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Table of Contents:
Final CFP: Internet Research 3.0 Oct. 13-16 2002
jeremy hunsinger <jhuns@vt.edu>
[sonic]square # 3 announcer
"Pieter Van Bogaert" <amarona@skynet.be>
Artists' Presentation next Thursday - FREE!
Andrea Polli <apolli@hunter.cuny.edu>
Sensing Speaking Space: Legrady/Pope at the San Franciso Museumof Modern Art
geert <geert@xs4all.nl>
[Fwd: info: Mit der Bitte um Weitergabe]
=?ISO-8859-1?Q?=A4?= <mi_ga@o-o.lt>
RWORLDWIDE LAUNCH OF THE ARABIC TRANSLATION OF THE SCUM MANIFESTO BY VALERIE SOL
asim butt <xasimx@yahoo.com>
Redistributions PDA art show ends active phase, March discussion at Empyrean
"Patrick Lichty" <voyd@voyd.com>
SUBMIT : WWW.WHITNEYBIENNIAL.COM
"Miltos Manetas" <m@manetas.com>
Privacy Lecture Series - WEBCASTING Ann Cavoukian's lecture
Ana Viseu <ana.viseu@utoronto.ca>
Invitation to Seattle ... and beyond
Doug Schuler <douglas@scn.org>
Sa, 16.02.2002, Helmut Dick
Maria Anna Tappeiner <maria.tappeiner@netcologne.de>
new media & art clubbing in brucknerhaus linz
"kanonmedia.com" <office@kanonmedia.com>
Tik Tak Tok
Misko <mpandil@soros.org.mk>
conference on cultural imperialism (trier, germany)
geert <geert@xs4all.nl>
------------------------------
Date: Mon, 11 Feb 2002 08:57:26 -0500
From: jeremy hunsinger <jhuns@vt.edu>
Subject: Final CFP: Internet Research 3.0 Oct. 13-16 2002
apologies for cross posting:
Please distribute:
Call for papers
Internet Research 3.0: NET / WORK / THEORY
International and Interdisciplinary Conference
of the Association of Internet Researchers (AoIR)
International Institute of INFONOMICS and University of Maastricht
Maastricht, the Netherlands
October 13-16 2002
Conference Website: http://www.aoir.org/2002
Deadline for submissions: February 15, 2002.
Submissions: http://www2.cddc.vt.edu/confman/
The Internet has become an integral, ubiquitous part of everyday life in
many social domains and international contexts. Yet, most of the public
attention on cyberspace remains fueled by utopian or dystopian visions,
rather than being informed by the growing body of research on the
Internet as a complex fact of modern life.
Internet Research (IR) 3.0, an international and interdisciplinary
conference, will feature a variety of perspectives on Internet research,
in order to develop a better theoretical and pragmatic understanding of
the Internet. Building on the previous well-attended international
conferences, the IR 3.0 will bring together prominent scholars,
researchers, and practitioners from many disciplines, fields and
countries for a program of presentations, panel discussions, and
informal exchanges.
This year's theme is Net/Work/Theory. Contributors are called to reflect
on how to theorize what we know about the Internet and on how to apply
what we know theoretically in practice. The conference will be held for
the first time in Europe, whose intellectual environments have
traditionally been a source of social and cultural theory.
IR 3.0 will be hosted by the International Institute of Infonomics in
the beautiful city of Maastricht in the Netherlands. As the city in
which one of the key treaties of the European Union was signed,
Maastricht also symbolizes a changing Europe in a changing international
setting. The conference will provide opportunities to network, learn
from other researchers, hear from leading players in Internet
development, and enjoy the "art of fine living" of Maastricht, in the
south of the Netherlands.
The Association of Internet Researchers invites paper, presentation, and
panel proposals from AoIR members and non-members on topics that address
social, cultural, political, economic, and aesthetic aspects of the
Internet. We welcome interdisciplinary submissions as well as
submissions from any discipline. Panel presentations that establish
connections across disciplines, institutions, and/or continents are
especially encouraged. We also seek presentations that will make
creative use of Internet technologies and techniques.
Suggested topics:
* Theoretical and Methodological approaches to Internet Research
* Internet Access, Use and Effects
* Psychology and the Internet
* Individuals, Groups, and Communities Online
* Privacy, Surveillance, and Security on the Internet
* Internet Policy, Ethics, Law, and Politics
* Teaching, Learning and the Internet
* The Internet in Writing and Publishing
* Ethnicity, Race, Identity, Gender, and Sexuality Online
* The Internet in Cultural Contexts
* The Internet in History
* Digital Arts and Aesthetics
* Gaming on the Internet
* E-commerce, E-Business, or Value of Digital Content
* New Technologies and New Media
* E-Sectors (e-health, e-games, e-entertainment, e-other...)
This list is not meant to be exclusive, but to trigger ideas and
encourage submissions from a range of disciplines. The organizers will
take an active role in generating and joining the various interests in
appropriate formats
Format of proposals
Proposals can be of three types - papers, presentations, and panels.
Each person is entitled to submit 1 paper, 1 presentation, and/or 1 panel
proposal.
Papers
Proposals for papers: 150-250 word abstract.
Creative presentations / demonstrations
Creative presentations (surprise us!) and Internet-related project
demonstrations (including digital arts) are encouraged. The format for
these proposals is the same as those for regular papers (150-250 word
abstract).
Panels
Panels will generally include three to four papers or presentations.
The session organizer should submit a 250-500 word statement describing
the session topic, include abstracts of up to 250 words for each paper or
presentation, and indicate that each author is willing to participate in the
session.
Workshop
We also invite proposals for pre-conference workshop. These proposals
should be submitted as soon as possible (no later than January 15, 2002)
so that the workshops can be publicized.
Graduate students
Graduate students are highly encouraged to submit proposals. They
should note their student status with submission for consideration of
a special Student Award. If you intend to be a candidate for the Student
Award you must also send a final version of your proposal (final paper)
by 15th September 2002.
Format of submissions
Submission will be accepted from 15th December until 15th February 2002.
All proposals should be submitted electronically at:
http://www2.cddc.vt.edu/confman/
It is preferred that you use HTML to minimally format your paper.
Average time allotted for a paper or presentation will be 15 minutes.
Average time allotted for a panel will be 1 hour and 30 minutes, including
discussion time. If these time constraints are not appropriate for your
panel/presentation, please include that in your abstract. Please include
any equipment or special considerations that might affect your presentation.
