ID: <Pine.NEB.4.64.1002280115340.6310 at panix3.panix.com>
> Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed
>
>
>
> Why water flows downhill.
>
> The slalom crashing over the edge, we're in midair, I'm running downhill
> and I can't really look to see where I'm going or whose berm centered on
> it. Oud follows the wad; a sea arises there. Nikuko made the music to
> reflect, water filled the land, flowed into the rapidly churning air: air
> loomed in the middle, the very middle of the air, the very stones in the
> middle of the air, "loomed in the middle the very middle of the air very
> air stones."
>
> (Snow-gave out, gone down, snow-go downhill, snow-grant, snow-granulation,
> men ran to and fro dreaming of where to go.)
>
> http://www.alansondheim.org/downhill.mp3
> http://www.alansondheim.org/slalom.mp3
>
>
>
> ------------------------------
>
> Message: 5
> Date: Sun, 28 Feb 2010 01:12:57 -0800
> From: "Jim Andrews" <jim at vispo.com>
> Subject: [NetBehaviour] Vancouver
> To: "NetBehaviour" <netbehaviour at netbehaviour.org>
> Message-ID: <D9120893F9FF4C7D82C168BB36DEC103 at OwnerPC>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>        reply-type=original
>
> Vancouver
> http://vispo.com/dbcinema/vancouver
>
> If you use a Mac, you need to use Firefox for this. Requires the Shockwave
> plugin from http://vispo.com/sw .
>
> Click it when it seems to be finished. dbCinema will then paint the town in
> a different way. Usually clicking changes the nib and path of the brush
> (randomly). Sometimes it adds another brush or deletes a brush, if there
> are
> two. Occassionally the mouse controls the brush. Usually it clears the
> screen when you click; sometimes it changes brush type.
>
> What I've shown you previously, with dbCinema, are slideshows of images
> generated with dbCinema. This, however, is a Shockwave version of dbCinema
> itself. It downloads 100 images via a Google image search of "Vancouver".
>
> ja
> http://vispo.com
>
>
>
> ------------------------------
>
> Message: 6
> Date: Sun, 28 Feb 2010 02:04:59 -0800
> From: "Jim Andrews" <jim at vispo.com>
> Subject: [NetBehaviour] o and
> To: "NetBehaviour" <netbehaviour at netbehaviour.org>
> Message-ID: <EFB016F08D3A412A83BCD4EDC766EAD2 at OwnerPC>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>        reply-type=original
>
> ctrl+c clears the screen of 'vancouver' without changing the brushes or
> nibs
> or path.
>
> ja
>
>
>
> ------------------------------
>
> Message: 7
> Date: Sun, 28 Feb 2010 10:37:29 +0000
> From: "Simon Biggs" <s.biggs at eca.ac.uk>
> Subject: Re: [NetBehaviour] Vancouver
> To: "NetBehaviour for networked distributed creativity"
>        <netbehaviour at netbehaviour.org>
> Message-ID: <C7AFF7E9.25DE1%s.biggs at eca.ac.uk<C7AFF7E9.25DE1%25s.biggs at eca.ac.uk>
> >
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hi Jim
>
> Nice ? and it works in Safari on a Mac.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> s.biggs at eca.ac.uk  simon at littlepig.org.uk  Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> Research Professor  edinburgh college of art  http://www.eca.ac.uk/
> Creative Interdisciplinary Research into CoLlaborative Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and Innovation in Practice
> http://www.elmcip.net/
>
>
>
> From: Jim Andrews <jim at vispo.com>
> Reply-To: NetBehaviour for networked distributed creativity
> <netbehaviour at netbehaviour.org>
> Date: Sun, 28 Feb 2010 01:12:57 -0800
> To: NetBehaviour <netbehaviour at netbehaviour.org>
> Subject: [NetBehaviour] Vancouver
>
> Vancouver
> http://vispo.com/dbcinema/vancouver
>
> If you use a Mac, you need to use Firefox for this. Requires the Shockwave
> plugin from http://vispo.com/sw .
