nettime_announcer on Tue, 21 Mar 2000 23:19:52 +0100 (CET)

[Date Prev] [Date Next] [Thread Prev] [Thread Next] [Date Index] [Thread Index]

<nettime> announcer 00.12 [a]

                                                                   - - - - - - -
                                                                   | 0 0 . 1 2 |
                                                                   - - - - - - -
                                                   <nettime> announcer   |  a <<
                                                                         |  b
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - |  c
                                                                         - - - -
              : live travel!ng z!rkuz   | 0 1 |
                                                                         - - - -
      Yvonne Volkart <> : announcer/tenacity exhibit   | 0 2 |
                                                                         - - - -
  richard barbrook <> : N01SE Cybersalon 21/3/00   | 0 3 |
                                                                         - - - -
           Dooley Le Cappellaine <> : New Site   | 0 4 |
                                                                         - - - -
            : unsearch the web NOW!   | 0 5 |
                                                                         - - - -
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - |
                                delivered each weekend into your inbox   |

                                                                         - - - -
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 0 1 |
                                                                         - - - -

>NERVE THEORY:  "Shades of Catatonia"
>Bernhard Loibner and Tom Sherman perform live in Syracuse, Troy, and
>New York, New York...
>March 25th         Syracuse University, School of Art and Design,
>Saturday 3pm       workshop/performance, Shemin Auditorium,
>                   Shaffer Art Building, Syracuse, New York,
>                   for information contact: 315-443-1033
>March 29th         Rensselaer Polytechnic Institute, Dept. of the Arts,
>Wednesday 8pm      School of Architecture, Green Gallery, Troy, New York,
>                   contact: 518-276-4829
>April 1st          Void (in Soho), 16 Mercer Street (at Howard Street),
>Saturday 8-10pm    New York, New York, contact: 212-941-6492
>Nerve Theory's "Shades of Catatonia" is a scorching critique of today's
>24X7 commercial culture,

do tell.

Bernhard Loibner and Tom Sherman = korporat neo naz! f!lth utenz!lz++

do tell.

Bernhard Loibner and Tom Sherman = korporat neo naz! f!lth utenz!lz++

"<<bernhard loibner>>" zkr!b!z

>"Theory Music" is a collection of sound works by Bernhard Loibner. These
>works were created originally for Kunstradio, a weekly radio art program
>on the Austrian Broadcasting Corporation, and for other related network
>projects. "Theory Music" was released on CD as part of Edition
>Kunstradio in February 2000. The on-line version is available at:
> .


    Netochka Nezvanova  :  refuszd komm!ss!onz \ !nv!tat!onz
    farmerz manual. schoemer haus. cagl!ar! ea soc. orf kunst rad!o.
    ultra korporat fazc!st organ!zat!e v2 amsterdam.leonardo music journal.
    teleportaz!a.!kk  + etc + etc + etc


     kompare ma! output of korporat fasc!zt male elemnt - Bernhard Loibner
     avec Netochka Nezvanova zplend!d osc!laz!onz

     = belou !ntakt plz f!nd Bernhard Loibner.z korporat fasc!zt zkema

     = thuz ma! plz 4mulat 0+1 prznl konztataz!e pozt 0+1 met!kulouz anal!z!z
       apropoz konglomerat zerfz ++

c!ao. nn.

_||- konglomeratz != kompet.
     0+1 kompend!um ov korporat \\ male fasc!zt refusz

--------------    | |

the . science . of . noise

- the precise construction/restructuring of noise in an environment inhabited by
representation, relativization and allusion enables the analysis of the constant
barrage of generated noise interpolated abstract and vocal social commentary. If
the decisive level of social analysisis in language then this is highly
indicative of the move of the higher societies toward digitization. A collapse
of unification through multiplicity, KROP3ROM||A9FF is an exponent of opposing
ideals, of postmodern artistic and political thought.

KROP3ROM||A9FF is a language game. However the rules are either entirely
non-existent or require a constant updating of intellectual and social systems
knowledge. Most certainly, the positions of speaker (the music itself), the
listener and referent of information (in this context information replaces the
narrative element) create a relation of mutual exteriority.  A cohesive
communicative vehicle it is not, where as a form, or structure within which a
communicative discourse can take place, it excels if the listener is competent.
This work is unavoidably incoherent to the ill-informed.