Deadlines
Proposal submission: 15th December, 2001- February 15, 2002
Author notification: April 1, 2002
Presenter's Registration to the conference: September 15, 2002
Student Award: Final paper due September 15, 2002
Contact information
If you have questions about the conference, program, or AoIR, please
contact:
/Conference Coordinator: /
Monica Murero, Infonomics and University of Maastricht,
Monica.Murero@infonomics.nl
<mailto:Monica.Murero@infonomics.nl>
/Program Chair:/
Klaus Bruhn Jensen, University of Copenhagen: kbj@hum.ku.dk
<mailto:kbj@hum.ku.dk>
/A(o)IR President:
/Steve Jones: sjones@uic.edu
<mailto:sjones@uic.edu>
More Information about IR 3.0 can be found on the Conference Website:
http://www.aoir.org/2002
For more information about the Association of Internet Researchers,
including information on joining the Association, visit AoIR' s website
at http://aoir.org
For more information about the International Institute of Infonomics
visit our website at http://www.infonomics.nl
- --
jeremy hunsinger http://www.cddc.vt.edu/jeremy
cddc/political science http://www.cddc.vt.edu
526 major williams hall 0130 http://www.dromocracy.com
virginia tech -under construction
blacksburg, va 24061
540-231-7614
------------------------------
Date: Mon, 11 Feb 2002 15:49:51 +0100
From: "Pieter Van Bogaert" <amarona@skynet.be>
Subject: [sonic]square # 3 announcer
[sonic]square # 3
seltengehortemusik
25 / 02 / 02
20.30
Kaaitheaterstudio's
O-L-V van Vaakstraat 81 rue N-D-du-Sommeil 1000 BxxL
02-201.59.59
Oswald Wiener - some words on animal music (video)
Rosa Barba, Frank Dommert, Georg Odijk, Nils Röller, Klaus Sander, Anja Theismann, Jan St. Werner - rarely heared music
+ Klinker Records (Frank Dommert) / Animal Music (Klaus Sander)
+ DJ's Rosa Barba, Anja Theismann, Georg Odijk (bar)
+ film & videoinstallations by Rosa Barba, Anja Theismann
+ Supposé Archive Rooms
www.suppose.de
listen to [sonic]square on
FM Brussel - 106.5 - Storung - 24/02 + 03/03 - 19:00-20:00
Radio Campus - 107.2 - Radio Square - 02/03 - 18:00-20:00
------------------------------
Date: Fri, 01 Jan 1904 06:51:14 -0500
From: Andrea Polli <apolli@hunter.cuny.edu>
Subject: Artists' Presentation next Thursday - FREE!
Film and Media Profiles
In the J-Lab
Hunter College
Presenting Pablo Helguera and Andrea Polli
2 PM FREE
"Helguera has literally re-created Camillo's "Memory Theater", a
lifelong, never-finalized project in which images and texts placed
strategically within a structure that represents the seven pillars of
Solomon's House of Wisdom together become a microcosm and representation
for the universe." Victoria Noorthoorn, Assistant Curator of
Contemporary Exhibitions at the Drawing Center, New York
Multi-disciplinary visual artist Pablo Helguera is working with
students in Andrea Polli's Web Design Projects course on the actual
creation of a web based Memory Theater. Helguera and Polli will present
their work in the context of the Memory Theater, drawing on the
integration of representation with knowledge, storage and memory
systems, the art of memory, the nature of images, and time as part of
the knowledge process.
Helguera's work appropriates museographic techniques, performance art,
literature, history, installation and new media, reflecting on various
cultural concerns and issues of art interpretation. He has exhibited
internationally in Eastern and Western Europe, Latin America and
throughout the United States. He is the Senior Education Program
Manager at the Solomon R. Guggenheim Museum, where he develops and
implements more than 100 public programs a year.
Andrea Polli is an interactive media artist and new Associate Professor
of Film and Media at Hunter College. She has exhibited and lectured
nationally and internationally. A retrospective article about her work
from 1991-1998, Virtual Space and the Construction of Memory, is
published in the Spring 98 issue of The Leonardo Journal.
J-Lab, Room 432, North Building, Hunter College
68th Street at Lexington Ave. New York
6 Train to 68th Street
(212) 772-4949
filmmedia.hunter.cuny.edu
- --
Andrea Polli
Associate Professor
Film and Media
Hunter College
695 Park Ave.
New York, NY 10001
212.772.5589
http://www.andreapolli.com
------------------------------
Date: Thu, 14 Feb 2002 13:13:04 +1100
From: geert <geert@xs4all.nl>
Subject: Sensing Speaking Space: Legrady/Pope at the San Franciso Museumof Modern Art
From: "george legrady" <glegrady@cox.net>
Sent: Wednesday, February 13, 2002 4:23 PM
Subject: Sensing Speaking Space: Legrady/Pope at the San Franciso Museumof
Modern Art
Please distribute:
Friday and Saturday, February 15 and 16, 2002
The San Francisco Museum of Modern Art Phyllis Wattis Theater
Co-presented by 23five Incorporated and The SFMOMA Department of Media Arts
February 15: Evening performances by Sensorband, Paul DeMarinis, Scott
Arford, keynote lecture by George Legrady and 'Speaking/Sensing Space,'
an interactive installation by: George Legrady, Stephen Pope, Andreas
Schlegel, Gilroy Menezes, Gary Kling, a collaborative project with the Media
Arts & Technology program, University of California Santa Barbara
'Sensing/Speaking Space' will be on view at The San Francisco Museum of
Modern Art Schwab Room on the evening of February 15th and during gallery
hours on February 16, 2002.
____________________________________________________________________________
'Sensing Speaking Space'
George Legrady, Visual artist
Stephen Pope, Sound composition
Andreas Schlegel, Macromedia Visualization Design
Gilroy Menezes, Camera motion tracking software
Gary Kling, networks protocol
³Sensing/Speaking Space² is an interactive digital media installation that
is a real-time feedback environment where visualization and sound will be
generated to represent the presence and movement of spectators within a
public space such as a museum or shopping center. The interaction will focus
on the notion of the ³intelligent space², a space that knows you are there
and reacts to your presence and movements through a custom camera tracking
system. The installation will be able to accommodate simultaneously anywhere
from 1 to 20 spectators.
The event will be an installation consisting of real-time interaction
generating visuals and sound from stereo to a six channel system. The
visualization will develop through multiple layers beginning at the most
simplest which will consist of basic layered shapes animated to move like
organic behavior (primal cell growth) and eventually reaching 'culture',
i.e. language or texts functioning as visual texture. These will result as a
consequence of the audience¹s movement and will also generate sound events.
Stephen Pope¹s sound composition is based on a database of 20,000 words
broken into phonemes (Stephen Pope¹s archive) and to be orchestrated in
multiple modes through software developed with Supercollider. These
phonemes are called into action according to a set of defined rules (the
composition) which are enacted in response to the presence and movements of
the audience and spread across the museum space through 6 channel sound
system.
The event, or 'dramaturgy' or narrative will function on multiple levels or
mood changes based on any number of factors: a consequence of the number of
spectators in the space and their movements, the cumulative number of
people who have visited the installation, a history of the actions,
progressive changes throughout the duration of the installation
event/evening, etc. In the end, the focus is on the relationship of the
audience¹s presence in relation to the circumstance, generating a
visual/aural event and feedback interaction.