>
> Click it when it seems to be finished. dbCinema will then paint the town in
> a different way. Usually clicking changes the nib and path of the brush
> (randomly). Sometimes it adds another brush or deletes a brush, if there
> are
> two. Occassionally the mouse controls the brush. Usually it clears the
> screen when you click; sometimes it changes brush type.
>
> What I've shown you previously, with dbCinema, are slideshows of images
> generated with dbCinema. This, however, is a Shockwave version of dbCinema
> itself. It downloads 100 images via a Google image search of "Vancouver".
>
> ja
> http://vispo.com
>
> _______________________________________________
> NetBehaviour mailing list
> NetBehaviour at netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number
> SC009201
>
>
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> http://www.netbehaviour.org/pipermail/netbehaviour/attachments/20100228/c239024f/attachment.html
>
> ------------------------------
>
> Message: 8
> Date: Sun, 28 Feb 2010 03:00:50 -0800
> From: "Jim Andrews" <jim at vispo.com>
> Subject: Re: [NetBehaviour] Vancouver
> To: "NetBehaviour for networked distributed creativity"
>        <netbehaviour at netbehaviour.org>
> Message-ID: <40E2DCEFEAA34D84BF36A284220477D9 at OwnerPC>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>        reply-type=original
>
> thanks. on the macs i tested, it was very very slow on safari and crashed
> after a while. firefox was much quicker and it didn't crash at all.
>
> ja
>
> ----- Original Message -----
> From: "Simon Biggs" <s.biggs at eca.ac.uk>
> To: "NetBehaviour for networked distributed creativity"
> <netbehaviour at netbehaviour.org>
> Sent: Sunday, February 28, 2010 2:37 AM
> Subject: Re: [NetBehaviour] Vancouver
>
>
> Hi Jim
>
> Nice ? and it works in Safari on a Mac.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> s.biggs at eca.ac.uk  simon at littlepig.org.uk  Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> Research Professor  edinburgh college of art  http://www.eca.ac.uk/
> Creative Interdisciplinary Research into CoLlaborative Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and Innovation in Practice
> http://www.elmcip.net/
>
>
>
> From: Jim Andrews <jim at vispo.com>
> Reply-To: NetBehaviour for networked distributed creativity
> <netbehaviour at netbehaviour.org>
> Date: Sun, 28 Feb 2010 01:12:57 -0800
> To: NetBehaviour <netbehaviour at netbehaviour.org>
> Subject: [NetBehaviour] Vancouver
>
> Vancouver
> http://vispo.com/dbcinema/vancouver
>
> If you use a Mac, you need to use Firefox for this. Requires the Shockwave
> plugin from http://vispo.com/sw .
>
> Click it when it seems to be finished. dbCinema will then paint the town in
> a different way. Usually clicking changes the nib and path of the brush
> (randomly). Sometimes it adds another brush or deletes a brush, if there
> are
> two. Occassionally the mouse controls the brush. Usually it clears the
> screen when you click; sometimes it changes brush type.
>
> What I've shown you previously, with dbCinema, are slideshows of images
> generated with dbCinema. This, however, is a Shockwave version of dbCinema
> itself. It downloads 100 images via a Google image search of "Vancouver".
>
> ja
> http://vispo.com
>
> _______________________________________________
> NetBehaviour mailing list
> NetBehaviour at netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number
> SC009201
>
>
>
>
>
>
> --------------------------------------------------------------------------------
>
>
> > _______________________________________________
> > NetBehaviour mailing list
> > NetBehaviour at netbehaviour.org
> > http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
>
> ------------------------------
>
> Message: 9
> Date: Sun, 28 Feb 2010 12:03:23 +0100
> From: mail at noemata.net
> Subject: [NetBehaviour] The google search frequency tone*
> To: netbehaviour <netbehaviour at netbehaviour.org>,       Theory and Writing
>        <WRYTING-L at listserv.wvu.edu>, e <e at e-kunst.no>
> Message-ID:
>        <163f2b761002280303i639f6000s31227eae38f5dcc7 at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> http://noemata.net/ontheball/googlefreqtone.html
>
>
>
>
>
>
>
>
> * Based on an estimated 2 billion searches daily worldwide the google
> search frequency tone is around 23,000 Hz. That is, 23,000 searches
> are done each second on google, and if each search is rendered as an
> audible, small click these searches create a tone with 23,000 clicks
> per second as frequency. The human ear can hear frequencies between
> 20-20,000 Hz. What you hear are distortions arising from the frequency
> tone from processing and rendering in hardware and software. In
> reality you wouldn't hear anything. Dogs, cats, cows, horses, sheep,
> rabbits, rats, mice, hedgehogs, bats, beluga whales, and other animals
> could hear it though.