Here, the discursive temporality is circular, not linear like most scientific
discourse, and like most [repetition teaches humans] complicated musical forms
only upon repeated listening is the information relayed with any clarity. In
this context the work takes on credibility as a commentary on social forces (the
darker nature of much of its length suggests condemnation and support of fascist
values) and scientific language (where it plays its own game - it is incapable,
like science, of legitimizing other language games).

The status of legitimization takes on two tendencies, each of which appear to
extend in conflicting directions. First, it develops its own self justification
with its internal imagery and compositional techniques of unification through
thematic structures (rhythmically and referentially), confirming its musical
cohesion. Secondly, science (the science of computer music, of social
commentary, of politics and economy) expands its relation to society, or the
instrumentality of society. Computerization enables both these opposing
tendencies and Kroperom is circular in its internal referentiality.

The theory of computerization has provided a model for the system control that
equates contingency with noise. The ideal: to eliminate contingency and maximize
control by the system. The elimination of contingency here points to the
reprezentationality in KROP3ROM||A9FF of social currency. Perhaps most relevant
is the appearance of a sample of the system control machine Alpha60 from
Godard's Alphville. The control of society by a mainframe computer and its
inevitable faults made only apparent with the arrival of a man from an outside
'democratic' society. Like the multiplication of sites of power and resistance
on the .net and currents in modern politics and economic management, there seems
an effort to complicate the social and extricate it from the theoretical
clutches of analytic and dialectic reason. KROP3ROM||A9FF redefines noise
structure as a locus of contingency, absence of subject and linguistic

This work exemplifies certain issues brought about due to the emergence of
computerization. A powerful discourse in systems management, as complicated and
formulaic as Hesse's Glass Bead Game, and probably as vague. Though it may
express the foundational theme: that our existence is becoming increasingly
characterized by machines, it challenges the instability of digitization while
remaining within the set itself. A degree in higher mathematics would be
desirable to fully comprehend the chaotic structures of KROP3ROM||A9FF. The
macro points to frameworks similar to fractal patterns, demonstrating order and
presence of pattern in apparently irregular systems.

In KROP3ROM||A9FF there is no centered subject directing the listener through a
narrative, more a multidimensional logic of deleuzian strata and assemblages,
recalling the disfunctionality of concept and subject. Is KROP3ROM||A9FF the
disciplined consciousness of a scientist or social theorist? The highly
developed non-linearity contextualizes the binary logic of the current systems
as weak, proclaiming an anti-authoritarian stance. Clearly acknowledging the
intertextuality that constitutes social and musical structures as a
proliferation of linguistic instability giving rise to increasingly
unintelligible tendencies, KROP3ROM||A9FF is a radical non-centered work
mitigating the suspect notion of freedom as the flux of desire.

0+002 -

_____...___.____ 0f0003.m2zk!n3nkunzt_|-art!kl nummer 0+28.

detektion of onset + offset asynchrony in multikomponent komplexes.
diskriminating standard stimulus from signal stimulus
audibility as crisis and kommodification in sine.x


dze no!sz ztruktur as system degraded to an abstract totality inspired by the
urge to actualize itself as it arrives into tension with other its audibility as
subject, acquires urgency evoked by experience \ stored data \ memory module its
central impulses mobilized by the objective tendencies of the crisis itself.

accelerating along 0+1 hyperbolic path the system resists delimitation in an
obscure anti-synthesis force of will. as consequence of audibility the audible
gains awareness of self-internal structure, self-habitation. its actualization -
its loss of maschinik autonomy, incurs an internal dialectic: retain
self-alienation, experience internal kommodities simultaneously with event,
whilst regarded as an external structure engaged in recursive reflection.

its impulses manifested in exterior structures it is alienated under a regime of
ownership its becoming audible becomes a means of production. the
industrialization of audibility kommodified - the relationship between labor of
production and the event comprehends the self-generation of linear audibility as
process, the objektivisation as generation of a confronting object as alienation
of the event to the process [ kapitilization ] and the resolution of this

actualization alone permits comprehension of the essence of production and the
objective event: an actual becoming of entity - the result of its process of

as an existing event, in an effort to preserve self-experience it defines
self-author of self-development. if the process of audibility is interpreted as
the experiential basis of the kommodification of a self-generation process it
eventuates that recognition of the self at stages of production permits the
resolution of the alienation of temporal existence. critical insight into the
dialectic of alienated production and kommodification attains practical efficacy
within the system, arising out of the objective krisis complex.