This project follows in a series of related investigations with implementing
advanced usage of database, intelligent data organizing algorithms, and
multi-user realspace interaction. The production component will take place
at the University of California, Santa Barbara in conjunction with the Media
Arts & Technology graduate program.
(www.mat.ucsb.edu)
------------------------------
Date: Fri, 15 Feb 2002 13:20:04 +0100
From: =?ISO-8859-1?Q?=A4?= <mi_ga@o-o.lt>
Subject: [Fwd: info: Mit der Bitte um Weitergabe]
- -------- Original Message --------
To: info@muthesius.de
From: "Prof. Dr. Hubertus v. Amelunxen" <H.Amelunxen@netsurf.de>
Subject: info: Mit der Bitte um Weitergabe
:: THINKING TRANSLATIONThinking Translation
:: the social, educational and political impact of media
technology ::
Die Vortragsreihe der ISNM International School of New
Media, Lübeck, wird fortgesetzt
Die Vortragsreihe der ISNM International School of New Media
fragt nach den ethischen, ästhetischen und politischen
Implikationen der neuen Technologien, insbesondere nach
den Möglichkeiten der digitalen Medien für eine sozial
gerechte Bildung und Weiterbildung. Thinking Translation ?
Übersetzung denken möchte helfen, die anstehenden
technologischen Entwicklungen in einer
gesamtgesellschaftlichen Dimension zu begreifen. Das Denken
der digitalen Medien möge dann dafür Anregungen bieten, dass
Wirtschaft und Kultur, Politik und Bildung gemeinsam an
Modellen der Zukunft arbeiten, die sie für die künftige
Generation verantworten können.
Die Vorträge finden an verschiedenen Orten in Zusammenarbeit
mit der Hansestadt Lübeck, dem St.-Petri Kuratorium, dem
BuddenbrookHaus, der Musik und Kongresshalle
Lübeck, dem Kommunalen Kino und dem Theater Lübeck statt,
sie wurden durch eine großzügige Unterstützung der
Possehl-Stiftung ermöglicht.
:: :: :: :: :: :: :: :: :: :: :: :: :: :: ::
:: :: :: :: :: :: :: :: :: :: :: :: :: :: ::
Dienstag, den 26. Februar 2002
:: 3M - eMEDIA, eMANAGEMENT, eMAGALA
Slawomir Magala (Erasmus Universität Rotterdam) bekleidet
den ersten europäischen Lehrstuhl für Cross-Cultural
Management an der School of Management der Erasmus
Universität in Rotterdam. In der Lehre von Kunst,
kulturellem Engagement und Management vertritt Magala
weltweit den Gedanken einer globalen Verbindung von Kultur
und
Wirtschaft.
Ort: Dat Hoghehus, Koberg 2
Zeit: 20.00 Uhr
:: :: :: :: :: :: :: :: :: :: :: :: :: :: ::
:: :: :: :: :: :: :: :: :: :: :: :: :: :: ::
Freitag, den 01.03.2002
:: MISCELLANEA I+II und PHOTOGRAPHIE UND JENSEITS
Heinz Emigholz (Universität der Künste Berlin) ist
Filmemacher und Gründer des Instituts für zeitbasierte
Medien an der Universität der Künste Berlin. Seine viel
prämierten Filme
führen seit den 70er Jahren verschiedene Medien zusammen und
bedenken die Eigenart geistigen und materiellen Ausdrucks.
Einführung und Diskussion zu den Filmen "Photographie und
Jenseits" und "Miscellanea I + II"
Ort: Kommunales Kino, Mengstraße 35 23552 Lübeck
Zeit: 19.00 Uhr
www.luebeck.de/kultur_bildung/koki/
:: :: :: :: :: :: :: :: :: :: :: :: :: :: ::
:: :: :: :: :: :: :: :: :: :: :: :: :: :: ::
Montag, den 11.03.2002
ART, SCIENCE AND TECHNOLOGY AS A FIELD OF INQUIRY
Jean Gagnon (Direktor der Fondation Daniel Langlois pour
l?art, la science et la technologie Montréal) führt die von
dem Designer von "Softimage", Daniel Langlois, geschaffene,
weltweit einzigartige Stiftung, die insbesondere in Asien,
Afrika und Osteuropa Projekte zur Zusammenführung von
Medientechnologie, Kunst und neuen Wissensformen
fördert.
Ort: Dat Hoghehus, Koberg 2
Zeit: 20.00 Uhr
www.fondation-langlois.org/
:: :: :: :: :: :: :: :: :: :: :: :: :: :: ::
:: :: :: :: :: :: :: :: :: :: :: :: :: :: ::
Freitag, den 15.03.2002
:: WAS IST MEDIENKOMPETENZ? DIE MEDIALE KONSTRUKTION DER
WIRKLICHKEIT VERLANGT NACH NEUEN PARADIGMEN DER AUFKLÄRUNG
Peter Weibel (Präsident des zkm_zentrum für kunst und
medientechnologie, Karlsruhe) ist Künstler, Mathematiker,
Medientheoretiker und leitet seit 1999 das in seiner Art
bedeutendste Zentrum für die Arbeit in Kunst, Informatik und
Medientechnologien.
Ort: St. Petri
Zeit: 20.00 Uhr
www.zkm.de
info: is a moderated majordomo mailing list
info: subscribe/unsubscribe
info: http://www.muthesius.de/~virtual/info
------------------------------
Date: Fri, 15 Feb 2002 09:09:35 -0800 (PST)
From: asim butt <xasimx@yahoo.com>
Subject: RWORLDWIDE LAUNCH OF THE ARABIC TRANSLATION OF THE SCUM MANIFESTO BY VALERIE SOLANIS (H.A.R.A.M.)AT THE TATE MODERN 'S NEW ANDY WARHOL EXHIBITION e: the book
Thanks for all your enquiries regarding the
International launch of H.A.R.A.M.
the new Arabic translation of the SCUM Manifesto by
Valerie Solanis,
at the private view of the Tate Modern's new Andy
Warhol exhibition.
I'm really pleased to say that the event did/not
happen
as planned and so was, of course, a great success.
We’d like to thank all those that didn't get together
to make this event impossible: Olivia Colling
<Olivia.Colling@tate.org.uk>, Camilla Kennedy Harper
<Camilla.kennedy.harper@tate.org.uk> from the Tate
Modern and many others who don’t even exist!
….. And especially the TATE itself for their (nOn)
support, especially in not providing a P.A. for the
Exploding Plastic inevitable !!!!!!
We didn’t have a very pleasant evening at the Tate
Modern private view. Not sipping and sucking on
refreshments. We didn’t vandalise Warhol’s paintings
to
add speech bubbles on the white walls, so Marilyn was
not and never said : “FLY FOR FUN WITH A GUN! TO BOMB
AFGHANISTAN!” and Elvis made no demands to “DEMOLISH
SERIOUS CULTURE NOW!”
We sold many copies of the new Arabic translation of
the SCUM Manifesto by Valerie Solanis and copies are
available for the reasonable sum of £50 sterling, or
120 euro dollars.
