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Table of Contents:

   Theology of the Spectacle                                                       
     "McKenzie Wark" <>                                      

   New Media Forum I : "The Art of Software"                                       
     Randall Packer <>                                             

   Biennale de Montréal                                                            
     Portrait of the Artist as a Home Page <>

   the commoner - new issue                                                        
     richard barbrook <>                                       

   Banner Art Collective announces new design                                      
     "Brandon Barr" <>                                        

   Issue 5.1 of Workplace: A Journal for Academic Labor                            
     "geert lovink" <>                                                

   REALTOKYO MM vol. 102                                                           
     Andreas <>                                               

   dark fiber in Italy                                                                                                              

   Marcos' letter in support of the EZLN Exhibition in Monterrey, Mexico           
     "ricardo dominguez" <>                                            

   "The Internet: Anarchic Dream to Legal Minefield"                               
     "Yama Farid" <>                                            

   report on Afghan community radio mission online                                 
     "geert lovink" <>                                                

   Sound Travels                                                                   
     "Kunstradio" <>                                              

     =?iso-8859-1?Q?Edith=2DRu=DF=2DHaus=20f=FCr?= Medienkunst  <info@edith-russ-haus

   Stipends for new media artists                                                  
     Maren Hartmann <>                                       

   second Manifesto on Weightlessness                                              
     "martin sjardijn" <>                                         

   The Planetary vigil of NetArt 2002                                              
     Richard Barbeau <>                              

   DIAN Announcement for November                                                  
     DIAN <>                                                    

   World of Awe: mRB > prototyping a super-toy                                     
     YAEL KANAREK <>                                          

   Exit Ahead                                                                      
     Artcontext <>                                                


Date: Mon, 04 Nov 2002 14:18:54 -0500
From: "McKenzie Wark" <>
Subject: Theology of the Spectacle

Masayuki Kawai
About a Theological Situation in the Society of the Spectactle
Queens Museum of Art, New York, 3-10 Nov
guest curator Christine Wang

There is something untouchable about the major works of Guy
Debord, founder and animating force of the Situationist
International. As someone who famously declared "we are
not about to play the game", he is not so easy to assimilate
into the play of institutional signifiers that is the art world.

What makes Masayuki Kawai's video so fine is that it pretty
much ignores the question of what it means to appropriate
and rework Debord's work. This video just does it, and in
fine style.

What one learns, in the process, is that recession or not,
Japanese commodity culture still furnishes the kinds of
images that really do seem to bear out Debord's thesis.

As Debord writes, "the whole life of those societies in which
modern conditions of production prevail presents itself
as an immense accumulation of spectacles. All that was
once directly lived has become mere representation."

This is a world in which "that which is good appears, and
that which appears is good." The spectacle is not just an
accumulation of images, "it is rather a social relationship
mediated by images."

Of course Debord made his own film version of his classic
work, The Society of the Spectacle. Part of the problem with
that film is that Debord was using the image culture of
mid century France, which was far from being the most
highly developed of the time. Kawai's video, on the other
hand, is effective precisely because one seems to peer
over the brink of a future the bulk of the world has yet to
quite enter.

I'm not in a position to assess Kawai's development of
the Debordian thesis from one viewing, but there too, this
is a work of some value. There's something static,
unreflective in the ways in which the thesis of the spectacle
is usually taken up. Debord's empahsis on separation
has its limitations in a world in which the vectoral and
connective property of media seems more telling. The
alienation Debord identifies hinges on a somewhat
static understanding of a necessity that pre-exists its
rupture in the commodity economy.

It's not that Kawai has resolved these issues in the
Debordian thesis. The video seems to me to offer a
very elegant restatement and adaption of the classic
situationist position. But he does offer a very useful
artwork with which to think these issues through.

Masayuki Kawai
About a Theological Situation in the Society of the Spectactle
single channel video
Queens Museum of Art 3-10 Nov
guest curator Christine Wang

                   ... we no longer have roots, we have aerials ...

Unlimited Internet access -- and 2 months free!  Try MSN.


Date: Mon, 4 Nov 2002 12:21:22 -0500
From: Randall Packer <>
Subject: New Media Forum I : "The Art of Software"

New Media Forum I
Presented by the Maryland Institute College of Art
and the MICA Center for New Media

"The Art of Software"

Time: Thursday, November 14, 7:00 pm - 9:00 pm
Location: Mount Royal Station Auditorium (S3)
Maryland Institute College of Art
Mount Royal Ave. & Cathedral Street, Baltimore
All Lectures are free and open to the public
Reception will follow

Mark NAPIER has created a wide range of projects which appropriate 
the data of the Web, transforming it into a parallel Web - in which 
content becomes abstraction, text becomes graphics, and information 
becomes art.

Mark Napier, painter-turned-digital-artist, is one of the early 
pioneering artists of the Internet to exploit the potential of a 
worldwide public space. Creating artwork exclusively for the Web, 
including such seminal works as "The Shredder," "Digital Landfill" 
and "Feed," he has embraced an unprecedented artistic form that gives 
the viewer the freedom to recontextualize the medium, to shred its 
contents. Most recently his worked have been included in leading 
exhibitions of digital art, including: the Whitney Museum of American 
Art Biennial Exhibition, the Whitney's Bitstreams exhibition, and the 
San Francisco Museum of Art's 010101: Art in the Age of Technology.