>
>
> ------------------------------
>
> Message: 10
> Date: Sun, 28 Feb 2010 11:19:46 +0000
> From: marc garrett <marc.garrett at furtherfield.org>
> Subject: [NetBehaviour] The Philosophy of Punk Rock Mathematics ?
>        Technoccult interviews Tom Henderson.
> To: NetBehaviour for networked distributed creativity
>        <netbehaviour at netbehaviour.org>
> Message-ID: <4B8A5152.9050505 at furtherfield.org>
> Content-Type: text/plain; charset=UTF-8; format=flowed
>
> The Philosophy of Punk Rock Mathematics ? Technoccult interviews Tom
> Henderson.
>
> Tom Henderson, aka Mathpunk on Twitter, is a mathematics lecturer at
> Portland State University and an improve comedian with the group The
> Light Finger Five. He edits mathpunk.net and is co-host of the podcast
> Math for Primates (with scientist and professional weightlifter Nick
> Horton). He received the Pandora Award (Bronze) from Chris DiBona, Open
> Source Program Manager for Google, for his participation in the game
> Superstruct.
>
> http://tinyurl.com/y9wavqw
>
>
> ------------------------------
>
> Message: 11
> Date: Sun, 28 Feb 2010 11:22:06 +0000
> From: info <info at furtherfield.org>
> Subject: [NetBehaviour] TAGallery 2007-2010, a project by CONT3XT.NET<http://cont3xt.net/>
> To: NetBehaviour for networked distributed creativity
>        <netbehaviour at netbehaviour.org>
> Message-ID: <4B8A51DE.4040400 at furtherfield.org>
> Content-Type: text/plain; charset=UTF-8; format=flowed
>
> TAGallery 2007-2010, a project by CONT3XT.NET <http://cont3xt.net/>
>
> ?Yet, what if a link turns into the representative of the artefact, the
> context and the exhibition at once?? ? This was TAGallery?s main
> question for three years from early 2007 until early 2010. The answer: a
> repository of 782 links to 680 artists and art-collectives, to 714
> artworks and projects and a huge number of keywords. This experimental
> online exhibition space, the idea of which was to extend the concept of
> a tagged exhibition and to transfer the main tasks of non-commercial
> exhibition-spaces to the discourse of an electronic data-space, is now
> closed. As a networked space TAGallery will be maintained as long as
> Delicious.com allows it. As a networked html-document including all
> collected links, contextual descriptions as well as tags and keywords it
> can be downloaded here. Many thanks to all participants in this
> experiment! We hope that everyone who reads these lines had some
> interesting moments with us? Sabine Hochrieser, Michael Kargl, Franz
> Thalmair CONT3XT.NET <http://cont3xt.net/>
>
> http://tagallery.cont3xt.net/
>
>
> ------------------------------
>
> Message: 12
> Date: Sun, 28 Feb 2010 11:26:39 +0000
> From: info <info at furtherfield.org>
> Subject: [NetBehaviour] Refresh . March 04?April 18, 2010
> To: NetBehaviour for networked distributed creativity
>        <netbehaviour at netbehaviour.org>
> Message-ID: <4B8A52EF.6040609 at furtherfield.org>
> Content-Type: text/plain; charset=UTF-8; format=flowed
>
> Refresh . March 04?April 18, 2010
>
> FOR IMMEDIATE RELEASE: February 22, 2010
> CHRISTINA RAY (formerly Glowlab) Announces Gallery Name Change and Group
> Exhibition Refresh.