There was never any suicide bid by so-
called ‘art’ ‘terrorists’ even theorists playing out
the theory death of the avant-garde in practice
either,
wrapped in a burning American flag or not. Did Dave
Stewart ‘Home’ de-bag Marianne Faithless at the pre-
launch ‘party’ (or should that be Masonic Ritual?) as
a
pre-arranged signal to scores of sex mad anti-art
zombies ? I think not!
For further press information please call Nadine
Thompson/Suzi Darsa, Tate Press Office, Millbank,
London, SW1P 4RG
Call 020 7887 8730/8858 Fax 020 7887 8729 Visit
www.tate.org.uk
££££££££££££££££££££££££££££££££££££££££££££££££££££££
A TRUTHFUL AND ACCURATE ACCOUNT OF THE WORLDWIDE
LAUNCH
OF H.A.R.A.M., THE ARABIC TRANSLATION OF THE SCUM
MANIFESTO BY VALERIE SOLANIS
AT THE TATE MODERN 'S NEW ANDY WARHOL EXHIBITION
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
"You can see a billboard for Tab and think: Nancy
Regan
drinks tab, Gloria Vanderbilt drinks Tab. Jackie
Onassis drinks Tab, and just think, you can drink Tab
too. Tab is Tab and no matter how rich you are, you
can't get a better one than the homeless woman on the
corner is drinking. All the Tabs are the same. And all
the tabs are good. Nancy Regan knows it, Gloria
Vanderbilt knows it, Jackie Onassis knows it,
Katharine
Hepburn knows it, the baglady knows it, and you know
it."
- - Andy Warhol from America.
The utopian dream of capitalism failed to materialise.
In advanced capitalism, industrial relations
permutate.
…theres only one cocacola.. . becomes diet coke,
cherry
coke, pepsi, virgin…... Andy Warhol’s rather Communist
sentiments reflect the fact that the choices offered
by
modern society are not choices at all. They are merely
illusions: aesthetix! He is yearning for a
standardisation of a Soviet economy where everyone is
equal and while under bourgeois culture all discourse
is equally empty, the audience at the Private View of
Warhol’s Tate POST Modern Exhibition, in conjunction
with HARAM, the Arabic translation of the SCUM
Manifesto just goes to show, (indeed as the art
industry proves, day in day out): SOME ARE MORE EQUAL
THAN OTHERS!
We all know warhol’s images, prints and films. So why
a
major exhibition? And why now? And what is the
function
of the private rituals conducted at the two Private
Views, one Press view and a sad excuse for a ‘party’
featuring ‘rock’ dinasours like Dave Stewart and
Marianne (un)Faithful ? Besides rumours of Jackson
Pollock air-bombing his paintings and encoding the
initials C.I.A. into each one, no evidence has emerged
of the recent bifurcation of U.S. identity into the
aesthetic and the political. While the American
Masonic
system has clearly capitalised on the fact that
Fascism
has aestheticised politics, communism has politicised
aesthetics, both strategies only lead to more War and
the associated Profit.
The growing postmodernisation of wo/man and the
increasing formation of masses/ mass media are two
aspects of the same process. Capitalism organizes the
newly created masses through the property structure
which they are part of. CAPITALISM nourishes itself by
giving the masses not their right, but instead a
chance
to express their rights and be expressed through their
rights. The masses have a right to change property
relations; Capitalism gives them an expression of
this,
and
even sells it back to the masses themselves, through
the property system. The logical premise and result of
Capitalism is the merging of aesthetics and politics
as
agents and products of consumption. The violation of
the masses, whom Capitalism pacifies by reflecting its
desires , and with the cult of the Artist/ the
SUPERSTAR forcing the masses willingly to their knees
in adoration, has its counterpart in the violation of
an apparatus which is pressed into the production of
ritual values.
All of this was more than evident at the launch of the
Arabic translation of SCUM Manifesto, and while no-one
was actually ‘shot’ at the Tate Modern, there were
certainly casualties as the camera bulbs flashed: the
chic "elite" has now taken on the role Baudrillard
allotted to the masses, they neutralise critique by
silently accepting everything. They are mesmerised by
information. Indeed , they seek
to ‘become’ ‘information’ !
Steven Shaviro remarks in The Cinematic Body that
the 'superstars of the films strike us as
personalities
so utterly externalised, so completely given over to
the moment, that they, like Brillo boxes or Campbell's
soup cans can exist sheerly as images'
Entering the ‘party’ I could not help but feel that
the
symbolic has overthrown the real, and the battlefield
is no longer the "collective unconscious" (sic). We
long ago entered the realm of the post-modern, where
everything is both pure surface and simultaneously
drawn from the fourth dimension of soap opera. The
screen has usurped the stage!!
The various arguments over the
political 'effectiveness' or otherwise of postmodern
artefacts (by which is meant the possibilities they
provide for intervention and socio-political change of
the commodified relations of 'late capitalism') turn
on
whether or not any critical stance is maintained in
this conflation of artefact and commodity/stereotype,
of which Andy Warhol's reproduced images of Marilyn
Monroe, fetishized women's shoes or brand-name soup
cans have themselves become the stereotypical example,
postmodernism's 'already made'.
While Eagleton and Jameson argue that postmodernism is
characterized precisely by its disinterest in
politics,
by its blank pastiche, and ultimately by its
complicity
with doxa and stereotype, Linda Hutcheon in her The
Politics of Postmodernism suggests that postmodernism
is characterized, rather, by a double-coding, being
undecidably ''both complicitous with and contesting of
the cultural dominants within which it operates'' (p.
142).
I am undead, I am reanimated through the medium of
information, I enter and exit this simulacrum through
the trap-door of proletarian post-modernism. History
is
a river that keeps flowing. The claims of those who
believe they can step into and out of this "water" at
will are both a tragedy and a farce. We must
simultaneously work backwards towards the source of
this flow, and forwards towards something else.
Andy Warhol from America.
In the 'Death in America' series what matters for
Warhol is that the embodied spectacle of death is
presented to a mass audience for consumption. By
taking
his images from the newspaper Warhol emphasises that
what his images represent are not at all the event of
disaster but rather highlights our consumption of it.
For Warhol, as for Debord, death in the society of the
spectacle, including his own and those of others close
to him, is habitually perceived as no more than one
spectacle among others.
The horrible features of imperialistic warfare are
attributable to the discrepancy between the tremendous
means of production and their inadequate utilization
in
the process of production -- in other words, to
unemployment and the lack of markets. Imperialistic
war
is a rebellion of technology which collects, in the
form of 'human material,' the claims to which society
has denied its natural materrial. Instead of draining
rivers, society directs a human stream into a bed of
trenches; instead of dropping seeds from airplanes, it
drops incendiary bombs over cities; and through gas
warfare the aura is abolished in a new way.