dze no!sz ztruktur as one kommodified system of recursive discourse impedes
examination as a konsummate territorialized product. internal events engaged in
non-deterministik circulation, insist on non-fixity of form.  consequently the
system's architecture may be generalized only as embracing   [relays] the means
of production rezultant of the means of production - it is a massless object, an
abstrakt maschine capable of accelerating endlessly, its capacity directly
dependent upon the practical appropriation of internal events which are measured
in accordance to their relations in discourse. the value of the commodity is
subsequently analyzed in terms of explanations of event relationships as
utilized in temporal audible space.


d!fferent!al d.ka! on 0+1 dezolate plane ov debr!z
ccccellofane spasz
!nhab!td w!th !mmater!al 4rmz enkloz!ng
komplecx !nternl referentz
ccccel-konzeptual!szd 4mat!onz dzat =
flatl! abrogate object!v anal!s!z


relat!v!zt!kc effektz bg!n zett!ng !n


alternat!v h!ztor!ez + parallel un!versez

- art!kl nummer 0+28. anti[KźM]

     0\   zve!te[z]!ztem


ma!ntenant - dze !mpotent m9nd akt!v!t! ov
korporat fasc!zt male elemnt Bernhard Loibner.

>"Theory Music" is comprised of sonic treatments of texts spoken by their
>authors, and of found voice material from radio and other sources. The
>voices were chosen first, the musical compositions were built around
>this material. I used various strategies to make the speech musical.
>The title describes what this project is about--that is the fusion of
>'theory' and 'music'. In the tracks of this CD, these normally discrete
>entities work with, within and against each other. After more than 4
>years of work with these voices and sounds it has become impossible for
>me to distinguish between the 'theory' and the 'music' within these
>tracks. This blurring of normally separate domains was one of the goals
>of the project.
>The placement of the word 'theory' in front of 'music' should be read as
>a sign that music, despite its abstract nature, can and does reflect
>certain political, social or economic issues. This is certainly the case
>for electronic or digital music, which deals necessarily and elastically
>with the frenzy of constantly evolving hardware and software.
>During the course of this project's development, it has become
>increasingly obvious that the emerging, maturing techno-culture has
>defined itself as an ideology-free zone. "Theory Music" exists in the
>divide between a fun-loving culture (as understood by those who live it)
>and the reflections of a somewhat distant intellectual community that
>writes volumes of essays attempting to interpret this cultural
>phenomenon. My own work oscillates between these poles. I am fascinated
>by the beats of the techno-culture but feel the need for observation and
>analysis of this culture's substance. There is no better demonstration
>of the rapid, massive change caused by new technologies in our
>increasingly disintegrated societies. This music, my choice of sonic
>modifications--the techniques I use to manipulate the source
>material--delivers thoughts about this culture.
>Consumption seems to be the common denominator in this disjointed world.
>This is certainly true for a techno-culture being commercialized at
>breath-taking speed.  What began as just an expression of a 'moderately'
>different way of life has quickly ended up being the marching orders for
>various techno 'parades'. The ideology-free zone gets stuffed with
>products which ideally exist within a certain "semantic fuzziness
>between its slogan and the projected image" (1), amplified by a
>marketing cult which leads to a "quasi religious devotion to certain
>products or product groups" (2).
>Jaques Attali shows (3) that tracing the social and economic status of
>music through history enables us to observe general changes that develop
>in other parts of society later on. Mass production; the decreasing
>significance of a product itself in favor of distribution and marketing;
>the transformation of counter- and protest culture into mass culture;
>the metamorphosis of cultural diversity into easy-to-consume uniformity:
>the music and entertainment industry has shown us the way...
>In the emerging digital economy, music is again the avant garde. Since
>the introduction of the Compact Disk in the early 1980's, music has been
>more purely digital than any other commodity. It is no surprise that
>music is the test pilot for the new forms of on-line distribution and
>"Theory Music" is not designed to render a consistent, analytical
>picture of these complex socio-economic changes. It is a stack of
>descriptions from different worlds, writing and speaking, and sound and
>music. It is a dialogue between modes of perception and nodes of
>communication. In this era of mediated culture the contemporary artist
>has an essential role to play, as an observer, commentator and
>transformer. It is always important to pay attention to how artists
>respond to new technologies, to listen to what they say when they deal
>with change, to watch how they sometimes retreat into traditional
>territory, and how they claim new media as their field of operation.
>This is what "Theory Music" is about.
>(1) Robert Adrian, The Real Thing, in "Medienkultur", Memesis - Die
>Zukunft der Evolution, Ars Electronica 1996
>(2) Norbert Bolz, Die Sinngesellschaft, Econ Verlag
>(3) Jacques Attali, Noise - The Political Economy of Music, University
>of Minnesota Pres