> http://www.christinaray.com/pages/exhibitions-2010-refresh
>
> Glowlab founder and gallery Director Christina Ray changes the name of
> her gallery to CHRISTINA RAY. The gallery remains in its SoHo location
> with the same program and artists. The re-launch is celebrated with a
> group exhibition titled ?Refresh? opening March 04 with a reception on
> March 18.
>
> New York, NY ? February 22, 2010 ? Christina Ray, founder of the
> experimental gallery Glowlab, announces the re-launch of the gallery
> under her own name. The transition underscores Ray?s renewed commitment
> to contemporary art that examines the nature and psychology of the built
> environment. Refresh, the title of the first exhibition at CHRISTINA
> RAY, takes its name from the title of a work in the group show by artist
> Jim Ringley. Additional artists include Paloma Crousillat, Gregory
> Euclide, Pablo Helguera, Alice Jarry, Matthew Northridge and Jill
> Sylvia. The gallery remains at its current location at 30 Grand Street
> and the exhibition is on view March 04?April 18, with a public reception
> on Thursday, March 18, 7?9pm.
>
> Ray states, ?I?m thrilled to celebrate this moment in the growth of our
> program as we head into spring featuring new artists in the gallery and
> preparing to exhibit with the upcoming Pulse and Fountain art fairs. As
> we evolve, our mission remains to discover and present the most
> important contemporary artwork that explores the concept of
> psychogeography by re-imagining the relationships between people and
> places.?
>
> Artists featured in Refresh share a common interest in the boundaries
> between psychological and physical space. In the title piece of the
> exhibition, California artist Jim Ringley?s highway scene depicts a car
> racing away from the viewer. While the image appears to offer the hope
> of a quick escape into a promising future, the picture plane remains
> still beneath its effervescent surface. Paloma Crousillat similarly
> extends the viewer?s focus into a space of imagination with her
> hard-edged renderings of large-scale telescopes. Born in Lima, Peru and
> based in Brooklyn, Crousillat?s work is informed by the systems and
> frameworks of space, language and beliefs.
>
> Gregory Euclide, whose work will be exhibited for the first time at the
> gallery, is an artist and teacher living in the Twin Cities region of
> Minnesota. Knowledge gained in childhood of the complexity and
> interconnectedness of his rural environment grounds his appreciation for
> contemplative experiences in nature. Euclide?s three-dimensional works
> break through the flat surface of traditional landscape paintings and
> include media as diverse as cassette tapes, moss, ribbon and lead.
>
> Pablo Helguera, a New York-based artist working in installation,
> sculpture, photography, drawing, and performance presents work in
> collage that questions the cultural, historical and social relationships
> between reality and fiction. Helguera has exhibited and performed
> internationally, and notably in New York at the Brooklyn and Bronx
> Museums of Art, P.S.1 and El Museo del Barrio. Montreal artist Alice
> Jarry?s multi-layered silkscreen works on paper also hover on the border
> between landscape and imagination, where motifs and found archival
> images come together in a richly-textured series of dreamy, portentous
> compositions.
>
> Matthew Northridge and Jill Sylvia round out the list of artists in
> Refresh. Both artists are new to the gallery and will present works on
> paper along with sculptural installations. Northridge, whose work has
> been exhibited at museums including the New Museum of Contemporary Art,
> the Brooklyn Museum of Art and the National Academy Museum, presents two
> new pieces incorporating maps that examine scale, compression and rules
> governing spatial systems. His work has recently been acquired by the
> Hirshhorn Museum. San Francisco-based artist Sylvia uses a drafting
> knife to painstakingly remove the cells of traditional ledger paper,
> leaving behind a delicate lattice expressing time and the futility of
> labor. The flat, empty grids turn three-dimensional as the artist
> re-organizes them into spatial constructions in which the notion of
> value confronts the void.
>
> CHRISTINA RAY is an innovative gallery and creative catalyst in New York
> whose mission, grounded by the concept of psychogeography, is to
> discover and present the most important contemporary artwork exploring
> the relationship between people and places.
>
> Contact: Christina Ray, Gallery Director
> Phone: 212.334.0204 . Email: info @ christinaray.com
> Exhibition dates: March 04-April 18 . Reception for the Artists:
> Thursday, March 18, 7-9pm (attendance is free)
> Gallery hours: Wednesday-Sunday, 12-6pm (Tuesdays by appointment)
> Location: 30 Grand Street, Ground Floor, between Thompson Street and 6th
> Avenue
>
>
> ------------------------------
>
> Message: 13
> Date: Sun, 28 Feb 2010 11:32:31 +0000
> From: info <info at furtherfield.org>
> Subject: [NetBehaviour] Staging Citizenship: Performance, Politics,
>        and Cultural Rights
> To: NetBehaviour for networked distributed creativity
>        <netbehaviour at netbehaviour.org>
> Message-ID: <4B8A544F.7040902 at furtherfield.org>
> Content-Type: text/plain; charset=UTF-8; format=flowed
>
> Staging Citizenship: Performance, Politics, and Cultural Rights
>
> es?s Mart?n Barbero | Colombia
> http://hemisphericinstitute.org/hemi/en/e-misferica-62/martin-barbero
>
> Politics has been theatrical performance since its origins, as Richard
> Sennet reminds us when he writes that the polis space in the Agora was a
> place where people gathered to exchange opinions and relish in debate.
> That is why Staging Citizenship, the name of this Hemispheric Institute
> Encuentro given by its organizers in Colombia, is so provocative and
> performative: citizenship exists only insofar as it is enacted, and its
> emerging figures have to do with empowerment strategies, exercised in
> and from the cultural sphere. What the new social, ethnic, gender, gay
> and lesbian, religious or ecological movements demand is not only
> ideological representation but also socio-cultural recognition. They
> seek to become visible in their difference as citizens. This opens up a
> new mode for the political exercise of their rights, since this new
> visibility catalyzes the emergence of new political subjects. This was
> the subject visualized by feminism when it subverted the Left's profound
> machismo with its slogan: ?the personal is political!? which came to
> embody both a sense of injury and victimization and a sense of
> recognition and empowerment.
>
> The visibility of the Other?and every difference is an opportunity for
> dominance in a class-based society?together with the diversity of each
> contested identity today (contested not only in relation to other
> identities but in relation to itself) is a constitutive part of the
> recognition of rights. This is expressed in the phonetic similarity and
> semantic articulation of visibilidad (visibility) and veedur?as
> (community oversight committees): those practices of investigation and
> intervention by citizens in the public sphere. According to Charles
> Taylor, the notion of recognition is played out in the distinction
> between traditional ?honor? as a hierarchical concept and principle, and
> modern ?dignity? as an egalitarian principle. Identity is not, then,
> what is attributed to someone by simply belonging to a group, but rather
> the narration of what gives meaning and value to the life and identities
> of individuals and groups. What the notions of diversity and
> interculturality mobilize today is the breakdown of a political
> institutionality unable to extend cultural rights to all sectors of the
> population, be they women or ethnic minorities, evangelicals or
> homosexuals. In regards to the citizenship of "modern man," which was
> conceptualized and exercised above and beyond gender, ethnic, racial, or
> age differences, democracy today needs a cultural mutation that enables
> it to handle a heterogeneity that is as constitutive of citizenship as
> it is constitutive of the State. This is the only way we will escape the
> illusory quest for the reincorporation of alterity into some unified
> whole, be it nation, political party, or religion. Citizenship rights,
> those rights exercised today by the different cultural communities that
> constitute a nation, will then take center stage. This is the new value
> that attributes the human universality of rights to the specificity of
> its very diverse modes of perception and expression.