'Fiat ars -- pereat mundus,' says Fascism, and, as
Marinetti admits, expects war to supply the artistic
gratification of a sense perception that has been
changed by technology. This is evidently the
consummation of 'l'art pour l'art.' Mankind, which in
Homer's time was an object of contemplation for the
Olympian gods, now is one for itself. Its self-
alienation has reached such a degree that it can
experience its own destruction as an aesthetic
pleasure
of the first order. This is the situation of politics
which Fascism is rendering aesthetic. Communism
responds by politicizing art.
_____ _____ _____ ______ _______
/ \\\\
| e \\\\\\ v / | o | | L
\\\\______/ \\\______/ \\\\\______/ |________|
the original art wankers: http://c6.org
__________________________________________________
Do You Yahoo!?
Got something to say? Say it better with Yahoo! Video Mail
http://mail.yahoo.com
------------------------------
Date: Sat, 16 Feb 2002 08:45:07 -0600
From: "Patrick Lichty" <voyd@voyd.com>
Subject: Redistributions PDA art show ends active phase, March discussion at Empyrean
Distribute Freely!=20
(re:)distributions online PDA art exhibition announces final update,
enters archive phase & online discussion @ Empyrean list.
Feb 15, 2002
Contact,
Patrick Lichty
voyd@voyd.com=20
'(re)distributions: PDA/IA art as cultural intervention', the world's =
first curatorial project focused solely on the issues of creativity and =
expression through the use of PDA, Wireless, and nomadic technologies, =
finishes its 6-1/2 month 'active' phase and remains in archive form at:
http://www.voyd.com/ia
With this closing of the dynamic curation phase of the project, three =
significant additions are now part of the show. =20
"DialTones: A TeleSymphony", by Golan Levin et al documents the use of =
cellular phones as instruments for a symphony at a performance at the =
Ars Electronica art festival.
"Life Drawing 101: PDA Required" by Margaret Dolinsky is a spirited =
musing about the use of PDA technology through their mobility in =
disciplines such as drawing and sketching. =20
(An excellent example of this is Tom Kemp's work, so we recommend you =
explore that work after reading the essay)
"Palm Poems" by Alan Peacock are three palm-based poems that play with =
the role of text, sound and visual composition. These works are =
currently online as Shockwave works for easy access.
DISCUSSION at EMPYREAN
Beginning March 1, Patrick Lichty will be leading a discussion on the =
use of nomadic technologies, PDA's and personal devices like wristcams =
in the creation and distribution of works. One or two of these weeks =
will also include a postmortem on the (re)distributions show, and a =
discussion of the nature of Information Appliance art and its recent =
development. Please join us in March!
FUTURE DIRECTIONS:
Voyd.com is seeking resources for a short-run, internally-produced =
catalogue of the (re)distributions show. The optimum resources would be =
a duplex-printing color laser printer, and consumables for 10,000 =
legal-size sheets of semi-gloss bond. Any proceeds would be put towards =
the offset of expenses in mounting the exhibition, and for the funding =
of new voyd.com exhibitions.
(re)distributions in YOUR TOWN?
There has been expressed some interest in the possibility of a =
(re)distributions physical exhibition. We have already gotten =
confirmation of resources from one manufacturer, but more resources are =
needed. Please contact us if you might be interested in having =
(re)distributions or a successor in your institution, or if you are =
aware of resources that could bring this project to fruition.
(re)distributions II?
With the excellent response to the show, as well as the rapid =
development of the genre, many have asked whether (re)distributions =
would mount a Revision 2.0 show, or update further in the future. While =
this is a distinct possibility, and may constitute components of a =
physical show, such plans will be considered in Q3 2002. Please inform =
us if you would like to see a revisited show in the future.
IN CLOSING
I would like to hank all of the artists, scholars, and practitioners who =
participated in the (re)distributions exhibition to make it such an =
excellent project that was received so well. It has been an honor and a =
privilege to showcase this emerging genre, and I look forward to =
developments in the aesthetic use of personal devices and computational =
ubiquity in the days to come.
Best,
Patrick Lichty
Curator, (re)distributions=20
------------------------------
Date: Sun, 10 Feb 2002 22:53:00 -0800
From: "Miltos Manetas" <m@manetas.com>
Subject: SUBMIT : WWW.WHITNEYBIENNIAL.COM
WHITNEYBIENNIAL.COM
Concept Origin: miltos manetas
Organized by electronicorphanage.com and michelethursz.com
Powered by newstoday.com , supported by archinect.com ,bkyn.com
special thanks : michael ress for "turntable"
List of curators/writers, organizations who are inviting artists: Jan Aman, Andreas Angelidakis,Archinect.com, Stefano Chiodi , Joshua Decter, Laurence Dreyfus, Alex Galloway,Paul Groot,Patrick Lichty ,Peter Lunenfeld, Lev Manovich , Magda Sawon, NewsToday.com, Hans Ulrich Obrist ,Marisa Olson, Michele Thursz, Roosavelt Savage, Philippe Vergne, Olivier Zahm and Purple Magazine .
Opening: March 05, 06 ,07 2002
WHITNEYBIENNIAL.COM
is a website and an exhibition that will open in contemporary with the WHITNEY BIENNIAL at the WHITNEY MUSEUM OF AMERICAN ART.
20 U-Haul trucks , their back door open and transformed to a screen ( a computer and a projector will be installed inside each of them), will circle around the Whitney Museum for the 2 nights of the Whitney party ( March 05, 06) and for the day of the opening (March 07th ). Think of Modrian's Boogie Woogie activated . It will be a super parasite: a snake against a cow. A cow, as well as the institutional show, is large, slow and shortsighted, instead a snake is fast, clever and experimental.
The WHITNEYBIENNIAL.COM, will be an adventure: the most important international artists -but also designers, Internet geniuses and architects, are invited to contribute a Flash piece. It can be either an art work or their logo . Film previews are today usually better than the actual films : the WHITNEYBIENNIAL.COM will be a collage of previews.
All pieces, will be included in the "Turntable".This is an application that Michael Rees offered to the Whitneybiennial.com .Each "Turntable", is pre-loaded with up to 6 flashes : it uses them as samples and the user, like a visual DJ can make his/her composition online. The visitor can change the colors of the background , make the flash larger or smaller, transparent or opaque etc."Turntable", is a revolutionary tool, because it opensources material and makes even from closed works a work in progress. To see a Demo of a "turntable", and to see some pictures of "turntable"activity, here : http://www.whitneybiennial.com/turntable
Detail: people can submit more than one piece.
About the Deadline : the opening of the show ( March 05 -06-07) will only be
an "opening" and not a deadline.
We prefer of course to receive projects before that day, so they will be
included at the 20 U-haul trucks, but people are welcome to continue send
stuff : the real location of the show anyway, is the Web. Because we are
receiving lots of boring stuff, we decide to setup a page where creators can
judge the different pieces and assign to them a diamond (for great pieces),
a bone ( for ""who cares"" pieces) and a scull ( for bad pieces). Only
creators ( and theoreticians invited) will be able to vote in that page, but
after the opening, the visitors of the page will be free to
submit pieces and if the pieces will be accepted, the visitors also become
creators and therefore they can vote. Now, if a piece collects only bones ,
it will be deleted, instead if it collects up to 3 diamonds or sculls , it
stays. In this way, we hope to get rid from works that nobody wants to see
anyway.