                                                                         - - - -
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 0 2 |
                                                                         - - - -

For Immediate Release
February 2000

Tenacity: Cultural Practices in the Age of Information and Biotechnology
March 24 to May 13, 2000
Ursula Biemann, Zürich; Bureau of Inverse Technology; Ricardo Dominguez, New
York; Marina Gržinic and Aina Šmid, Ljubljana, Slovenia; Natalie Jeremijenko,
NY, Kristin Lucas, NY; Diane Ludin, NY; Jenny Marketou, NY; Jennifer and Kevin
McCoy, NY; Francesca da Rimini and Michael Grimm, Adelaide, Australia; ®™ark,
USA; Cornelia Sollfrank, Hamburg.
Curated by Yvonne Volkart
Opening: Friday March 24, 6-8 pm with webcast, Involuntary Reception,
by Kristin Lucas 7 pm
Curator's/artists' tour: Saturday March 25, 1 pm
Conference: Saturday March 25, 2 pm

Information, communication, and biotechnology play an increasingly important
role in the globalizing society of the changing century. Beyond simplistic
technodeterminism, there are good reasons to recognize that these technologies
influence our ideas of subjectivity, agency and politics. This process is linked
to the culturalization of economic interests — among other things. In this
context, the arts, as a field of the visual, hold an important and active place
in our increasingly visualized society, be it in an affirmative or a critical

Tenacity wants to examine how art strategies and esthetics interfere in the
universalism of technologies, asking how artists can be users while at the same
time opposing the ideologies provided by these technologies. Beyond a simple
criticism of hegemonic ideas of art and technologies, the Tenacity participants
engage in producing alternative esthetics and omitted subject matters. They
assert that digital media, new technologies and virtual realities don't abolish
the embodiment of knowledge, criticism, and resistance. In so far as art is
always an embodiment of ideas and a realization of imaginative and utopian
moments, it has a crucial function in tenaciously insisting on the materiality
of actual bodies and their contexts. Reflecting the importance of identity and
agency in a networked context, many artists focus on the figuration of net
personae with a wide range of psychic and political dimensions. Cyborgs,
monsters, nomads, bots, lurkers and hackers cross the multi-layered space.

The Tenacity participants have been involved in an engaged digital media
discourse for years and are among the best-regarded artists in the new media
scene. The exhibition will establish a display specific to their critical
reflections on new media and new technologies focusing beyond the visual into
the acoustic. As an embodied virtual space, the gallery provides the temporary
and symbolic location, where tenacious agents and images gather and move in a
kind of high-speed, virtualized acoustic and visual space.

—Yvonne Volkart

Ursula Biemann (Zürich) perceives the Internet as a space of textualized
desires, disembodied sexuality, and commercialized gender relationships.
Biemann’s new video, Writing Desire, researches two related phenomena: listings
for mail-order brides offered on the Internet, and the increasing number of
people who develop on-line romantic relationships.

Bureau of Inverse Technology are self-described as an international bureaucracy
for the Information Age. Their public profile emulates multinational
corporations such as The Walt Disney Company, but to very different ends: with
The HalfLife Ratio, part of the Bitsperm Bank ™, they compare the different
market values of sperm and ovum to illustrate how traditional gender-based
inequities are reproduced in the high-tech marketing of reproductive tissue.

Ricardo Dominguez (New York) is a co-founder of the Electronic Disturbance
Theater, which invents playful and spectacular forms of virtual resistance,
stemming from a concern for the relative autonomy of the subject in cultural,
political, and social contexts. Through his performance, Mayan Technology for
the People: A Zapatista haiku on the question of technology and the politics of
intervention, Dominguez will provide a hacker’s glimpse into the military

Marina Gržinic and Aina Šmid (Ljubljana) produce videos and technology-based
projects that examine the “Communist subject” and its representations. Gržinic
and Šmid illustrate that new technologies are not ideologically neutral, but
instead reflect Western concepts of “freedom.” They question what it means for
people who have been shaped by Communist societies to appropriate these
predefined new media.