>
>
> ------------------------------
>
> Message: 14
> Date: Sun, 28 Feb 2010 11:33:43 +0000
> From: info <info at furtherfield.org>
> Subject: [NetBehaviour] PROJECT ALPHaALPHA
> To: NetBehaviour for networked distributed creativity
>        <netbehaviour at netbehaviour.org>
> Message-ID: <4B8A5497.8010409 at furtherfield.org>
> Content-Type: text/plain; charset=UTF-8; format=flowed
>
>  *PROJECT ALPHaALPHA:*
>
> The project is almost complete! We have already 365 letters A on line,
> one A for each day of the year!
> Next week I will send you the index page and the complete AlphaAlpha!
>
> THANK YOU VERY MUCH!
>
>
> NEW PAGES:
>
>
>
>
> http://arteonline.arq.br/a/a_quarone.html  (Paulo Aquarone - Brazil)
>
> http://arteonline.arq.br/a/steve_d_a_lachinsky.html (Steve Dalachinsky -
> USA)
>
> http://arteonline.arq.br/a/steve_d_a_lachinsky2.html (Steve Dalachinsky
> - USA)
>
> http://arteonline.arq.br/a/keppler.html (Roberto Keppler - Brazil)
>
> http://arteonline.arq.br/a/a_yuko_otomo (Yuko Otomo - USA)
>
> http://arteonline.arq.br/a/cinco.html (Regina Pinto - Brazil)
>
>
> COMING SOON:
>
> THE LEAP YEAR> Joes?r Alvarez - Brazil
>
>
> WHICH MORE PAGES ARE READY?
>
>
> http://arteonline.arq.br/a/bruce_a_ndrews.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/bruce_a_ndrews.html>
> (Bruce Andrews - USA)
>
> http://arteonline.arq.br/a/a_ndrews.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/a_ndrews.html>
> (Jim Andrews - Canada)
>
> http://arteonline.arq.br/a/a_randa_yto.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/a_randa_yto.html>
> (Isabel Aranda - YTO - Chile)
>
> http://arteonline.arq.br/a/i_a_rvers.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/i_a_rvers.html>
> (Isabelle Arvers - France)
>
> http://arteonline.arq.br/a/b_a_bel.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/b_a_bel.html>
>  (babel - Canada & UK)
>
> http://arteonline.arq.br/a/ver_a_bighetti.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/ver_a_bighetti.html>
> (Vera Bighetti - Brazil)
>
> http://arteonline.arq.br/a/bruno_a.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/bruno_a.html>
>  (Bruno - Brazil)
>
> http://arteonline.arq.br/a/p_a_trick_burgaud.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/p_a_trick_burgaud.html>
> (Patrick Burgaud - France)
>
> http://arteonline.arq.br/a/p_a_trick_burgaud1.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/p_a_trick_burgaud1.html>
> (Patrick Burgaud - France)
>
> http://arteonline.arq.br/a/a_de_mar_josely.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/a_de_mar_josely.html>
> (Josely Carvalho - Brazil)
>
> http://arteonline.arq.br/a/m_a_rtha_deed.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/m_a_rtha_deed.html>
>  (Martha Deed - USA)
>
> http://arteonline.arq.br/a/r_fr_a_nco.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/r_fr_a_nco.html>
> (Rodolfo Franco - Brazil / Spain)
>
> http://arteonline.arq.br/a/fr_a_zao.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/fr_a_zao.html>
> (Marcelo Fraz?o - Brazil)
>
> http://arteonline.arq.br/a/muriel_freg_a.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/muriel_freg_a.html>
> (Muriel Frega - Argentina)
>
> http://arteonline.arq.br/a/lis_a_hutton.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/lis_a_hutton.html>
> (Lisa Hutton - USA)
>
> http://arteonline.arq.br/a/s_a_tu.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/s_a_tu.html>
> (Satu KaikKonen - Finland)
>
> http://arteonline.arq.br/a/m_a_j_a.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/m_a_j_a.html>
>  (Maja Kalogera - Croacia)
>