Question : Why shall they all do a Flash animation ?
Answer : It is an experiment : we believe that as Peter Lunenfeld writes at the KLM theory, "Flash is today's Pop". In fact , Flash is an easy technology which lets you draw a cartoon or a logo, animate it and even make it interactive: the user will click on it and the cartoon(or logo )will reply. It brings together all other forms of art such as photography, written text, movies and drawing in such a way that makes contemporary art of the past century look like a proud grandfather: Flash is, again according to Mr. Lunenfeld , "PoliTech, the irrepressible joy and lightness of being digital after the boom economy has gone bust." It is also scalable, that means that you can display it on different dimensions without any loss of quality. With very little budget and in a short time, you can do something that looks better than any "art video" : it relates the real space as well as it relates to the Internet and substitutes any need for heavy duty art installations. The only thing t!
hat you cannot do with Flash, is to put a dead cow in a glass box , but who does want to do that anymore ?
More info/submit : info@WHITNEYBIENNIAL.COM
visit also : biennale.net , the Internet section of the Tirana Biennial , curated by Miltos Manetas and the ElectronicOrphanage
- ---------------
------------------------------
Date: Mon, 11 Feb 2002 12:02:17 -0500
From: Ana Viseu <ana.viseu@utoronto.ca>
Subject: Privacy Lecture Series - WEBCASTING Ann Cavoukian's lecture
Hello,
I am happy to announce that Ann Cavoukian's lecture will be webcasted!!
Those of you who can't make it physically, can now attend virtually. The
URL is: <http://media.snow.utoronto.ca:8080/ramgen/encoder/Privacy2002.rm>
I want to thank "PC3 Village: Programme on Connective Communities in
Canada" <http://www.pc3village.org/> for making this possible. PC3 Village
is the meeting place for the Programme on Connective Communities in Canada.
The Canada Millenium Scholarship Foundation has partnered with the Faculty
of Arts and Science at the University of Toronto and the McLuhan Program to
create an online environment for the sharing, discovery and creation of new
ideas. The Programme provides the Foundation's national and
provincial/territorial excellence award laureates with opportunities to
connect with each other, as well as other talented Canadians.
all the best. Ana
- ------------------
PRIVACY LECTURE SERIES
<http://privacy.openflows.org>
ANN CAVOUKIAN
BUILDING PRIVACY INTO TECHNOLOGY
Monday, February 11, 2002
4pm-5,30:00PM
140 St. George, Room 728
Faculty of Information Studies (building adjacent to Robarts Library)
University of Toronto
The lectures are free of charge and you do NOT have to register.
Abstract
In her talk Ann Cavoukian, Ontario's Information and Privacy Commissioner,
will discuss the tragic events of September 11 and how that has affected
many people's perspective on privacy. She will discuss the need for balance
between the demands of public safety and need to respect the privacy of
rights of citizens. The talk will also discuss the implications of recent
anti-terrorism legislation in Canada, the U.S. and elsewhere. The
presentation will define "privacy", discuss the basis of privacy, which is
fair information practices, and illustrate where these practices have been
codified into law around the world. The presentation will then discuss the
hype and reality of e-commerce and examine reasons why it has fallen short
of expectations. The last section of the presentation examines the role
that technology can play in protecting privacy.
Bio
Dr. Ann Cavoukian is recognized as a leading authority on privacy and data
protection. She was appointed Information and Privacy Commissioner in May
of 1997. As Commissioner, Ann oversees the operations of Ontario's freedom
of information and privacy laws, which apply to both provincial and
municipal governments. She serves as an officer of the legislature,
independent of the government of the day.
Ann joined the Information and Privacy Commission in 1987, during its
start- up phase, as its first Director of Compliance. She was appointed
Assistant Commissioner in 1990. Prior to her work at the Commission, Ann
headed the Research Services Branch of the Ministry of the Attorney
General, where she was responsible for conducting research on the
administration of civil and criminal law. Ann received her M.A. and Ph.D.
in Psychology from the University of Toronto, where she specialized in
criminology and law, and lectured on psychology and the criminal justice
system.
Ann sits on a number of committees involved in privacy and technology,
including the W3C's committee of experts working on P3P (Platform for
Privacy Preferences). She also served as a member of the American Task
Force on Privacy, Technology and Criminal Justice Information. Ann is
particularly interested in advancing privacy protection through the pursuit
of privacy-enhancing technologies.
To sign-up for the Privacy Lecture Series announcement email list please go
to: <http://privacy.openflows.org/>
The Privacy Lecture Series is organized by Ana Viseu, a researcher
currently working at the University of Toronto on her Ph.D. dissertation
which focuses on the development and implementation of wearable computers.
Her research interests include questions of privacy, social dimensions of
technology, and the mutual adaptation processes between individuals and
technology. Ana holds a Master's Degree in Interactive Communication from
the Universidad Autonoma de Barcelona, Spain.
<http://fcis.oise.utoronto.ca/~aviseu>
The Privacy Lecture Series is co-sponsored by the Knowledge Media Design
Institute (KMDI) <http://www.kmdi.utoronto.ca/> and the Information Policy
Research Program (IPRP) <http://www.fis.utoronto.ca/research/iprp/>.
For more info contact Ana Viseu <ana.viseu@utoronto.ca>
[ - - - - - - - - - - - - - - - - - ]
Tudo vale a pena se a alma não é pequena.
http://fcis.oise.utoronto.ca/~aviseu
http://privacy.openflows.org
[ - - - - - - - - - - - - - - - - - ]
------------------------------
Date: Mon, 11 Feb 2002 14:57:05 -0800 (PST)
From: Doug Schuler <douglas@scn.org>
Subject: Invitation to Seattle ... and beyond
/// Please forward to appropriate people and lists. Thank you! /////
Tomorrow's information and communication infrastructure is
being shaped today --
But by whom and to what ends?
IF you believe that our current communication systems aren't meeting
community and civic needs you're not alone! Millions of people from
around the world are asking these questions --
Will communication systems meet the needs of ALL people?
Will they help people address current and future issues?
Will they promote democracy, social justice, a healthy
environment?
Will appropriate research be conducted?
Will equitable policies be enacted?
Millions of people throughout the world are working to create
systems which meet humankind's crucial needs.
We are extending TWO invitations to those who are interested in
this work.
1111111111111111111111
111 Invitation ONE 111
1111111111111111111111
Join 500 researchers, practitioners, activists, jounalists, educators,
artists, policy-makers and citizens from around the world in Seattle
May 16-19, 2002 at CPSR's eighth biannual "Directions and Implications
of Advanced Computing" (DIAC) symposium to address these critical
questions and develop action plans.