Natalie Jeremijenko (New York) uses technological products to explore social
imagery. In Touch synthesized human skin is employed as portraits of the
idiomatic categories used in medical research tests, such as Non-Smoking, post
menopausal, female. The material is synthetically biological and human, yet
stripped of its body it is drawn into cultural, social, and political
discussions of identity and representation.

Kristin Lucas (New York) will show her latest video in which she performs as a
young woman who discharges an enormous electromagnetic pulse field. This E.P.F.
prohibits her from watching television or using cellular telephones, as she jams
the frequencies at which both radio and television signals are broadcast,
meanwhile she can read minds and pick-up police radio transmissions. The CIA,
FBI, FCC, and IRS all have her under constant surveillance, although they are
unable to document her activities on tape. This fictional cyborg woman is the
hybrid offspring of our data world. At the Tenacity opening, Lucas will transmit
Involuntary Reception, a pirate radio webcast.

Diane Ludin (New York) has collaborated with Francesca da Rimini (see below) and
Agnese Trocchi (Rome) to develop a network installation entitled Identity
Runners: Re-Flesh the Body, which is constructed from multiple scenes based on
digital myths developed by each of the artists. Ludin, da Rimini, and Trocchi
propose new forms of identity more appropriate to the ‘post-human’ age of

Jenny Marketou (Greece/New York) developed a net-running bot software persona,
an artificially intelligent agent, which gains unauthorized access to chat rooms
and ‘CU SEE ME’ teleconferencing environment servers. Viewers are able to
participate in a real-time ‘lurking’ experience as they identify with the
intelligent agent, while at the same time the definition of their own identity,
as well as the identity of the subjects they meet in virtual space, becomes

Jennifer and Kevin McCoy (New York) present two pieces: a special high-speed
acoustic environment, which is a real-time audio collage derived from the other
artists’ pieces in the exhibition. In their second piece, they sample visual
material from the Internet, which they detect as being representative of the
increasing commercialization of the web.

Francesca da Rimini (Adelaide) was previously a member of VNS Matrix, a
cyber-feminist group. In Tenacity, she will present dollspace, whose
protagonist, doll yoko, is a murdered female body, a ghost with monstrous
desires and dark fantasies. Da Rimini shows that the Internet is a space of
phantasms where both positive and negative representations of female identity
can be experienced. Soundtrack for Dollspace, soundtrack for an empty dollspace,
created by Michael Grimm (Adelaide).

®™ark (New York) proclaim, “As ordinary corporations are solely and entirely
machines to increase their shareholders' wealth (often to the detriment of
culture and life) so ®™ark is a machine to improve its shareholders' culture and
life (sometimes to the detriment of corporate wealth).” Previously engaged in
anti-World Trade Organization interventions, ®™ark seek to explore playful means
of on-line resistance.

Cornelia Sollfrank’s (Hamburg) contribution to the exhibition, Unauthorized
Access, makes available her research on the topic of women hackers. The few
known women hackers not only gain unauthorized access to restricted sectors of
the Internet, but also intrude upon a male-dominated province. Included in this
project will be Sollfrank’s videotaped interview with hacker Clara G. Sopht, who
specializes in Distributed Denial of Service attacks, which is to remotely
disable computers by flooding them with more information than they are able to

Conference: Saturday March 25, 2000
“Stubborn Practices” in the Age of Information and Biotechnology
with the artists and invited guest speakers

2 pm:   Introduction: Yvonne Volkart, curator
• Performance: Mayan Technology for the People:
A Zapatista haiku on the question of technology and the politics of intervention,

by Ricardo Dominguez, co-founder of Electronic Disturbance Theater

3 pm:   Ways and Weapons
• Lecture by Tim Griffin, Executive Editor of ArtByte magazine
• Statements by Ricardo Dominguez, Natalie Jeremijenko, Jennifer and Kevin McCoy,

  ®™ark, and Cornelia Sollfrank
• Open discussion

4 pm:   cyber snack

4:30 pm:        Agents and Representations
• Lecture by Toni Dove, electronic media artist
• Statements by Ursula Biemann, Marina Gržinic, Kristin Lucas, Diane Ludin, and
  Jenny Marketou
• Open discussion

This exhibition was made possible in part by Pro Helvetia, the Arts Council of
Switzerland, Swissair and Kulturbehörde der Freien und Hansestadt Hamburg.