> http://arteonline.arq.br/a/m_a_nik.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/m_a_nik.html>
>  (Manik - Serbia)
>
> http://arteonline.arq.br/a/neufeldt_a.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/neufeldt_a.html>
> (Brigitte Neufeudt - Germany)
>
> http://arteonline.arq.br/a/niss_a.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/niss_a.html>
> (Millie Niss - USA)
>
> http://arteonline.arq.br/a/p_a_din.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/p_a_din.html>
> (Clemente Pad?n - Uruguay)
>
> http://arteonline.arq.br/a/m_a_rgaret_penfold.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/m_a_rgaret_penfold.html>
> (Margaret Penfold - UK)
>
> http://arteonline.arq.br/a/edw_a_rd_picot.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/edw_a_rd_picot.html>
> (Edward Picot - UK)
>
> http://arteonline.arq.br/a/is_a_bel_saij.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/is_a_bel_saij.html>
> (Isabel Saij - France)
>
> http://arteonline.arq.br/a/is_a_bel_saij2.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/is_a_bel_saij2.html>
> (Isabel Saij - France)
>
> http://arteonline.arq.br/a/a_sechi.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/a_sechi.html>
> (Jos? Roberto Sechi - Brazil)
>
> http://arteonline.arq.br/a/reiner_a.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/reiner_a.html>
> (Reiner Strasser - Germany)
>
> http://arteonline.arq.br/a/a_jtwine.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/a_jtwine.html>
> (Jurges Trautwein - USA)
>
> http://arteonline.arq.br/a/myron_turner_a.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/myron_turner_a.html>
> (Myron Turner - Canada)
>
> http://arteonline.arq.br/a/sus_a_n_turner.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/sus_a_n_turner.html>
> (Susan Turner - Canada)
>
> http://arteonline.arq.br/a/villel_a.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/villel_a.html>
> (Paulo Villela - Brazil)
>
> http://arteonline.arq.br/a/a_zenon.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/a_zenon.html>
> (Miguel Jimenez/Zenon - Spain)
>
> http://arteonline.arq.br/a/a_raceli_zunig_a.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/a_raceli_zunig_a.html>
> (Araceli Zu?iga- Mexico)
>
>
>
> My OWN PAGES:
>
>
> http://arteonline.arq.br/a/um.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/um.html>
> (Regina Pinto - Brazil)
>
> http://arteonline.arq.br/a/dois.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/dois.html>
> (Regina Pinto - Brazil)
>
> http://arteonline.arq.br/a/tres.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/tres.html>
> (Regina Pinto - Brazil)
>
> http://arteonline.arq.br/a/quatro.html
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/a/quatro.html>
> (Regina Pinto- Brazil)
>
>
> =================
>
> Regina Pinto aka pintor
>
> http://arteonline.arq.br
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://arteonline.arq.br/>
> http://pintor.tumblr.com
> <mhtml:%7BE4620AA1-9A02-457B-A877-7EE8373B5569%7Dmid://00000083/%21x-usc:
> http://pintor.tumblr.com/>
>
>
>
> ------------------------------
>
> Message: 15
> Date: Sun, 28 Feb 2010 11:39:12 +0000
> From: "Simon Biggs" <s.biggs at eca.ac.uk>
> Subject: [NetBehaviour] Predictive text
> To: "NetBehaviour for networked distributed creativity"
>        <netbehaviour at netbehaviour.org>
> Message-ID: <C7B00660.25DE6%s.biggs at eca.ac.uk<C7B00660.25DE6%25s.biggs at eca.ac.uk>
> >
> Content-Type: text/plain; charset="iso-8859-1"
>
> OK, so this has nothing to do with Vancouver or the Olympics. However, it?s
> new and does involve Shockwave (how many people still use this?).