A variety of events are planned ranging from invited speakers, panel
discussions, and pattern presentations to informal working sessions --
both planned and spontaneous. Symposium topics include the digital
divide, human rights and privacy, cyberspace and economic development,
open content research, pattern language development, community
networks, wireless community networking, developing a civil society
charter for the UN Summit on the Network Society, virtual communities
and online activism, cross-border collaborations, and MORE! And, as
with previous DIAC symposia, we'll do our best to bring in some
surprises as well...
Please join us in Seattle (and beyond) for this exciting and important
event! Don't miss it!
Shaping the Network Society:
Patterns for Participation, Action, and Change
DIAC-02 in Seattle, May 16-19, 2002.
http://www.cpsr.org/conferences/diac02
Sponsored by:
Public Sphere Project of Computer Professionals for
Social Responsibility (CPSR)
National Communication Association Task Force on the
Digital Divide
2222222222222222222222
222 Invitation TWO 222
2222222222222222222222
Browse the "patterns" we've received so far and submit your own!
Based on the insights of architect Christopher Alexander, we are
soliciting "patterns" that people use to create communication and
information technology that affirms human values. We will use these
patterns to craft a "pattern language" - a useful and compelling
"knowledge structure" based on the collective wisdom of our community.
Ideally our pattern language will help articulate -- and promote
interest in -- engaged and effective research and activism.
Our pattern system (http://diac.cpsr.org/cgi-bin/diac02/pattern.cgi)
includes the 150+ patterns that we've collected. It also includes
facilities for entering and editing additional patterns. All of the
patterns entered so far and those entered before the May 1st deadline
will be reviewed at the symposium for possible inclusion in the final
pattern language.
We encourage you to submit a pattern -- or, better, several patterns!
This pattern language will only be
as good as the patterns that you submit!
We are "casting a wide net" for patterns from all relevant domains and
situations.
health
activism
libraries
open source We
human rights are especially
collaborations encouraging additional
civil liberties patterns in these
roll your own media areas...
developing countries
alternative technologies
environmental informatics
gender, ethnicity, age
cultural expression --- thanks ---
war and militarism
culture jamming
media critique
cross-border
organizing
education
language
policy
labor
Please contact symposium and pattern language coordinator, Doug
Schuler, douglas@scn.org, if you have any questions on either of these
invitations.
Don't hate the media. Become the media.
- Jello Biafra
------------------------------
Date: Wed, 13 Feb 2002 10:54:56 +0100
From: Maria Anna Tappeiner <maria.tappeiner@netcologne.de>
Subject: Sa, 16.02.2002, Helmut Dick
SCHNITTRAUM
An der Linde 27 + D-50668 Köln + Info unter Tel. 0175 -167
34 77
www.schnittraum.de + info@schnittraum.de
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
TONIGHT
Helmut Dick
Präsentation der Arbeiten und Werkgespräch
Samstag, 16.02.2002, 20 Uhr
eingladen von Daniela Steinfeld
In diesem Jahr findet im Schnittraum die neue Projektreihe
TONIGHT statt. Je ein oder zwei KünstlerInnen werden zu einem
Präsentationsabend eingeladen, ihre Arbeiten vorzustellen.
Werkprozesse und künstlerische Überlegungen sollen dabei im
Mittelpunkt stehen. Es geht um den Austausch mit KünstlerInnen
aus dem In- und Ausland und die Auseinandersetzung mit
aktuellen künstlerischen Positionen.
Helmut Dick stellt anhand von Dias seine Arbeiten im
öffentlichen Raum vor, u.a. ëSalatfeld so groß wie ein
Hochhausë und ëDas Schaf und der dreizehnte Stockí. Daneben
wird der Künstler auch einige seiner Videoarbeiten zeigen.
ìMich inspirieren individuelle und kollektive Verhaltensweisen
innerhalb unserer Gesellschaft, die trotz ihrer allgemeinen
Akzeptanz auch eine Art Wahn sein könnten. Vor diesem
Hintergrund verarbeite ich wichtige Elemente aus meinem Leben
mit dem Ziel, doppeldeutige, verdichtete Situationen mit einer
eigenwilligen Poesie zu schaffen. Durch diese
Herangehens-weise komme ich mit unterschiedlichen Themen in
Berührung, z.B. die Verhaltensmuster von Männern oder dem
Einfluss von bestimmten Mentalitäten auf das Erscheinungsbild
von Landschaften. Ich verwende leicht wiederzuerkennende,
alltägliche Elemente in meinen Arbeiten, wodurch sie im ersten
Moment deutlich und zugänglich erscheinen. Dann aber treten
die Bestandteile in merkwürdige Interaktionen miteinander und
werden so auf einem abstrakten Denkniveau miteinander in
Beziehung gesetzt. Diese Situationen kennzeichnen Humor und
Absurdität, die alltäglichen Dinge wachsen über sich selbst
hinaus und es entstehen neue Bedeutungszusammenhänge. Der
Zuschauer wird in einem doppeldeutigen Spannungsfeld zwischen
mehreren möglichen Wahrheiten zurückgelassen.ì (H. D.)
Helmut Dick wurde 1969 in Bonn geboren. Nach einer
Berufsausbildung als Gärtner entstanden neben der mehrjährigen
Berufstätigkeit im In - und Ausland erste Arbeiten. Ab 1995
nahm er an ersten Ausstellungen und Aktionen in Berlin, seinem
damaligen Wohnort, teil. 1997 begann er sein Studium am ëFree
Media Departmentí der Gerrit Rietveld Academie in Amsterdam,
das er 1999 mit dem ëBachelors degreeí beendete. Danach hat er
am Sandberg Instituut in Amsterdam sein Studium 2001 mit dem
ëMFAí abgerundet. Er lebt und arbeitet in Amsterdam.
++++++++
Nächste Veranstaltung in der Reihe TONIGHT:
Anke Schäfer präsentiert
CANDY TV und The Alway Invited Guest Club
www.candyTV.info + www.TheAlwaysInvitedGuest.net
Donnerstag, 21. Februar 2002, 20 Uhr
Mit freundlicher Unterstützung:
Kulturamt der Stadt Köln
------------------------------
Date: Thu, 14 Feb 2002 21:38:40 +0100
From: "kanonmedia.com" <office@kanonmedia.com>
Subject: new media & art clubbing in brucknerhaus linz
on: 22.02.2002
at: 20:45 p.m.
in: brucknerhaus linz
go: bruckners club: digital music - digital art - digital date
art clubbing . in brucknerhaus linz . at the opening night of the concert
series grenzenLOS .
with works . of young media artists . a strong scene .
new experiments with digital technologies & new media . joyful playing &
vivid results .
wide musical range - from noise & ambient . to experimental hip hop ...
i.e. parker / raffaseder
i.e. das fax mattinger
i.e. jomasounds
i.e. roland von der aist
videos . media installations . computer games . etc . - 30 artists - i.e.
ex- & active students of . University of Arts & Industrial Design / linz .
Academy of Applied Arts / vienna, Art School for Media Design / hagenberg .
MultiMediaArt College / salzburg ...
i.e. backlab.at
i.e. kanonmedia.com
i.e. a.s.a.p.
i.e. iftaf.org
i.e. robert wacha
i.e. john tylo
i.e. reinhold bidner
more . infos & photos . at :
http://raffaseder.com/grenzenLOS/bruckners_club.html
http://listen.to/grenzenLOS
http://www.raffaseder.com
http://www.kanonmedia.com
ENJOY & HAVE FUN
- ---------------------------------------------------------------
kanonmedia.com
non-profit org for new media
amadeus house
99_48, mariahilfer st.
a-1060 vienna
call: ++43-1-595 47 40
mailto: office@kanonmedia.com
visit: www.kanonmedia.com
- ---------------------------------------------------------------
please receive our apologies for cross mailing / in case you prefer not
receiving our newsletter any more just click on stop mail
------------------------------
Date: Fri, 15 Feb 2002 10:11:04 +0100
From: Misko <mpandil@soros.org.mk>
Subject: Tik Tak Tok
The University of Dundee's Visual Research Centre
and the
Contemporary Arts Center - Skopje
cordially invite you to attend the opening of the exhibition
TIK TAK TOK
Official Opening: 15 February 2002. at 18:30 hrs
Opening for General Public: 16 February 2002 at 20:00 hrs.
at The University of Dundee's Visual Research Centre
Exhibition open until March 10, 2002.
An international inter-disciplinary collaboration between Artists,
Designers, Writers, Philosophers and Students from Dundee (Scotland) and
Skopje (Republic of Macedonia).
Organized by: The Contemporary Art Center Skopje and
The University of Dundee's Visual Research Centre
Coordinators of the project: Babs McCool and Melentie Pandilovski
Original Concept: Lei Cox
Co - Curators: Lei Cox & Kevin Henderson
Technical Coordinator: Nikola Pisarev
TIK TAK TOK consists of two exhibitions of artist's clocks and time machines.
The first show took place in the Museum of Contemporary Arts in Skopje,
Republic of Macedonia in the period December 13 - 20, 2000.
http://www.cac.org.mk/tiktaktok/
The second exhibition will be opened for the general audience on
February 16th and will be up until March 10, 2002. at The University of Dundee's
Visual Research Centre.
In TIK TAK TOK, the artists create artworks around ideas associated
with counting time. The works are mechanical, electronic, drawn,
performed, sculpted and theoretical. They tell the time of day or they
may present their 'own' time.
The idea of a clock entails others, and other people - a gathering, a
meeting of strangers, or the desire for such: a thing (object) by which one
arranges and records arrivals and departures, by which one measures
presence and absence. Wherever anything lives, anything at all, there is
open somewhere a register in which time, its time is being inscribed.
Names of participants:
Lei Cox (Scotland): Video-installation Artist, Musician and Lecturer
The Applause / The Conductor
Oliver Musovik (MK): Graphic Artist
- - All Good Things Come To Those Who Wait (Video)
- - Dzombometar (plotter print)
Paul Dignan (Scotland): Painter, Video-installation Artist, Lecturer
6500macamericanwallceefaxchromeradiodiverdollfujicentralheatingimacdutchchildmicrowavenokiaseikotimexaiwawh
Dejan Spasovik (MK), Installation, Video and Sound Artist
APPROXIMATI(ME)ON, installation
Waiting Wasting, installation
Nikola Velkov (MK): Net Artist
- - ROOSTER (Sound Installation)
- - Timeless Cube (Sound Installation)
K. Henderson (Scotland): Performance-orientated Artist, Writer and Lecturer.
L(cl)ocked'
'Listening-In To Skopje'
'Atlas' (Performance work)
Iskra Dimitrova (MK) Installation Artist
- - Clocks and Bodies, digital video
- -UNTITLED, digital video
Steve Flack (Scotland): Multimedia Artist, Producer and Lecturer
Time Piece
Aleksandar Zdravkovski (MK) : System Artist and Producer
- - Time - Illusion of the Reality (plotter print)
- - Archimediala Transformance, digital video
Stefan Saskov (MK): Installation and Video Artist
- - 1h OUR Sat-chit-ananda (existance-consciousness-bliss)
- - NOW (Plotter print)
TUESDAY19 FEBRUARY 2002
- - PRESENTATIONS OF MACEDONIAN ART
at The University of Dundee's Visual Research Centre
PRESENTERS: Nikola Pisarev, Aleksandar Zdravkovski, Oliver Musovik,
Stefan Saskov, Nikola Velkov, Dejan Spasovik
- -------------------------------------------------------
Melentie Pandilovski
Director
Contemporary Arts Center - Skopje
Orce Nikolov 109, 1000 Skopje
Republic of Macedonia
Tel/Fax: +389.2.133.541
Tel/Fax: +389.2.214.495
Mobile: +389.70.217.075
http://www.scca.org.mk
- -------------------------------------------------------
------------------------------
Date: Thu, 14 Feb 2002 11:37:50 +1100
From: geert <geert@xs4all.nl>
Subject: conference on cultural imperialism (trier, germany)
Conference on
Cultural Imperialism
October 17-20, 2002, Trier, Germany
A two-day conference is being planned to be held in fall 2002 in Trier,
Germany, on Cultural Imperialism.
Contributions are invited from all relevant fields including history of
arts, architecture, history, popular music, the media, advertising and
PR, sociology, economics, political lobbying, WTO-GATS, food, =
education,
linguistics and others. Publication of the proceedings is intended.
The Conference on Cultural Imperialism (working title) will begin on
Thursday october 17, 2002, with diner and perhaps a first evening
session. We will have two working days, Friday 18 and Saturday 19, and
participants will depart on Sunday 20 october after breakfast. The
venue is Robert Schuman House, Trier, a well-equipped new conference
center above the city of Trier where participants will also stay
overnight. At this moment we think about a more symposium-like =
beginning
(Friday) aiming at sorting out the multiple facets of cultural
imperialism and pulling strings together, and a public event on =
Saturday
aiming at media coverage. We will have three blocks for discussion: (1)
Cultural imperialism in history,(2) present cultural imperialism, its
different aspects, working mechanisms and effects, and (3) what are
alternatives (including European positions in WTO, IMF etc.).
Working languages will be German, English and French, with simultaneous
translation. A maximum of 50 participants are expected from all parts
of the world. We will try our best to raise funds for travel refunding
and for hosting participants.
If you are interested, please reserve these dates in your agenda and
send in your abstract in German or English, not more than 300 words, as
soon as you have made up your mind. Deadline for abstracts is end of
march 2002. Please pass this information on to other people who might =
be
interested.
Bernd Hamm
Jean Monnet Professor of European Studies
Director, Center for European Studies
University of Trier, D 54286 Trier, Germany
Tel. +49-651-201.27.27, Fax 201.39.30
e-mail hamm@uni-trier.de
http://www.uni-trier.de/zes/
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