The Swiss Institute is an independent, not-for-profit cultural center founded in
1986 to promote artistic dialogue between Switzerland and the United States.
Exploring both contemporary and historical avenues, it emphasizes both
Switzerland’s cultural heritage as well as its place in the context of American
arts and culture. In our SoHo gallery, the Swiss Institute holds art
exhibitions, hosts lectures, concerts and dance performances, and sponsors film
and video screenings throughout the year.

The Swiss Institute is located at 495 Broadway, third floor, New York, NY 10012
Telephone: (212) 925-2035, Facsimile: (212) 925-2040
Exhibition website (launched March 24, 2000):
Tuesday through Saturday 11 am to 6 pm.
Subway-N, R to Prince Street, 6 to Spring Street
Wheelchair accessible.

For biographical information and photographic material please contact Jackie
McAllister, Associate Curator, Swiss Institute, at (212) 925-2035.

                                                                         - - - -
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 0 3 |
                                                                         - - - -

N01SE Cybersalon


Date & Time:

Tuesday 21st March 2000
Doors open 6-30pm 'till late


The Deep End
Westminster University
309 Regent Street
London W1


A performance of the ANTI-rom Wildlife "supersampler" enhanced CD will take
place at the N01SE cybersalon on Tuesday 21st March. In this context, the
stunning interactive music pieces on the CD will experienced as pure
spectacle by the audience. Yet the power of the "supersampler" cannot be
fully experienced in a public demonstration. For these interactive music
pieces are experiments exploring the arrival of the new epoch in the
history of music: composition.

In the past, we could only enjoy music performed on stage and on record by
professional musicians. Now, in the age of DJ-ing, the Net and DIY culture,
we'll all soon have the opportunity to participate in the composition of
music. Since we cannot use the old technologies of pianos, guitars and
synthesisers for this form of music-making, new instruments are now being
invented. On the "supersampler",  ANTI-rom and Wildlife provide innovative
tools for creating your own interactive music. Although everyone will enjoy
the public performance at the forthcoming N01SE cybersalon, the radical
social and artistic implications of these experimental instruments is truly
understood by doing-it-yourself!


Who Gives Form to Noise?


'Noise' is the title of a book by Jacques Attali, published in France in
1977 under the title "Bruits: essai sur l'economie politique de la
musique". In it, Attali imagines a form of musical practice which he calls
'Composing', a practice in which musical production and musical consumption
are dissolved one into the other and become inseparable.

This 'new musicŠ on the rise', is one in which there is no exchange and no
alienation  - nothing but pure use value. Not music as commodity but as
gift.  A practice of music where there is no distinction between artist and
audience and where 'playing for one's pleasure' is the only goal.

Attali's central argument is that that music is not simply a code - 'Š the
principle of giving form to noise in accordance with changing syntactic
structures'- but that it is also an economy, and that moreover - 'the
political economy of music is not marginal, but premonitory. The noises of
a society are in advance of its images and material conflicts. Our music
foretells our future'. (my italics)

Music - or noise - in Attali is a harbinger of new forms of political
economy. He proposes that each development in the wider economy is preceded
by a similar development in the economy of music. The next stage in this
progression - composing - will usher in a new practice of music among the
people, and presumably (although Attali is short on detail here), go on to
overthrow the tyranny of commodity exchange a bit later.

It is easy to be cynical about Attali's sweeping vagueness and what appears
now as unreconstructed political utopianism. (His references to Jimi
Hendrix or "Street Fighting Man" read like some excruciating quote from Tom
Wolfe's 70s essay "Radical Chic"). The idea that where music leads the rest
of the economy will follow is a curious one.  And yetŠ is there any sector
of the economy which fears the transformations brought about by home PCs
and the spread of the internet quite as much as the music industry does? Is
it really that far fetched to suggest, as Attali does, that musical
practice was the first to develop a political economy of the immaterial and
the first to face the challenge of an economy without quantity?