>
> http://hosted.simonbiggs.easynet.co.uk/predictor/index.htm
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> s.biggs at eca.ac.uk  simon at littlepig.org.uk  Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> Research Professor  edinburgh college of art  http://www.eca.ac.uk/
> Creative Interdisciplinary Research into CoLlaborative Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and Innovation in Practice
> http://www.elmcip.net/
>
>
>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number
> SC009201
>
>
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>
> ------------------------------
>
> Message: 16
> Date: Sun, 28 Feb 2010 11:41:17 +0000
> From: "Simon Biggs" <s.biggs at eca.ac.uk>
> Subject: Re: [NetBehaviour] Vancouver
> To: "NetBehaviour for networked distributed creativity"
>        <netbehaviour at netbehaviour.org>
> Message-ID: <C7B006DD.25DF0%s.biggs at eca.ac.uk<C7B006DD.25DF0%25s.biggs at eca.ac.uk>
> >
> Content-Type: text/plain; charset="iso-8859-1"
>
> I?m using a 3.1 GHz Core 2 Duo Macbook Pro with 4 Gig RAM and OS 10.6.2.
> Fast and no crashes.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> s.biggs at eca.ac.uk  simon at littlepig.org.uk  Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> Research Professor  edinburgh college of art  http://www.eca.ac.uk/
> Creative Interdisciplinary Research into CoLlaborative Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and Innovation in Practice
> http://www.elmcip.net/
>
>
>
> From: Jim Andrews <jim at vispo.com>
> Reply-To: NetBehaviour for networked distributed creativity
> <netbehaviour at netbehaviour.org>
> Date: Sun, 28 Feb 2010 03:00:50 -0800
> To: NetBehaviour for networked distributed creativity
> <netbehaviour at netbehaviour.org>
> Subject: Re: [NetBehaviour] Vancouver
>
> thanks. on the macs i tested, it was very very slow on safari and crashed
> after a while. firefox was much quicker and it didn't crash at all.
>
> ja
>
> ----- Original Message -----
> From: "Simon Biggs" <s.biggs at eca.ac.uk>
> To: "NetBehaviour for networked distributed creativity"
> <netbehaviour at netbehaviour.org>
> Sent: Sunday, February 28, 2010 2:37 AM
> Subject: Re: [NetBehaviour] Vancouver
>
>
> Hi Jim
>
> Nice ? and it works in Safari on a Mac.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> s.biggs at eca.ac.uk  simon at littlepig.org.uk  Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> Research Professor  edinburgh college of art  http://www.eca.ac.uk/
> Creative Interdisciplinary Research into CoLlaborative Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and Innovation in Practice
> http://www.elmcip.net/
>
>
>
> From: Jim Andrews <jim at vispo.com>
> Reply-To: NetBehaviour for networked distributed creativity
> <netbehaviour at netbehaviour.org>
> Date: Sun, 28 Feb 2010 01:12:57 -0800
> To: NetBehaviour <netbehaviour at netbehaviour.org>
> Subject: [NetBehaviour] Vancouver
>
> Vancouver
> http://vispo.com/dbcinema/vancouver
>
> If you use a Mac, you need to use Firefox for this. Requires the Shockwave
> plugin from http://vispo.com/sw .
>
> Click it when it seems to be finished. dbCinema will then paint the town in
> a different way. Usually clicking changes the nib and path of the brush
> (randomly). Sometimes it adds another brush or deletes a brush, if there
> are
> two. Occassionally the mouse controls the brush. Usually it clears the
> screen when you click; sometimes it changes brush type.
>
> What I've shown you previously, with dbCinema, are slideshows of images
> generated with dbCinema. This, however, is a Shockwave version of dbCinema
> itself. It downloads 100 images via a Google image search of "Vancouver".
>
> ja
> http://vispo.com
>
> _______________________________________________
> NetBehaviour mailing list
> NetBehaviour at netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number
> SC009201
>
>
>
>
>
>
> ----------------------------------------------------------------------------
> ----
>
>
> > _______________________________________________
> > NetBehaviour mailing list
> > NetBehaviour at netbehaviour.org
> > http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
> _______________________________________________
> NetBehaviour mailing list
> NetBehaviour at netbehaviour.org
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>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number
> SC009201
>
>
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> End of NetBehaviour Digest, Vol 483, Issue 1
> ********************************************
>



-- 
Betty Martins
+44 (0) 7891843701
www.bettymartins.com
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