Mark Napier's on-line projects:


The New Media Forum is presented by the Center for New Media of the 
Maryland Institute College of Art in association with the Digital 
Media Center of Johns Hopkins University. The 2002-2003 Forum is a 
series of lecture/presentations by leading media artists, focusing on 
multiple perspectives that explore the changing cultural phenomena 
resulting from the convergence of art and technology.

Upcoming Lectures:

Tuesday, February 18th
Alex GALLOWAY, "How to Hack Multiplayer Games"
Alex GALLOWAY will discuss a new technique of "game remixing ," 
whereby two or more multiplayer game servers are collaged together in 
real time.

Tuesday, March 18th
Margot LOVEJOY, "A Turn-Table"
Margot LOVEJOY will provide an exploration of  her work on several 
fronts, regarding new roles, new themes, new experiments in finding 
participation and audience.

Tuesday, April 15th
Perry HOBERMAN, "Unexpected Obstacles"
Perry HOBERMAN will comment on the influence of technology on our 
perception and the determination of our every-day life through his 
installations and interactive environments. In this way, he expresses 
the euphoria of many utopias in both a nostalgic and sarcastic way.

For more information:

MICA Center for New Media
Randall Packer, Director

MICA Office of Communications

From: Portrait of the Artist as a Home Page <>
Subject: Biennale de Montréal

"Portrait of the Artist as a Home Page" is pleased to
announce its selection for the 3rd Biennale de
Montréal, on view now through November 3, 2002.

Curator Anne-Marie Boisvert writes that "Portrait..."
is "the latest step in the process of dissolution of
individual identity... A 'self-portrait' made up of
others' portraits becomes a non-portrait, an
anti-portrait...a representation at once ironical and
touching of homo contemporaneus."

Curator Anne-Marie Boisvert's essay on "Portrait..."

"Portrait of the Artist as a Home Page"

3rd Biennale de Montréal

- -----------------------------------------------------------------
Portrait of the Artist as a Home Page
- -----------------------------------------------------------------

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Date: Tue, 29 Oct 2002 00:06:10 +0000
From: richard barbrook <>
Subject: the commoner - new issue

 please circulate        in your network                  

The Commoner N.5 - Autumn        2002                         
special issue on Crises

Plus reviews: 

John Holloway  Time to revolt. Reflections on Empire  

Plus groundzero war:

George Caffentzis. Respect your Enemies. the First Rule of Peace: An Essay
Addressed to the U.S. Anti-War  Movement


- - Peter Bell & Harry Cleaver. Marx's Crisis  Theory as a Theory of Class

- - Ana C. Dinerstein. Beyond  Insurrection. Argentina and New Internationalism 

- - Conrad M. Herold. On Financial Crisis As A Disciplinary Device Of
Empire: Emergence and Crisis Of The Crisis

- - George Caffentzis. On the  Notion of a Crisis of Social Reproduction: A
Theoretical Review 

 - Werner Bonefeld. Class  and EMU

- - Steve Wright. The Historiography of the Mass  Worker


Date: Wed, 30 Oct 2002 12:42:16 -0500
From: "Brandon Barr" <>
Subject: Banner Art Collective announces new design

28 October 2002

The Banner Art Collective ( has implemented a new
design created by Garrett Lynch.  The new design brings a vast number of
improvements to the site, which collects and distributes and poetry
created according to the limitations of WWW advertising.

The collection is now database driven and easily searchable.  Each work is
presented on a separate page, and more artist information is featured next
to each work.  Viewers have always been able to access cut-and-paste html
tags to place works from the collection on their own webpages, but now the
site also offers users a php-driven script that, when added to any html
document, serves randomly changing banners from the collection.

In addition, the new design automates the submission process with an online
form which artists can use to easily upload their works to the collection.
There are also new frequently updated sections which contain news, links to
host and sponsor sites, and links to related research and art projects.

The Banner Art Collective currently includes works by:

arte_comprimido (Argentina)
babel (Canada/UK)
Brandon Barr (US)
Ji Bêt (France)
Bruec (US)
Christophe Bruno (France)
Agricola de Cologne (Germany)
Catherine Daly (US)
Tom Dannecker (US)
Roberto Echen (Argentina)
Joshua Goldberg (US)
Lee French & Barry Small (UK)
jimpunk (France)
Kanarinka (US)
Tamara Laï (Belgium)
Jessica Loseby (UK)
Garrett Lynch (UK)
Gerhard Mantz (Germany)
Joseph Franklyn McElroy (US)
Millie Niss (US)
Alexandra Reill (Italy)
Fredrique Santune (France)
Michaël Sellum (France)
Antoine Schmitt (France)
Dante Smirnoff (Spain)


Date: Fri, 1 Nov 2002 07:54:18 +1100
From: "geert lovink" <>
Subject: Issue 5.1 of Workplace: A Journal for Academic Labor

Subject: Workplace 5.1
Date: Mon, 28 Oct 2002 16:57:51 -0500
From: "Christopher S Carter" 

Issue 5.1 of *Workplace: A Journal for Academic Labor* is now available
online at

Sections include "Technology, Democracy, and Academic Labor" (edited by
Laura Bartlett and Marc Bousquet in collaboration with Richard Ohmann
and *Radical Teacher*), "Organizing the Family" (edited by Noreen
O'Connor), and "Activist Front" (with features by Bill Vaughn and
Nick Tingle).  One of our most expansive issues yet, *Workplace* 5.1
contains articles and interviews by committed teachers and labor
scholars across the country, and includes such titles as:

"The Information University" by Laura Bartlett

"The 'Informal Economy' of the Information University" by Marc Bousquet

"Educational Technology and Restructuring Academic Labor" by Larry

"The Rhetoric of Commercial Online Education" by Chris Werry

"Corporate Fantasy and the 'Brave New World of Digital Education'" by
Michelle Rodino

"'If You're Not Mark Mullen, Click Here': Web-Based Course-Ware and the
Pedagogy of Suspicion" by Mark Mullen

"An Interview with Cary Nelson: An Intellectual of the Movement" with
Marc Bousquet

"'Il Miglior Fabbro'" by Alan Wald

"Student Interns as Flex Workers" by Rod Ryon

"Hegemony and 'Accountability' in Schools and Universities" by Sandra
Mathison and E. Wayne Ross

"The Corporate War against Higher Education" by Henry Giroux

"Working to Meet the Needs of Graduate Student Families: The Case of the
University of North Carolina at Chapel Hill" by Brian Kennedy

"Negotiating for the Family: Unions and the Graduate Student Workplace"
by Andrew Gross

"Labor Issues, Academia, and the Workplace: An Interview with Kitty
Krupat" by Kathleen Iudicello

"Notes on Academic Labor, Women, and Value" by Rachel Reidner

"Etiologies of Activism" by Bill Vaughn

*Workplace* also contains "Breaking News" (edited and maintained by
Katherine Wills), Book Reviews (edited by Bill Vaughn), and a collection
of "Laborlinks" that connect to multiple union websites while
interlinking some of the most important discussions of academic labor on
the web.

The *Workplace* Collective would like to thank Richard Ohmann and
*Radical Teacher* for their assistance with this issue.

In solidarity,

Christopher Carter
*Workplace* Editor and Web Designer


Date: Fri, 1 Nov 2002 09:20:13 +0900
From: Andreas <>
Subject: REALTOKYO MM vol. 102

R    E    A    L    T    O    K    Y    O    MAIL MAGAZINE

[This Week's Index]

(1) Tokyo Editors' Diary
Kato Haruyuki ("Studio Voice") vol. 003

(2) Out of Tokyo
Vol. 049: The Launch of "Insight Diaries"

(3) Event Pick of the Week

This week's RT Picks:

art+cinema+music+stage+design+town = 34 events
including 9 new ones!
Plus new entries on our 'book/disk' page.

Check them out!

(1) Tokyo Editors' Diary

Kato Haruyuki ("Studio Voice") vol. 003

at "Rocket"One of Harajuku's most outstanding places, gallery
"Rocket" has moved to a new location behind Natural House on
Omotesando. I guess with the "Nigo" hair salon and numerous shops
selling used furniture and stuff, that's the area fashion magazines
usually call "Ura-Aoyama." Rocket is operated by 'the man with
the cap,' Fujimoto Yasushi, who is doing also the design for our
magazine. As one creative head in the culture mag business he has
been appearing in various publications (such as Brutus magazine's
"Ningenkankei" column!), and since he has been working with Studio
Voice for about 12 years now, our 'ningenkankei' (=relationship)
has come a long way.

Read more at:

(2) Out of Tokyo

Vol. 049: The Launch of "Insight Diaries"

In lectures on REALTOKYO or during the "REALTOKYO BAR" events I'm
often asked about the 'business model' RT is based on. I hate the
term "business model" so I don't use it here, but the questions
simply is where the revenue we need to keep REALTOKYO alive comes
from. According to the facts my answer usually goes like, "mainly
from advertisements and paid publicity, and to some degree also
from providing contents to other media, plus the fees we're getting
from REALOSAKA for the use of our system.

Read more at:

(3) Event Pick of the Week


A more or less regular event, PATH has appeared on this page in
the past. This next volume coincides with the release of the "UR"
compilation introducing the PATH makers' brandnew "Mao" label,
featuring internationally renowned label headliner CorKyees and
other cross-over units. CorKyees use the occasion for a live
showcase of the band's recent move from Bristol-style break jazz
to dub/post rock. Complemented by abstract electronica band (!)
mas, dub outfit Frisco, and drum+mixer duo Thermo, the line-up is
made up of unique artists that refuse categorization right down
the line. PATH has cut its path in between electronic and acoustic,
synthetic and organic music, and this vague-sounding concept has
taken on an impressively clear shape, to be witnessed on November 3.
- -- Andreas,1356

- ---------------------------------------------------------------

Next week on RT:

- - Tokyo Editors' Diary

- - Tokyo Visitors' Book

- - Interview

and more$B!D(B

- ---------------------------------------------------------------

In order to make REALTOKYO even more interesting and convenient
for you, we rely on your feedback. Please send us opinions or
productive suggestions concerning contents, structure, layouts,
etc. Three especially lucky readers who send a mail to
will be chosen and receive a little gift.

- -----------------------------------------------------------------
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REALTOKYO is looking for advertisers wanting to place banners on
our web site and/or in the mail magazine. Banners will get lots of
hits from people attracted to a web site full of catchy information
on cinema, art, music, theatre and other fun events in town.
Please contact the following email address for dimensions and costs. <>

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Users must go to the page above to make changes to their services;
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No part of the text or images from this site may be used
without permission from the publisher.

Copyright 2002 REALTOKYO


Date: Mon, 04 Nov 2002 20:16:29 +0100
Subject: dark fiber in Italy

Dark Fiber by Geert Lovink
Introduction to the Italian translation
Published by Luca Sossella editore,
November 2002
By Bifo

For many years, Geert Lovink has carried out his work as net-critic
wandering across the territories where the net meets the economy, politics,
social action and art. Years of fast writing on mailing lists, analysis,
polemics, replies and reports have been collected and elaborated in a way
that maintains the rap-style of e-mail debates: short sentences, ironic
slogans, cuts and returns, allusions, citations...but what emerges from this
mosaic is a coherent overall view on the first decade of digital society.
This book is the first complete investigation of global netculture, an
analysis of the evolution and involution of the web during the first decade
of its mass expansion.

But Lovink goes beyond a sociological, economic and anthropological survey.
Many of the essays in the book outline the theoretical positions of various
agents in the cyber-cultural scene: Wired's libertarian ideology, its
economistic and neoliberal involution, and the radical pessimism of European
philosophers. Outside of such confrontation, Geert's position is that of a
radical and pragmatic Northern-European intellectual close to autonomist and
cyberpunk movements, who has animated the cybercultural scene for a decade
with his polymorphous activity as writer and moderator of connective
environments such as, and as organiser of international

This book has been published almost simultaneously in the United States and
in Italy, it will soon come out in a Spanish and a Japanese edition. Its
publication is exceptionally timely, coinciding with an unprecedented
storm in the global economic system. In the middle of the storm, in the eye
of the cyclon sits the system of webs that multiplied the energies of mass
capitalism in the 90s, and that today finds itself on the threshold of a
radical redefinition of perspectives.

The economic crisis can only be fully explained in relation to the
ideological crisis of the new economy that supported the mass capitalism of
the 90s. Similar to Carlo Formenti's 'Mercanti del futuro', Einaudi, this
book helps us analyze the actual interlacement of web and economy, and to
get a glimpse of what is to come.

The 1987 Wall Street crash interrupted the booming cycle that had
characterized the first affirmation of Reagan's monetarist and neoliberal
policies. During the storm that upset the markets for several weeks,
(nothing in comparison to the one to come between 2000 and 2002), analysts
offered an interesting explanation: part of the international financial
system was being modernized and connected to the internet. Long before the
internet entered everyday life, some sectors of international finance had
started to make their information systems interdependent in real time.

However, since not all of the international financial system was
interconnected - so the experts claimed - the gaps and the incompatibility
of the systems of communication disturbed the fluidity of exchanges and
prevented a fast and coordinated intervention of American banks. In
order to avoid a reoccurrence of these delays in coordination, the
informatization of finance and the pervasiveness of systems of
telecommunication needed to be perfected. This is what happened in the
following years. In the 90's the circuit of information and financial
exchanges was so spread as to allow a capillary and mass participation to
the flux of financial investments.

The web became the principal support of mass capitalism and sustained its
long expansive phase in the last decade of the century. Millions of
Americans and Europeans started to invest their money, buying and selling
shares from their own homes. The whole financial system became tightly
interconnected. Today that long expansive phase has entered into a crisis,
and we see that, contrary to 1987, in fact the main danger for the global
system is the pervasive character of its connections. The Web, this
fantastic multiplier of popular participation to the market, risks becoming
the multiplier of its crisis, and the point of flight from the
mediatic-financial system of control.

But there is another side to the process. Due to mass participation in
the cycle of financial investment in the 90s, a vast process of
self-organization of cognitive producers got underway.
Cognitive workers invested their expertise, their knowledge and their
creativity, and found in the stock market the means to create enterprises.
For several years, the entrepreneurial form became the point where financial
capital and highly productive cognitive labor met.

The libertarian and liberal ideology that dominated the (American)
cyberculture of the 90s idealized the market by presenting it as a pure,
almost mathematical environment. In this environment, as natural as the
struggle for the survival of the fittest that makes evolution possible,
labor would find the necessary means to valorize itself and become
enterprise. Once left to its own dynamic, the reticular economic system was
destined to optimise economic gains for everyone, owners and workers, also
because the distinction between owners and workers would become increasingly
imperceptible when one enters the virtual productive circuit.

This model, theorised by authors such as Kevin Kelly and transformed by the
Wired magazine in a sort of digital-liberal, scornful and triumphalist
Weltanschauung, went bankrupt in the first couple of years of the new
millennium, together with the new economy and a large part of the army of
self-employed cognitive entrepreneurs who had inhabited the dotcom world.

It went bankrupt because the model of a perfectly free market is a
practical and theoretical lie. What neoliberalism supported in the long run
was not the free market, but monopoly. While the market was idealised as
a free space where knowledges, expertise and creativity meet, reality
showed that the big groups of command operate in a way that far from being
libertarian introduces technological automatisms, imposing itself with the
power of the media or money, and finally shamelessly robbing the mass of
share holders and cognitive labour.

The free market lie has been exposed by the Bush administration. Its policy
is one of explicit favouritism for monopolies (starting with the scandalous
absolution of Bill Gates' authority in exchange for a political alliance
based on large electoral donations). It is a protectionist policy that
imposes the opening of markets to weak states while allowing the United
States to impose 40% import taxes on steel. With Bush's victory, the
libertarian and liberal ideology has been defeated and reduced to a
hypocritical repetition of banalities devoid of content. Geert Lovink does
not dwell on American liberal ideology, the defeated enemy. Instead, he
invites us to understand what happened at the level of production in the
years of dotcom-mania.

We have no reason to cheer over the dotcom crash, he says. The ideology that
characterised dotcom mania was a fanatical representation of obligatory
optimism and economistic fideism. But the real process that developed in
these years contains elements of social as well as technological
innovation: elements that we should recuperate and re-actualise.
In the second half of the 90s a real class struggle occurred within the
productive circuit of high technologies. The becoming of the web has
been characterised by this struggle. The outcome of the struggle, at
present, is unclear. Surely the ideology of a free and natural market
turned out to be a blunder. The idea that the market functions as a pure
environment of equal confrontation for ideas, projects, the productive
quality and the utility of services has been wiped out by the sour truth of
a war monopolies have waged against the multitude of self-employed
cognitive workers and against the slightly pathetic mass of microtraders.

The struggle for survival was not won by the best and most successful,
but by the one who drew his gun out. The gun of violence, robbery,
systematic theft, of the violation of any legal and ethical norm. The
Bush-Gates alliance sanctioned the liquidation of the market, and at that
point the phase of the internal struggle of the virtual class ended. One
part of the virtual class entered the techno-military complex, another
part, the large majority, was expelled from the enterprise and pushed to
the margins of explicit proletarianization. On the cultural plane, the
conditions for the formation of a social consciousness of the cognitariat
are emerging, and this could be the most important phenomenon of the years
to come, the only key to offer solutions to the disaster.

Dotcoms were the training laboratory for a productive model, and for a
market. In the end the market was conquered and suffocated by monopolies,
and the army of self employed entrepreneurs and venture microcapitalists was
robbed and dissolved. Thus a new phase began: the groups that became
predominant in the cycle of the net-economy forge an alliance with the
dominant group of the old-economy (the Bush clan, representative of the oil
and military industry), and this phase signals a blocking of the project of
globalisation. Neoliberalism produced its own negation, and those who were
its most enthusiastic supporters become its marginalized victims.

The main focus of this book is the Internet. What has it been, what has it
become and especially what will it be? A discussion, starting in the
mid-90's, opened gaps within cyberculture and divided the theoretical and
creative paths of its various agents. As soon as the internet became more
diffuse and revealed cultural, technical and common synergies, the
advertisers and traders arrived with their entourage of profit fanatics.
Naturally, they only had one question: can the Internet become a
money-making machine? The 'experts' (who then amounted to a multicolored
bunch of artists, hackers and techno-social experimentators) replied in
Sibylline ways. The Californian digerati of Wired replied that the Internet
was destined to multiply the power of capitalism, to open vast immaterial
markets, and to upset the laws of the economy, which predict crisis and
delays and decreasing incomes and falls of profit. Nobody really refuted
these people. Net-artists and media activists had other things to do, and
their criticisms and reservations came across as the lament of the losers,
who are incapable of entering the big club.

Digerati, cyberpunk digital visionaries, and net artists let the bubble
grow. The money that entered into web circuits was useful to develop any
kind of technological, communicative and cultural experimentation. Someone
called it the funky business. Creative labor found a way to scrounge money
from a whole host of fat, obese and small capitalists.
The truth is that nobody (or very few) said that the Internet was not a
money-making machine. It has never been and it cannot be. Careful: this
does not mean that the web has nothing to do with the economy. On the
contrary, it has become an indispensable infrastructure for the production
and the realization of capital, but this does not mean that its specific
culture can be reduced to the economy. The Internet has opened a new
chapter in the processes of production. The dematerialization of the
commodity, the principle of cooperation, and the unbreakable continuity
between production and consumption have made the traditional criteria of
definition of the value of commodities redundant. Whoever enters the web
does not see him- or herself as a client, but as a collaborator, hence,
he/she does not want to pay. AOL, Microsoft and all the other sharks can do
what they like, but they won't be able to change this fact that is not just
a rather anarchoid cultural trait, but the core of the digital labour

We should not think that the Internet is an extravagant island where the
principle of valorisation that dominates the rest of human relations
enters a crisis. On the contrary, the web has created a conceptual opening
that is destined to grow larger. The principle of freedom is not a marginal
exception, it can become the universal principle of access to material and
immaterial goods.

With the dotcom crash, cognitive labor has separated itself from capital.
Digital artisans, who during the 90s felt like entrepreneurs of their
own labour, will slowly realize that they have been deceived, expropriated,
and this will create the conditions for a new consciousness of cognitive
workers. The latter will realise that despite having all the productive
power, they have been expropriated of its fruits by a minority of ignorant
speculators who are only good at handling the legal and financial aspects
of the productive process. The unproductive section of the virtual class,
the lawyers and the accountants, appropriate the cognitive surplus value of
physicists and engineers, of chemists, writers and media
operators. But they can detach themselves from the juridical and financial
castle of semiocapitalism, and build a direct relation with society, with
the users: then maybe the process of autonomous self-organisation of
cognitive labor will begin. This process is already underway,
as the experiences of media activism and the creation of networks of
solidarity from migrant labour show.

Starting from these experiences, we need to rethink the 19c question of the
intellectual. In Geert Lovink's book the question reemerges. His portrait of
the virtual intellectual, in the first section of the book, is both a
synthetic autobiography and a description of the different intellectual
attitudes that characterized the formation of the connective sphere. Between
the 'organic' intellectual of corporations, and the radical and
nostalgically humanistic pessimist (the dominant intellectual figures of the
90s), Lovink proposes the figure of the net-critic, undogmatic and curious
about what happens while resistant to any form of ideological and especially
economic hegemony. But more is at stake than a cultural fashion that is
counterposed to another. At stake is the defection from the political scene
that characterised the XXth century, and the creation of a totally different

The XXth century was dominated by the figure of the 'superstructural'
intellectual, to use an Engels, Leninist and Gramscian formulation. For the
revolutionary communist movement, the intellectual was the pre-industrial
figure, whose function was determined on the basis of a choice of organic
affiliation with a social class. The Leninist party is the professional
formation of intellectuals who chose to serve the proletarian cause. Antonio
Gramsci introduced decisive elements of innovation to the Leninist
conception, because he introduced the theme of cultural hegemony, of the
specificity of a work of ideology to develop in the process of seizing
political power. But Gramsci remained fundamentally attached to an idea of
the intellectual as an unproductive figure, to an idea of culture as pure
consensus with ideological values. The industrialisation of culture that
developed during the 1900s modified these figures, and critical thought
realised this when it migrated from Frankfurt to Hollywood.

Benjamin and Marcuse, Adorno and Horkheimer, Brecht and Krakauer registered
this passage. But it is not until the digital web redefined the whole
process of production that intellectual labor assumed the configuration that
Marx had, in the Grundrisse, defined with the expression of 'General

Pierre Levy calls it collective intelligence, Derrick De Kerkhove points
out that it actually is a connective intelligence. The infinitely fragmented
mosaic of cognitive labour becomes a fluid process within a universal
telematic network, and thus the shape of labour and capital are
redefined. Capital becomes the generalized semiotic flux that runs through
the veins of the global economy, while labour becomes the constant
activation of the intelligence of countless semiotic agents linked to one
another. Retrieving the concept of 'general intellect' in the 90s,
Italian compositionist thought (Paolo Virno, Christian Marazzi, Carlo
Formenti) has introduced the concept of mass intellectuality, and
emphasized the interaction between labor and language.

We needed to go through the dotcom purgatory, through the illusion of a
fusion beween labour and capitalist enterprise, and then through the hell of
recession and endless war, in order to see the problem emerge in clear
terms. On the one hand, the useless and obsessive system of financial
accumulation and a privatization of public knowledge, the heritage of the
old industrial economy. On the other hand, productive labor
increasingly inscribed in the cognitive functions of society: cognitive
labor that starts to see itself as a cognitariat, building autonomous
institutions of knowledge, of creation, of care, of invention and of
education that are autonomous from capital.

Franco Berardi Bifo, August 2002, Bologna

(Translation: Arianna Bove)


Date: Sat, 2 Nov 2002 08:59:31 -0500
From: "ricardo dominguez" <>
Subject: Marcos' letter in support of the EZLN Exhibition in Monterrey, Mexico 

[Between Oct, 28 to 31st the Museum of Doctor of Margil, in the City of
Monterrey, Mexico exhibited objects
 loaned by the EZLN to the Museum. The objects included subcomandante
Marcos' laptop. This is also the
 first letter to be sent out from from Chiapas by subcomandate Marcos since
the zapatista march in Mexico City, D.F.
 in 2001 - rdom].

Originally published in Spanish by La Jornada
Translated by irlandesa

La Jornada
Wednesday, October 30, 2002.


July of 2002.

To:  Fernando Yanez Munoz, Architect.

From:   Subcomandante Insurgente Marcos.

Don Fernando:

Greetings from all the zapatista companeros and companeras and from the
indigenous communities in resistance.  We hope that you, and all of those
working alongside you, are in good health and of good cheer.

You, as we know, are working alongside other honest men and women in tending
to the memory of our people's struggle.  An important part of this memory is
being kept in the Museum of Doctor Margil, in the City of Monterrey, Nuevo
Leo'n, Mexico.  There are testaments in this museum to a fundamental part of
our history as zapatistas, a history of which we are proud and which we are
trying, as much as we are able, to honor.

You, and those whom you work with, are zapatistas.  And that Museum is
zapatista.  That is why we have wanted to send you a small gift with
zapatista earth.  It is a modest homage to all of those men and women who
died for liberty after living for the Patria.  We hope that there is a place
in the Museum for this modest homage from the EZLN to the Mexican men and
women who gave birth to that hope which will be celebrating 33 years on this
August 6, 2002.

It will be a great honor for us to have this zapatista earth shine in the
Mexican north on August 6, 2002, and for the lines to be listened to,
timidly, of this rudimentary attempt at a poem, entitled "Account of the
Events" - which I wrote 18 years ago, at the dawn of the EZLN - and which,
as is known, already has a place in the Museum of Doctor Margil.

Hoping to see you soon and to once again have the honor of greeting you
personally, I bid farewell in the name of all my companeros and companeras.

Vale.  Salud and may hope gain new spirit when the 3 faces the mirror and
memory is given the gift of one of the most honorable moments in the history
of Mexico.

>From the mountains of the Mexican Southeast.

Subcomandante Insurgente Marcos.

Mexico,  July of 2002.

POEM (?)

"Account of the Events"

"Today, the sixth day of the month
of August of the year
nineteen hundred and seventy-nine,
as history forewarned,
the coffee bitter,
the tobacco running out,
the afternoon declining
and everything in place for conspiring
against the shadows and darkness
which obscure the world and its sun,
the below signed appear
in front of me, the patria, in order to
declare the following.

First. - That the below signed
renounce their homes, work,
family and studies and all the
comforts which have been
accumulated in the hands of the few
upon the misery of the many.

Second. -  That the below signed
renounce a future,
paid on time, of
individual enjoyment.

Third. -  That the below signed
also renounce the shield
of indifference in the face of the suffering
of others and the vainglory of a
place among the powerful.

Fourth. -  That the below signed
are prepared for all the sacrifices
necessary in order to fight silently
and without rest in order to make me,
the patria, free and true.

Fifth. -  That the below signed
are prepared to suffer persecution,
calumny and torture, and even
to die if it is necessary, in order to achieve
what was noted in the Fourth point.

Sixth. -  That I, the patria, will know
to keep your place in history
and to watch over your memory
as they watch over my life.

Seventh. -  That the below signed
will leave enough space under their
names so that all honest men
and women may sign this
document, and, when the moment comes,
the entire people shall sign it.

There being nothing left to be said,
and very much to do, the
below signed leave their
blood as example and
their steps as guide.

Valiantly and Respectfully,


Manuel, Salvador, Alfredo, Manolo, Mari'a Luisa,
Soledad, Murcia, Aurora, Gabriel, Ruth, Mario,
Ismael, He'ctor, Toma's Alfonso, Ricardo...

And the signatures will follow
of those who will have to die and
of those who will have to live
fighting, in this
country of sorrowful history
called Mexico, embraced
by the sea and, soon,
with the wind in its favor.



Date: Wed, 6 Nov 2002 00:10:10 +1100
From: "Yama Farid" <>
Subject: "The Internet: Anarchic Dream to Legal Minefield"

The Internet: Anarchic Dream to Legal Minefield
Click here < > to listen to this special Media Report panel discussion which was recorded before a live audience at the ABC in Ultimo on September 18 2002.
The Media Report, Radio National


Date: Wed, 6 Nov 2002 08:07:34 +1100
From: "geert lovink" <>
Subject: report on Afghan community radio mission online

From: "jo" <>

we are pleased to present you our report on the fact finding mission on
community radio in Afghanistan. The report is now online at

Bruce Girard and Jo van der Spek


Date: Wed, 6 Nov 2002 15:16:08 +0100 (CET)
From: "Kunstradio" <>
Subject: Sound Travels

November 16th 3 AM GMT - 7 PM GMT

Sound Travels: Global Internet Exchange
on line - on air - on site

Concept: Paul Plimley & Mei Han, Vancouver

Mia Zabelka, Vienna
Ellery Eskelin, New York,
QUAN NINH, Toulouse,
Jason Robinson, San Diego,
Anthony Pateras, Westspace, Melbourne,
Akikazu Nakamura, Tokyo.

on line:

on site:

Western Front - 303 East 8th Avenue (Tue-Fri. 12 - 5 pm)
H.R. MacMillan Planetarium - 1100 Chestnut

November 16th - 19:30 CET / 18:30 GMT
Zeiss Planetarium Vienna

on air:
ORF Kunstradio, November 17th 23.05 CET / 22:05 GMT

Into the heavens - Across time zones – Up to speed

Vancouver pianist Paul Plimley and zheng virtuoso Mei Han join improvising
musicians in Melbourne, Tokyo, Vienna, New York, Toulouse and San Diego
via the internet to explore how music can break the sound barrier. Set
against the planetarium’s backdrop of stars, the players will connect
through live audio streams that mix sound and metaphor.


Date: Thu, 07 Nov 2002 09:10:10 +0100
From: =?iso-8859-1?Q?Edith=2DRu=DF=2DHaus=20f=FCr?= Medienkunst  <>
Subject: Announcement-stipends

Edith-Ruß-Haus für Medienkunst
Edith Russ Site for Media Art
Peterstraße 23
26121 Oldenburg
t. +49 (0)441 235 31 94
f. +49 (0)441 235 21 61

Dear colleagues,

the Edith Russ Site for Media Art will award three 6 month work
stipends for the year 2003. May we ask you to distribute or place an
announcement (see below) for stipends?

Yours sincerely
Claudia Schmitz

The Edith Russ Site for Media Art will award three 6 month work stipends
for June - December 2003. International artists who work with New Media
may apply. Each stipend is endowed with 10.225,84 €  (20.000 German
Marks). There are no residency requirements. The stipends have been made
possible through a grant by the Niedersachsen Foundation. Application
and project description deadline (post date): 31st January 2003.

The 2002 stipends were awarded to: Johan Grimonprez (B), Dagmar
Keller/Martin Wittwer (D/CH) and Florian Zeyfang (D).

Edith-Ruß-Haus für Medienkunst
Edith Russ Site for Media Art
Peterstraße 23
26121 Oldenburg
t. +49 (0)441 235 32 08
f. +49 (0)441 235 21 61


Date: Thu, 7 Nov 2002 10:36:17 +0100
From: Maren Hartmann <>
Subject: Stipends for new media artists

Sorry for cross-postings

The Edith Russ Site for Media Art will award three 6 month work stipends
for June - December 2003. International artists who work with New Media
may apply. Each stipend is endowed with 10.225,84 *  (20.000 German
Marks). There are no residency requirements. The stipends have been made
possible through a grant by the Niedersachsen Foundation. Application
and project description deadline (post date): 31st January 2003.

The 2002 stipends were awarded to: Johan Grimonprez (B), Dagmar
Keller/Martin Wittwer (D/CH) and Florian Zeyfang (D).

Edith-Ruß-Haus für Medienkunst
Edith Russ Site for Media Art
Peterstraße 23
26121 Oldenburg
t. +49 (0)441 235 32 08
f. +49 (0)441 235 21 61

Das Edith-Ruß-Haus für Medienkunst vergibt für die Zeit von
Juni-Dezember 2003 drei 6-monatige Arbeitsstipendien für internationale
Künstler, die sich mit Neuen Medien beschäftigen. Jedes Stipendium ist
mit 10.225,84 *  (20.000 DM) dotiert, es besteht keine Residenzpflicht.
Die Stipendien werden durch eine Förderung der Stiftung Niedersachsen
ermöglicht. Deadline für die Bewerbung mit Projektbeschreibung ist:
31. Januar 2003 (Poststempel).

Die Stipendiaten des Jahres 2002 waren: Johan Grimonprez (B), Dagmar
Keller/Martin Wittwer (D/CH) und Florian Zeyfang (D).

Bewerbungen bitte an:

Edith-Ruß-Haus für Medienkunst
Edith Russ Site for Media Art
Peterstraße 23
26121 Oldenburg
t. +49 (0)441 235 32 08
f. +49 (0)441 235 21 61

- -- 
Maren Hartmann - Researcher @ SMIT - Vrije Universiteit Brussel
Pleinlaan 2 - 1050 Brussel - Belgium
phone (work): + 32 2 629 2572 - fax: + 32 2 629 2861


Date: Sun, 27 Oct 2002 17:11:04 +0100
From: "martin sjardijn" <>
Subject: second Manifesto on Weightlessness

the Second Manifesto on Weightlessness
en de interactive 3D multiUser world for beta testers:

~martin sjardijn


Date: Mon, 28 Oct 2002 14:30:05 -0500
From: Richard Barbeau <>
Subject: The Planetary vigil of NetArt 2002

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The Planetary vigil of NetArt 2002 is now on line

The Planetary vigil of NetArt is an annual event in which several 
members of today's cyber community have been asked to choose an Internet 
work of art and to comment upon their choice. For the 2002 edition, we 
have asked web artists to select and comment on a work by an other 
artist or group of artists on the Internet.



Annie Abrahams
Mark Amerika
Julian Baker
Gisele Beigueleman
Christophe Bruno
Boris Dionne
Yannick Gelinas
Auriea Harvey
David Jhave Johnston
Tomasz Konart
Julie Lapalme
Lise-Hélène Larin
Michel Lefebvre
Joseph Lefèvre
Christina Mcphee
Antoine Moreau
Emilie Pitoiset
Melinda Rackham
Tasman Richardson
Antoine Schmitt
Nikola Tosic
Paul Tulipana
Philip Wood


Organisers :

Ollivier Dyens

Richard Barbeau

- --------------060406010001050801000806


Date: Fri, 01 Nov 2002 01:13:48 +0100
From: DIAN <>
Subject: DIAN Announcement for November

              DIAN - Digital Interactive Artists' Network




DIAN - Digital Interactive Artists' Network -
Our focus for the month of November is DOMIZIANA GIORDANO and REINER
STRASSER. We proudly present their work:

"The Doorman"

"The doorman" is an interactive, 'photo-cinematic' flash piece, created
with documentary photos of the subject shot over two months. Like
insert-cuts in films, the sequences can be played over time and arranged
in your mind.

A doorman spends his days in the dark of his lodge. His chair gives onto
a wall at one corner of the entrance hall. He cannot have an entire view
unless he stands on the sill of his porter's office window. Like the
doorman of a theatre who cannot enjoy the show, the doorman sits in his
lodge, just witnessing other people passing by.

This doorman though, can only hear people entering and leaving the
building. His contact with the world outside is limited to the screen of
a small black and white TV he watches all day long and the letters and
pictures of a newspaper.

He hears someone else's life, he watches someone else's life. Time and
life is passing by him. Is he really alive? To live in the dark of a
lodge. Was this his intentional choice or was it the only job he could

How much the architect's design of the location interferes with the
wasting of the doorman's life?

DIAN - Digital Interactive Artists' Network - is a network for artists
who are seriously involved in using Internet technology in the domain of
contemporary art.

We are deeply interested in artists working in this field. Artists
working with the web, the net and related domains, please submit your
work here:

        Visit DIAN and explore what can be done on the Internet.


to unsubscribe from this list send an email


- --------------F2C672B7584A420DE1E143A0


Date: Mon, 04 Nov 2002 13:06:03 -0400
Subject: World of Awe: mRB > prototyping a super-toy

> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.

- --MS_Mac_OE_3119259963_237187_MIME_Part
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable


The mRB is a prototype of a fictional super-toy in the form of a

A collaboration between Yael Kanarek and Bnode (Judith Gieseler
and Innes Yates), the project elaborates on Kanarek's ongoing
interdisciplinary project, World of Awe, which is based on an
original narrative that uses the ancient genre of the traveler's
tale to explore the connections between storytelling, travel,
memory, and technology.

The collaborative project investigates the diffusion of
techno-scientific knowledge into popular culture through a
fictional super-toy =8B the moodRingBaby. According to the
narrative the toy resembles an advanced Tamagotchi. Taking a
hypothetical, reverse-engineering approach, Kanarek and Bnode
began speculating on the origins of this fictional toy. The
process has produced a prototype called the mRB.


The project utilizes a 3D web interface that allows the user to
browse various aspects of the mRB for clues to its origin,
experiences, and character.

An exploratory interface provides access to five different
components of the mRB: Skin, Input, Memory, CPU and Output.
Each component contains experiences which demonstrate function
and process.


The mRB installation is on view as part of the Beta-Launch
exhibition at Eyebeam from October 16 through December 1, 2002,
located at 540 W. 21st Street, between 10th & 11th Avenues. The
exhibition is open Wednesday-Sunday, 12 - 6 PM.

The installation displays the five different functions of the
ring and multiple rings created with a 3d printer made available
through the R&D residency at Eyebeam.


Date: Tue, 5 Nov 2002 23:41:05 -0500
From: Artcontext <>
Subject: Exit Ahead


by Andy Deck
Founder now on the
Information Super Detour   

(This message is a Free Love announcement of Artcontext.)


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