Composing for Attali involves a redrawing, or an erasing, of the line which
separates the labour of production and the labour of consumption. This has
a strong resonance with ideas about new technologies, and the novel
cultural forms which can develop out of them. One of the most exciting of
these cultural forms in recent years has been that of 'interactivity'.

Interactivity gives rise to a new type of representation in which doing is
added to looking and listening and reading, a representation which is
essentially a game (ie process), rather than a sign (ie product).
Interactivity creates new kinds of  relations between audiences and
artefacts. Interactive music artefects for example, might encourage the
user to interact with and change a piece of music, becoming composer,
performer and audience all at once.

Of course, making music has always involved interactive technologies -
usually known as instruments - and new developments in these technologies
have always given rise to new ways of composing and performing. The piano
for example, represents one of the greatest technological achievments of
the 18th century, with its complex mechanism and large number of precision
components. Its ability to relate the pressure with which the finger
strikes the key to the volume of the sound produced, and to do so across
both hands independently of each other allowed the development of new forms
of music and of new constituencies of composers, performers and audiences.

Attali notes that the process of inventing new instruments, after a pause
of nearly 3 centuries, is gathering speed again. Such instruments  are
rarely traditional, based as they are on digital recording and synthesising
technologies. In their innovation, diversity and ease of use, they hold out
the promise of unprecedented new social and aesthetic  formations.

It is hard not share Attali's excitement at the opportunity for a musical
practice which elides the difference between musician and non-musician, and
which makes Russolo's dream of Arte Dei Rumori ('The Art of Noise') an
everyday reality.

n01se catalogue: <>


The Wildlife  Supersampler Enhanced sampler CD

Track listings


1 Pure  Indigo                  The  Forbidden Zone
2 Buena  Ventura                Pimp  Funk
3 Pmff                       Pmff Muzik
4 Lightfoot                     See-Saw
5 K                         The Force Audio


1 Buena  Ventura              Pimp  Funk
2 Manuka                   Shakin'
3 Pmff                         Millennium
4 Pure  Indigo                   7/8
5 The Bob Bhamra  Project         Ain't no new  thing
6 Bateman                     Kickback
7 Robert Wyatt                 Sunday in Madrid (Pmff  Remix)
8 The Bombdroppers             Once in our  lifetime
9 Lightfoot                   Weird piano
10 Phil Gould & D.O.P.E              Area 51
11 Capri  Hearse              How did we  do



N01SE: information and transformation.

Digital technology... promises escape from the incoherance and decay of
our contemporary world... no scratches, no crackles or pops.
But how does this digital world relate to the untidy world we live in?

n01se is a series of exhibitions about information and transformation
being held in Cambridge and London <>.


Simon Schaffer (historian of science, Cambridge)
Adam Lowe (artist, London)



Displaying The Wildlife Supersampler enhanced CD

Ben James (Wildlife/Passenger)

Ray Stanley (Wildlife/Bug Bar)



hypermedia research centre: <>
new media knowledge: <>
mute: <>
telepolis: <>
wildlife: <>
surf's up: <>
prospect: <>


Further information about some of the sponsors:

This event is sponsored by Prospect. Not your average in your face
recruitment company but rather a new media talent search  and selection
team, that helps you to realize your ambitions by exploiting
the dynamics of this market place to 'create' as well as spot opportunities.

For further information contact Meagan Tudge at
or 0207 439 1919

Surf's Up is the platform for new media creatives to exchange ideas and
information. Speak your minds in the Surf's Up eGroups forum and manifest
your ideas at the Surf's Up Gallery.

For further information and a chance to submit your brilliance, contact: David
Gryn at


                                                                         - - - -
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 0 4 |
                                                                         - - - -
To order Technophobia; CD Rom:

                                                                         - - - -
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | 0 5 |
                                                                         - - - -

unsearch the web NOW!
date---> Thu 16 march 00 16:41:57 +0100
name---> un- search v. 1.07
description---> un- search engine
browsers---> NSC 4.0+ MSIE 5.0+
plugin---> macromedia shockwave director 7.0+

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > > > >

#  distributed via <nettime>: no commercial use without permission
#  <nettime> is a moderated mailing list for net criticism,
#  collaborative text filtering and cultural politics of the nets
#  more info: and "info nettime-l" in the msg body
#  archive: contact: