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Table of Contents:

   [] 2002 Palestine International Video Festival                          
     "Palestine Video Festival" <>                                      

   Paul D. Miller remixes Marcel Duchamp at L.A. MOCA                              
     "Paul D. Miller" <>                                        

   PLUG AND PLAY / SUNDAY / 17/11/2002 / 6PM                                       
     "pnp" <>                                                           

   *streaming interfiction* Audio-Livestream                                                                                     

   TV or NOT TV  /  LA Freewaves=?ISO-8859-1?B?uQ==?= 8th Celebration of Experiment
     Jose-Carlos Mariategui <>                                         

   Version>03 call for ideas                                                       
     edmar <>                                                           

   PLEASE POST                                                                     
     Pamela Grant-Ryan <>                                                

   "VIRTUAL ART" by Oliver Grau: Lecture Series                                    
     "Patrick Hutsch" <>                                

   Soft season at inIVA: Film programme                                            
     "geert lovink" <>                                                

   Break 2.2 Festival - Call for applications - Invisible Threat                   
     jaka zeleznikar <>                                                 

   ray johnson talk, London                                                        
     matthew  fuller <>                                              

   ULTRASOUND 2002 UPDATE // medialounge // #13 //                                 
     "medialounge_list" <> (by way of richard barbrook)   

   ICT Conference in St. Petersburg, Russia, April 22-24, 2003                     
     "geert lovink" <>                                                

     "Frau von Sydow" <>                                      


Date: Wed, 20 Nov 2002 14:44:25 -0500
From: "Palestine Video Festival" <>
Subject: [] 2002 Palestine International Video Festival


The "2002 Palestine International Video Festival" is a new video festival to
take place in the West Bank during the winter of 2002. The festival will
showcase an international collection of contemporary video art,
installations, and documentaries. During the festival, the works will be
installed in various independent galleries, screened on local television
stations, and made permanently available in a public archive at Birzeit

The festival is an attempt to breach the cultural and intellectual isolation
of the Palestinian people brought about by the ongoing Israeli occupation of
the West Bank and the Gaza Strip. Issues ranging from immigration and exile,
the practice of everyday life, and the aftermath of September 11th will be
explored by the festival's diverse participants. The festival was conceived
by Emily Jacir (UNDP/TOKTEN), and is co-organized by John Menick. It will
hopefully mark the beginning of an ongoing dialog between the international
cultural community and the residents of Palestine.

For more information please visit our website:

All our best,
Emily Jacir and John Menick

- ----------------------------------------------------
2002 Palestine International Video Festival
November - December 2002
- ----------------------------------------------------


Date: Sat, 23 Nov 2002 14:11:04 -0500
From: "Paul D. Miller" <>
Subject: Paul D. Miller remixes Marcel Duchamp at L.A. MOCA

Hey you all - I'm going to be in L.A. on Saturday 'cause I have a 
show opening at L.A. MOCA. It's a remix I did of Marcel Duchamp's 
infamous "Errata Musical" and "Sculpture Musical" works  - check it 
out! Think of it as downloadable mix sculpture based on sampling and 
sound. There'll be downloadable posters etc etc and screensavers 
starting next week. M.C. Duchamp as mixologist... as Dj... as 
starting point for some kind of new aesthetics of the found object as 

There'll be "dub" and "hip-hop" versions of Duchamp's various spoken 
texts, each one mixable by the viewer.

Errata Erratum

is viewable and hearable at:


  My discussion of the remix is on Sunday at the museum with Artforum 
critic Ralph Rugoff about the project. Essentially, it's based on 
Duchamp's music works from the period 1912-1915. I'll present 
"versions" and remixes of the project and, of course, it'll be 

The project was curated by Lisa Mark of the L.A. Museum of 
Contemporary Art Digital Gallery.

also - don't forget we're in the middle of re-starting 21C Magazine:


for those of you who are into text - here's the liner notes for the project:

On The Record: Notes for the "Errata Erratum" Duchamp Remix Project at LA MOCA

By Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid
NYC 2002

"In the chain of reactions accompanying the creative act, a link is 
missing. This gap, representing the inability of the artist to 
express fully his intention, this difference between what he intended 
to realize and did realize, is the  personal "art coefficient' 
contained in the work. In other words, the personal 'art coefficient' 
is like an arithmetical relation between the unexpressed but intended 
and the unintentinally expressed..."
Marcel Duchamp, "The Creative Act" 1957

When I first started dj'ing it was meant to be a hobby. It was an 
experiment with rhythm and clues, rhythm and cues: drop the needle on 
the record and see what happens when this sound is applied to this 
context, or when that sound crashes into that recording... you get 
the idea. The first impulses I had about dj culture were taken from 
that basic idea - play and irreverence towards the found objects that 
we use as consumers and a sense that something new was right in front 
of our oh so jaded eyes as we watched the computer screens at the 
cusp of the 21st century's beginnings. I wanted to breathe a little 
life into the passive relationship we have with the objects around us 
and to bring a sense of permanent uncertainty about the role of art 
in our lives. For me, as an artist, writer, and musician,  it seemed 
that turntables were somehow imbued with the art of being memory 
permutation machines - they changed how I remembered sounds, and 
always made me think of a different experience with each listening. 
The "phonograph" in my artwrok embodied what theorist Francis Yates 
would call "memory palaces" in contemporary context - trace the 
etymology of the word to "sound writing" a.k.a. "phono-graph" and 
think of the scenario as Walter Benjamin's "aura" become a sound wave 
of syncopated fragments dancing at memories edge, and you'll get the 
basic impression I want to convey here. Basically when I first 
started out I wanted to show complex stuff - how the "phonograph" was 
a mnemonic device translated into a kind of philosophical game of 
intentionality mixed with what John Cage would call "chance 
operations," or what Amiri Baraka would call "the changing same" - 
how the "turntable" had become a way of transforming culture into 
machinic improvisation... stuff like that. During the time that I 
spent researching for "Errata Erratum," I found so many examples of 
how dj culture intersected with some of the core tenets of the 20th 
century avant-garde, that it seems to have unconsciously absorbed 
them all. Composed in 1913, Duchamp's "Erratum Musical" is based on a 
whole schemata of mistakes, errors, and mis-steps in a family 
situation. And what therse days we'd simply call "glitches" in 
commmunication between programs, would be for him at that time a 
whole metaphysical critique of, as he put it so often, "how one can 
make a work of art that is not a work of art" - but back then at this 
point in his career it was simply a random card game between siblings.
The basic scenario for "Erratum Musical" was this: Duchamp wrote out 
a series of "instructions" about the interaction of 3 sets of 25 
cards for his sisters, and when they took a card from a hat passed 
around the room at the conception of the piece, they would each sing 
random phrases based on a loosely defined interpretation of the 
patterns on the cards.  Three voices in a trialog would be the basis 
of the piece, and essentially the cards were nothing more than  cues 
for the unconscious impulses of a quick glance at something held 
briefly and then put down. That was it!
To get a better idea of what this must have been like, basically, you 
have to imagine a fun dinner party where people sing a Rorshach ink 
blotter tune, and you'd have a reasonable "picture" of what sounds 
the sisters came up with. It's not too Freudian of a leap to think of 
the abstract voices of familial roles played out in sound... but hey, 
that's kind of the point. When I think of dj'ing essentially you're 
dealing with extended kinship systems of rhythm -  one beat matches 
or doesn't match a sound-flow, and it's the interpretation of the 
gestures that make up the mix that creates the atmosphere in a room. 
Think of my "Errata Erratum" remix as a 21st century update on the 
idea - but now, we move through dispersed networks of culture, and 
the cards we play are icons on a screen. A single note was assigned 
to each card - for the remix - you get sequences of sounds based on a 
different kind of card - a visual display of a roto-relief - an 
engraved card that Duchamp made throughout his career and gave away 
randomly to people. The song, as you can see, got alot more dispersed 
as Duchamp became a more well known artist, and by the end of his 
life, the card game became a signature that was profoundly 
paradoxcial. Like all of Duchamps work it was personal and impersonal 
- - industrial culture's absorbtion of almost all "indviduality" into 
seamless expression of individual choice amongst the varied options 
left in a world of pre-fabricated identities and emotions. My "Errata 
Erratum" echoes documentation of four realizations of Duchamp's 1913 
compositions that included "The Bride Stripped Bare By Her 
Bachelors,even, 1.3 voices: Erratum Musical" and the 'instruction' 
piece "Musical Sculpture". The resulting musical interpretations of 
compostions intended for voice, player piano, alto flute, celeste, 
trombone and glockenspiel are of a strikingly spare, slow and soft 
character that brings to mind the sound compositions of Erik Satie or 
Morton Feldman - but for my remix they were based on the interaction 
of viewers relationships to the rotorelief pieces that Duchamp so 
famously handed out over the years. In short, it's art you can 
download. Think of it as "downloadable anti-sublime" or something 
like that.
I wanted to think of "Errata Erratum" as dj'ing "found objects" just 
like I would mix the records that normally comprise my sonic 
pallette. Essentially, "Errata..." is an experiment with sculpture 
and the interplay of memory as it is shaped by the technologies of 
communication that have come to form the core conditions of daily 
life in the industrialized world. In short, it was meant to be a fun 
thing, and in short order it became something alot more serious. Back 
the in the distant mid 90's dj'ing was still an underground 
phenomenon, and in a sense, today now that guitars are regularly 
outsold by turntables, the tables have literally turned - dj'ing is a 
mainstream phenomenon, and mixing beats and sounds is a commonplace 
thing on the internet for kids... "Errata Erratum" is a migration of 
those values into a playful critique of one of the first artists to 
engage that logic of irreverence towards the art object  and to apply 
that logic to some of the works that he came up with to "flesh out" 
his ideas on the topic in "net culture." So when you see those 
circles moving, think of loops and repetition, cycles and flows, and 
think of how to translate one person's thoughts into anothers... and 
that's just the beginning. When the mix comes calling, you can't help 
but think of how many people are in it. This project is an attempt to 
bring together one of my favorite people in mix culture together with 
some variations on a certain theme - one that is as wide as the 
internet, and as wide as the people's thoughts moving through the 
fiber optic routing systems that hold our new version of the "digital 
sublime" together. Duchamp's piece "La Mariée mise à nu par ses 
célibataires même Erratum Musical (The Bride Stripped Bare by Her 
Bachelors Even. Erratum Musical)" follows the same logic and it leads 
us  to the series of notes and projects that Duchamp started to 
collect in 1912 and which culminated in his infamoust "Large Glass" 
piece. It wasn't published or exhibited during Duchamp's life, but 
the implications are clear - he wanted to invoke a sense of 
convergence between art and the random processes,  the "generative 
syntaxes," of the imagination as it speaks to a world made of 
industrial processes. "The Bride Stripped Bare by Her Bachelors Even. 
Erratum Musical" manuscript was unfinished and leaves many questions 
unanswered - and it leads us to a precipice of our own making 
because, like my "Errata Erratum" remix, it works within a framework 
of chance operations, and that is it's unique signature in an arts 
context. It's a milieu where each "musical scultpure" is unique yet 
completely dependent on the system that created the context. It's 
that old Duchamp paradox come back to haunt us, uncannily, on the 
internet. Duchamp said in his famous "Creative Act" lecture of 1957 
(the recording of which comprises the "dub version" hip-hop track for 
my "Errata Erratum" remix) "all in all, the creative act is not 
performed by the artist alone; the spectator brings the work in 
contact  with the external world by decipering and interpreting its 
inner qualifications and thus adds his contribution to the creative 
act." Think of that as you hear Duchamp rhyming over a hip-hip dub 
rhythm I made specially for this project - I guess you could call him 
"M.C. Duchamp" because, by hip-hop standards, he has good "flow" - 
and at this point in the track, his voice is seperated from the 
recording to become part of the musical sculpture, and like the 
original "Erratum Musical" we're seeing someone's voice placed in a 
system of chance operations - rhythm becomes the context for the 
performance, and the artist  becomes part of the sonic palette he 
There are two parts to the manuscript notes that Duchamp wrote to 
describe the "Erratum Musical" compositions. One part contains the 
piece for a "mechanical instrument." The piece is unfinished and is 
written using numbers instead of notes, but Duchamp explains the 
meaning of those numbers, which made it easy to transcribe them into 
music notes - I tried to balance that sense of uncertainty by 
assigning sounds to discs that can change speed and pitch - because 
turntables allow for that kind of variation. For "Errata Erratum" I 
wanted to streamline that process and give people a sense of 
improvisation - like Duchamp, the pieces also indicate the 
instruments on which it should be performed - but they are icons made 
of digital code. Where he would write "player piano, mechanical 
organs or other new instruments for which the virtuoso intermediary 
is suppressed" we can click on a screen. Anyway, you get the idea. 
The second part of his notes contained a description of the 
compositional system  - the title for the "system" is: "An apparatus 
automatically recording fragmented musical periods."
Here, again, we're left with the ability to make our own 
interpretation of a given framework, and are invited to run with it 
as a kind of game "system." The "apparatus" that let''s you make the 
composition in his original notes is comprised of three parts: a 
funnel, several open-end cars, and a set of numbered balls. Think of 
all of them as being flattened out on your screen, and that's what 
the Errata Erratum remix is about. In the original piece each number 
on a ball represented a note (pitch) -- Duchamp suggested 85 notes 
according to the standard range of a piano of that time; today, 
almost all pianos have 88 notes, and most computers have about 77 
keys if they're based on the classic "QWERTY" system. In short, you 
have some kind of device to interpret your finger movements, so I 
thought it'd be cool to have that aspect made into a function based 
on how you play with the rotation of the "roto-reliefs." In the 
original piece, the balls fall through the funnel into the cars 
passing underneath at various speeds. When the funnel was empty, a 
musical period was completed. When things get digital, we can assign 
all of those aspects to gestures made with a mouse or touch pad, and 
basically that's what makes this fun. Think of the screen as a blank 
canvas and that's just the beginning. It's generally noted that 
Duchamp went through a "musical phase" between 1912 and 1915 - 
"Errata Erratum" incorporates aspects of almost all of the pieces he 
wrote during that time, and makes them become digital vectors of the 
same intentions, but updated, 21st century style. One of the last 
pieces he wrote, "Sculpture Musicale (Musical Sculpture)," is notated 
on a small piece of paper, which Duchamp also included in his 
infamous "Green Box" piece. The "Musical Sculpture" piece is similar 
to the Fluxus pieces of the early 1960s, and even more so to the 
abstract software driven music of contemporary digital culture where 
fragments of sounds are constantly combined to make "tracks" in dj 
culture. Duchamps works combine objects with performance, audio with 
visual, known and unknown factors, and elements explained and 
unexplained. Of his three works of music, only two can be performed 
using manuscripts or some kind of system of "rules": the Erratum 
Musical for three voices and the Musical Sculpture. "The Bride 
Stripped Bare by Her Bachelors Even. Erratum Musical" was incomplete. 
So to give context here is important: there were no "finished" pieces 
and everything in "Errata Erratum" is about that gap between 
execution and intent in a world of uncertainty. Whatever mix you make 
of it, it can only be a guess - you have to make your own version, 
and that's kind of the point.  With that in mind, I ask that you 
think of this as a mix lab - an "open system" where any voice can be 
you. The only limits are the game you play and how you play it.

	The Artist would like to thank the staff of Lisa Marks and 
the L.A. MOCA staff, Andrew Aenoch for his timeless patience with 
getting the website set up, Rachel Bowditch for being there, and his 
mother, Rosemary E. Reed Miller, for her patience as well.

"None are more hopelessly enslaved than those who falsely believe 
they are free...."
Johann Wolfgang von Goethe

wildstyle access:

Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid

Office Mailing Address:

Subliminal Kid Inc.
101 W. 23rd St. #2463
New York, NY 10011


Date: Fri, 15 Nov 2002 14:28:05 -0000
From: "pnp" <>
Subject: PLUG AND PLAY / SUNDAY / 17/11/2002 / 6PM

This is a multi-part message in MIME format.

// PLUG AND PLAY - SUNDAY 17/11/2002 - //
//  bring your laptop and plug in.. //

// ---------------------------------------------------------- //

// so far confirmed to play this month... //

// CEDRIC PIN : minimal electronics ( )

// DORON SADJA : sonic innovator from 12k ( )


// SIMON KEEP : araucaria araucana ( )

// EVIL TWIN : pop subversion ( )

// GO SUENAGA : collaborative jam ( )

// RGB invaded / The Ponks / Miu and Somadril /  ( )

entry is free

anyone can come along and PLUG in their laptops,
or any other a/v technology and PLAY music
or visuals they have made, whatever.....

// ---------------------------------------------------------- // - event info
// ---------------------------------------------------------- // - message boards
// ---------------------------------------------------------- // - MP3s for the download
// ---------------------------------------------------------- //


Date: Fri, 15 Nov 2002 16:04:31 +0100 (MEZ)
Subject: *streaming interfiction* Audio-Livestream 

interfiction IX (2002) 
Kunstfehler in/als Medien 
Kassel, 15. - 17. November 2002 
Workshop-Tagung im Rahmen des 19. Kasseler 
Dokumentarfilm- und Videofests 

*streaming interfiction* 
Freitag, 15.11.2002, 19:00h - ca. 23:30h 
Samstag, 16.11.2002, 11:00h - 19:00h 
Sonntag, 17.11.2002, 12:00h - 17:00h 
Der Audiostream der Vorträge und der Workshop-Tagung im Rahmen von 
interfiction IX (2002) arteFaction! - Kunstfehler in/als Medien ist im 
real-media Format unter rtsp:// zu 
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 

*streaming interfiction* 
Transmission dates:
Friday, 15.11.2002, 19:00h - ca. 23:30h 
Saturday, 16.11.2002, 11:00h - 19:00h 
Sunday, 17.11.2002, 12:00h - 17:00h 
The audiostream of the lectures and the workshop-conference in the 
context of interfiction IX (2002) "arteFaction! - Malpractice in/as 
Media is available in real-media format here: 


Date: Fri, 15 Nov 2002 23:37:22 +0100
From: Jose-Carlos Mariategui <>
Subject: TV or NOT TV  /  LA Freewaves=?ISO-8859-1?B?uQ==?= 8th Celebration of Experimental Media Arts

LA Freewaves¹ 8th Celebration of Experimental Media Arts
Latin American FREEWAVES brings us the newest in video art from Latin

Permeates All of Los Angeles

Los Angeles, CA - LA Freewaves, the most extensive media arts advocate in
the country, launches TV or NOT TV, its 8th Celebration of Experimental
Media Arts, throughout Los Angeles during the entire month of November 2002.
Over the past 13 years LA Freewaves has become an unparalleled Southern
California phenomenon, presenting artists who are inventing the future of
art, culture and media.

This year¹s festival presents over 300 films, videos and new media works in
panel discussions, performance events, exhibitions, outdoor community
screenings and television broadcasts. Most events and exhibits are free of
charge, with approximately three percent requiring nominal fees for entrance
or parking.  Daily, from November 1st ­ 30th, the festival will infuse 65
venues, television, the web and 3 video billboards with the newest, most
innovative media art from around the world. 350 artists will warp, twist and
redefine the distances between daily life experience and televised reality,
presenting puzzling questions and dynamic alternatives to corporate-filtered
entertainment and alarmist, biased news reporting.

On Friday, November 1st TV or NOT TV officially kicks off with a film and
video screening at Cal Arts, a month-long South American exhibit at
Iturralde Gallery on La Brea and a full evening of events in Chinatown
featuring multiple gallery openings in and around Chung King Road,
multi-media art at internet cafes, public address system infiltrations, and
large scale street projections.  Once you¹ve filled your mind, head over to
The Grand Star to shake your booty at the infamous club Firecracker.  And to
think, there¹s another 29 days in the month of November filled with diverse
TV or NOT TV festival programming.

Latin American FREEWAVES brings us the newest in video art from Latin
America. One of the most substantial Latin American video surveys ever
assembled, the nine programs, commissioned especially for the 2002 LA
Freewaves Festival, represent the syncretism and dynamic exchanges of
artists and activists hailing from Argentina, Brazil, Chile, Colombia, Costa
Rica, Ecuador, El Salvador, Guatemala, Honduras, Mexico, Nicaragua, Panama,
Perú and Venezuela.

>From experimental exercises in physiognomy to pop culture clashes, from
perceptual studies to historiographic reflections, these nine programs
develop the manifold fascinations and interests of Latin American media

The individual programs were curated by Ernesto Calvo Alvarez, Tamara Díaz
Bringas, José Roca, Michèlle Faguet, Jorge La Ferla, Priamo Lozada, Arlindo
Machado, Christine Mello, Yucef Merhi, José-Carlos Mariategui, Claudia
Prado, and Cristian Silva. Produced by Juan Devis, Chair of LA Freewaves
Board; Coordinated by Rita Gonzalez.

Panel will discuss the state of video art in Latin America as it redefines
itself, adjusting to a changing political and economic backdrop. Moderated
by Jesse Lerner. Potential speakers include José Roca, Michèlle Faguet,
Daniel J. Martinez and Cristian Silva.

@ MOCA at California Plaza
Nov. 10, 1 -3pm 

@ MOCA at California Plaza
Programs 1-5: Nov. 9, 11am -5pm,
Programs 6-9: Nov. 10, 11am -5pm,

@ Iturralde Gallery
Nov. 1-30, 2002 
By request and daily schedule

TV or not TV?  In addition to visiting the 65 museums, art galleries, night
clubs, colleges and universities, film theatres, art centers, karaoke bars
and Internet cafes all over Los Angeles you can also turn on your television
and tune in to KCET 28 at 11:00pm every Sunday night throughout November or
LA Channel 36 every Monday night at 10:00pm.  Also, Pasadena Channel 56 will
run 2-hour blocks in rotation of TV or NOT TV programming.

And of course, a great portion of the festival happens online as well.
Remember, this IS a media arts festival. Watch for
comprehensive video streaming, calendar of events, artists¹ bios and links,
archives of past LA Freewaves¹ festivals, their extensive media resource
tools and complete festival details.

LA Freewaves is Southern California's preeminent advocate for independent,
experimental, noncommercial and under-represented media.  Its
ground-breaking biennial festivals, low-cost workshops, curriculum materials
and comprehensive web site serve as an energetic, multicultural, multimedia
arts network and an optimistic model for art in the electronic age.

LA Freewaves is funded by The Rockefeller Foundation, The Andy Warhol
Foundation for the Visual Arts, The City of Los Angeles Cultural Affairs
Department, National Endowment for the Arts, Los Angeles County Arts
Commission, California Arts Council, California Community Foundation and
Pasadena Art Alliance.

For more information or to interview festival founder and executive director
Anne Bray please contact Lynn Hasty at Green Galactic at 323-466-5141 or <> .  Also, please visit


Date: Tue, 19 Nov 2002 03:36:55 -0600
From: edmar <>
Subject: Version>03 call for ideas

Hi could you please approve this for posting???

Hi all.
I am Ed Marszewski, guiding and curating and what not, a convergence in
chicago that will be a contribution to the N5M4.

Details are below.

Version>02 was our first experiment in bringing the house down and making
some conversations to connect our local scenes with those on the coasts and
in between and beyond. Last years program can be downloaded at:
The site died but will be rejuvenated in a month or so.

The possibilities of this next event will surely be worth the efforts of
your visiting, monitoring and/or participating.

I humbly submit an overview of some ideas we are proceding to dismantle and
reform to present in March 27-30.

call for ideas::

technotopia vs technopacalypse
exploring the multitudes of technology, society, arts, activism and culture

Co-presented by Select Media and the Museum of Contemporary Art

Chicago March 27-30  2003
Museum of Contemporary Art Chicago  and other sites

There is no question that technological growth trends in science and
industry are increasing exponentially. There is, however, a growing debate
about what this runaway acceleration of ingenuity may bring. A number of
respected scientists and futurists now are predicting that technological
progress is driving the world toward a "Singularity" - a point at which
technology and nature will have become one. At this juncture, the world as
we have known it will have gone extinct and new definitions of "life,"
"nature" and "human" will take hold.

There is no clear definition, but to many the Singularity is meant as a
future time when societal, scientific and economic change is so fast we
cannot even imagine what will happen from our present perspective, and when
humanity will become posthumanity. Another definition is used in the
Extropians FAQ, where it denotes the singular time when technological
development will be at its fastest. To others the singularities have serious
class conotations. Of course, there are some who think the whole idea is
just technocalyptic dreaming.

"We are on the edge of change comparable to the rise of human life on
Earth," San Diego University Professor of Computer Science Vernor Vinge
first warned the scientific community in 1993. "Within 30 years, we will
have the technological means to create superhuman intelligence. Shortly
after, the human era will end."

Some scientists and philosophers have theorized that the very purpose of
life is to bring about the Singularity. While leading technology industries
have been aware of the Singularity concept for some time, there are concerns
that, if the public understood the full ramifications of the Singularity,
they would be reluctant to accept many of the new and untested technologies
such as genetically engineered foods, nano-technology and robotics.

Many believe the earth as a living system may collapse within the next few
decades unless we take global actions at every level to bring in sustainable
development. Others believe benevolent applications of technology and
science will save us from ourselves. And still others think the techno
fetishization is a waste of time.

version>03 will explore the technotopian and technoapocalyptic visions of
the future, past and present through discussion,  symposia, workshops,
performance, installations, video and film screenings, and exhibitions. By
examining practices, tools and ideas that direct us into the future, we hope
to encourage dialogue and direction in this brave new world.

We hope to have conversations/dialogues on topics including identifying the
technologies and cultures and economies affecting  the creation of
singularities and multitudes, building networks, contestational robotics,
alt spaces,developing theories on globalisation,  tactical media projects,
freenet open source cultures, security culture, border politics, robot
armies, direct action, new tools, strategies for communication and many
other subjects.

Current and possible projects we will feature at version>03 include:
artist interface devices, tactical vending, freenetproliferation, gameboy
music workshop, skillshare workshops
direct action workshops, robot block, experimental lectures, telepresence,
virtual reality devices, video gaming,
streaming media workshops, version>03 Video library, networking,
war driving

Current programs and themes are evolving in several simulataneous threads.
Including but in no way limited to:
Tactical media practices
Green/movement actions strategies
Scientific/poltical discourse of the emerging technologies
Sci-Fi or real life technotopic dreams and dystopian nitemare scenarios
Techno topic demonstrations and installations
Multitudes of the SIngularity

The MCA will be the location of the majority of programs and presentations.
Other locations will feature additional workshops, installations and post
MCA program parties/gatherings.

Specifically we are seeking:
Workshop proposals, Performance proposals, Panel proposals (with speakers
and participants flushed out)
New media Installations (multi channel works / kiosk based- other),
Papers/articles ,Visual arts work that relates to the themes to be printed
and/or exhibited, new screen projections, Public intervention
projects, Writers to interview artists thinkers/participants
inquries regarding :
editorial submissions, web based works, performance, panels and workshop
ideas, installations, film and video submissions will take priority.

Some ideas to think about or comment upon:
what is the singularity? how do we conceive the singularity/multitudes? ,
What are the limits to technology? How can/are
artists and other "non-experts" creating interventions to open up public
response and discourse about the new social realities and creating  new
social relations?" Positons in exploring the future., genetics/  robotics /
nanotechnology / global justice movement, Strategies for confronting the
singularity. How do we navigate and find a public in a corporate controlled
digital world. What are the projects opening up the space for

version>03 is also a contribution to the N5M4 international tactical media
festival taking place year round all over the world to culminate in May

send proposals and ideas to ed marszewski
january 15 is a deadline to check.

materials to:
960 w 31st street
chicago ill 60608


Date: Wed, 27 Nov 2002 12:41:36 -0800
From: Pamela Grant-Ryan <>

PLEASE POST.  Thank you.


LEONARDO announces Oliver Grau book tour. From within the virtual metaphor, 
Oliver Grau in his book Virtual Art (MIT Press, 2002) sheds light on how 
technology-based art functions as an extension of the archetypal human 
quest to distill image from imagination.  For tour dates and more info: 
<>. A Leonardo Book.

Pamela Grant-Ryan
Managing Editor, LEONARDO

LEONARDO/ISAST is pleased to announce the appointment of Nisar Keshvani
as the new Editor in Chief of Leonardo Electronic Almanac (LEA), the
leading monthly on-line, peer-reviewed journal and web archive covering
the realm of art, science and technology.

Subscribe now for $35 US/year and receive additional benefits as a member
of Leonardo/ISAST.

See for info on LEA and Nisar Keshvani.
See for info on 
Leonardo/ISAST and membership benefits.


Date: Tue, 26 Nov 2002 20:29:54 +0100
From: "Patrick Hutsch" <>
Subject: "VIRTUAL ART" by Oliver Grau: Lecture Series

This is a multi-part message in MIME format.

- ------=_NextPart_000_045A_01C2958A.94889640
Content-Type: text/plain;
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VIRTUAL ART: From Illusion to Immersion'  =20
by Oliver Grau=20

(forthcoming from MIT Press)

See TOUR DATES below

Although many people view virtual and mixed realities as a totally new =
phenomenon, it has its foundations in an unrecognized history of =
immersive images. The search for illusionary visual space can be traced =
back to antiquity. Oliver Grau shows how virtual art fits into the art =
history of illusion and immersion and shows how each epoch used the =
technical means available to produce maximum illusion from Pompeiis =
Villa dei Misteri via baroque frescoes, panoramas, immersive cinema to =
the CAVE. He describes the metamorphosis of the concepts of art and the =
image and relates those concepts to interactive art, interface design, =
agents, telepresence, and image evolution. Grau retells art history as =
media history, helping us to understand the phenomenon of immersion =
beyond the hype.

Doing that, Grau draws on the work of contemporary artists like Maurice =
Benayoun, Charlotte Davies, Monika Fleischmann, Eduardo Kac, Christa =
Sommerer, Michael Naimark, Simon Penny, Daniela Plewe, Jeffrey Shaw et =

Oliver Grau is lecturer in Art History at Humboldt University, Berlin, =
and head of the German Science Foundation's project on "Immersive Art". =
He is creating the International Database of Virtual Art with the aid of =
the Federal Ministry of Education and Science. Grau is visiting =
professor in Linz.

LECTURE TOUR (sponsored by Goethe Institute and various hosts).

San Francisco, UC Berkeley, Monday Dec. 2
The Art, Technology, and Culture Colloquium
160 Kroeber Hall
Curated by Ken Goldberg with ATC Advisory Board

Stanford University, Tuesday Dec. 3
4:15 pm=20
Stanford University, Lane History Building 200, Room 307
Los Angeles, UCLA (Department of Design and Media Arts), Wednesday Dec. =
6 pm - 7 pm
Kinross North Bldg. Room 104 - EDA

Chicago, School of the Art Institute, Friday Dec. 6
Noon talk from 12-1p.m.
SAIC Auditorium
280 S. Columbus Dr. (Corner of Jackson and Columbus Dr.)
Toronto, Goethe-Institut, Sunday Dec. 8
Goethe-Institut Toronto
11:00 am, New Media ,Fr=FChst=FCck'
163 King St. W.

Ann Arbor, UMICH/School of Art and Design, Monday Dec. 9
Art & Architecture Building, 5:15 p.m.
North Campus, Bonisteel Boulevard
New York, Parsons School of Design, Tuesday Dec. 10
Parsons School of Design, Tishman Auditorium
66 West 12th Street, 7 p.m.
Moderated by Christiane Paul, the Whitney's adjunct curator of new media =

(For more information: =
- -A780-1ECA08AAB2D3&ttype=3D2&tid=3D9214)


Date: Wed, 27 Nov 2002 21:53:11 +1100
From: "geert lovink" <>
Subject: Soft season at inIVA: Film programme

From: "Natasha Anderson" <>

Institute of International Visual Arts

Friday, 29 November, 2.00pm at TheSpace@inIVA, 6-8 Standard Place, Rivington
Street, London, EC2A 3BE

Work and Non-Work: A video screening curated and introduced by Anthony Iles

Thanks to all of you who made it down to the discussion last Friday at

As part of inIVA's Soft season of exhibitions and debates, Anthony lles
presents an afternoon of films, which looks at the current conditions and
aesthetics of work. By screening a series of films that cast an eye at the
minutae of labour, we hope to present you with an opportunity to reflect
upon your own positions within the work non-work nexus. Whether it be
'occasional labour in the cultural industry', the less salacious daily grind
in the city, the unpaid labour which accounts for half this country's
wealth, or the indispensable provision of an overqualified labour surplus.

Featuring artist's films, activist documentary, gems from the history of
sociology, the screening seeks to get under the skin of the habitual, the
commonplace, of what goes by the name of 'the general interest'. The event
assumes its place within 'Outsourcing' as not just another chain in a
producing machine, another opportunity to consider the shifting roles of
culture - makers, but a situation which begs the question: 'for whom do we

Artists include: Mierle Laderman Ukeles, Year Zero, Ursula Biemann, Humphrey
Jennings and Black Audio Film Collective (John Akomfrah) Please see below
for more information.

Refreshments provided.

The Films
Mierle Laderman Ukeles - Sanman's Place 28mins 1980/ World of Art; works in
Progress  28mins. 1986
In 1969, "frazzled and dazzled" by the requirements of surviving as an
artist while being a new mother, Mierle Ukeles wrote The Manifesto for
Maintenance Art: "Care." Starting with personal maintenance, the work
broadened to the maintenance of cultural institutions, urban and societal
maintenance, and sustaining the earth itself. From 1977-80, the artist
interacted with the entire New York City Department of Sanitation in the
ground-breaking Touch Sanitation Performance.

Year Zero - The Occupation. 26mins. 2001
Regeneration and gentrification in the East End Plot your place  in the
social cleansing of a city; join in the consultations; include  yourself
out. Benedict Seymour and David Panos' film looks at the rapid and
disorientating transformations occurring not only to the physical fabric of
the east end but through the social imaginary - work, housing, leisure and
time itself.

Ursula Biemann - Performing the Border, video-essay,  45 min. 1999.
A video essay set in the Mexican-US border town Ciudad Juarez, where the
U.S. industries assemble their electronic and digital equipment, located
right across from El Paso, Texas. <performing the border> looks at the
border as both a discursive and a material space constituted through the
performance and management of gender relations. The video discusses the
sexualization of the border region through labour division, prostitution,
the expression of female desires in the entertainment industry, and sexual
violence in the public sphere. Interviews, scripted voice over, quoted text
on the screen, scenes and sounds recorded on site, as well as found footage
are combined to give an insight into the gendered conditions inscribed in
the border region

Humphrey Jennings - Spare Time 35/16mm, bw, 18 mins, 1939.
Although made for the GPO, Spare Time was in fact a Mass Observation film
about the ways in which people in the industrial areas of Britain spend
their free time. Its very title suggests how removed Jennings was from the
dominant philosophy of Griersonian documentary because this film does not
glorify the dignity of labour but shows instead the working classes
producing their own culture. There is an expressive use of sounds and music
and a surreal quality about the landscape which prefigures much

Black Audio Film Collective (John Akomfrah) -.Handsworth Songs, 16mm film,
video, color, sound, 58 min 1986 Black Audio Film Collective was one of the
film and video workshop collectives set up in the 1980s in the aftermath of
inner city protests against British Institutional racism. As part of a
movement for greater cultural and political representation for and by black
people in Britain, it can be seen as part of the ongoing process of
Britain's post-colonial history. Handsworth Songs, (1986, directed by John
Akomfrah), was their most controversial work.

We look forward to seeing you on Friday.

inIVA Team


Date: Thu, 28 Nov 2002 17:28:45 +0100
From: jaka zeleznikar <>
Subject: Break 2.2 Festival - Call for applications - Invisible Threat

Break 2.2 Festival (previously called Break 21 Festival) is an
international art festival in Ljubljana, Slovenia, that presents young
emerging artists with orientation towards urban, technologically supported
arts and intermedia artistic practices that are perceived as current

The date of the next, 7th festival, is June 17-28, 2003. It will also
present some special guests (world-acclaimed artists) with the aim of
establishing an innovative dialogue with the young emerging artists. It's
important component will also be a symposium on the chosen festival theme
('Invisible Threat') with lectures by invited artists and scientists from
different fields.

Break 2.2 Festival is organised by Zavod K6/4, non-profit cultural
institution from Ljubljana, that produces, organises and promotes
contemporary creativity.

Call for applications is open till January 15, 2003; for futher
information, see web page:


Date: Mon, 25 Nov 2002 10:58:14 +0100
From: matthew  fuller <>
Subject: ray johnson talk, London

Crossing Arts talk series

Portland Hall, University of Westminster

Little Titchfield St. LONDON W1.

Wednesday 11th December 2002,  6.30pm to 8.30pm

"New York's most famous unknown artist," Ray Johnson,

the Man behind the Bunny

Clive Phillpot, Research Officer, British Council

Ray Johnson, known as "the father of Mail Art", was born in Detroit 
in 1927, and died in Long Island, New York in 1995. He was 
principally a maker of relief collages but also a graphic artist. He 
was active from the beginnings of Pop Art and Fluxus, and was the 
prime mover in Mail Art, creating a paper-based world-wide web. 
Johnson created the New York Correspondence School. His contributions 
to post-war art have been under-appreciated principally because he 
would not conform to the norms of the art world. Clive Phillpot knew 
Ray Johnson for the last fifteen years of his life.

Clive Phillpot was Director of the Library of the Museum of Modern 
Art, New York from 1977 to 1994. His writing has appeared in many art 
magazines, exhibition catalogues and books. His most recent 
publication and exhibition was Live in Your Head, Whitechapel Art 
Gallery, 2000. He appears in the new documentary film on Ray Johnson: 
How to Draw a Bunny.

Crossing Arts is a series of talks organised by CARTE, the Centre for 
Arts Research, Technology and Education, University of Westminster. 
It addresses the breadth of visual culture and inter-disciplinary 
approaches to arts practice.
Admittance is free.
Centre for Arts Research, Technology and Education
For more information and to let us know you are coming: contact Sue 
Barker, CARTE,
Tel: 020 7911 5000 Ext. 2675 or Email:


Date: Mon, 25 Nov 2002 18:43:00 +0000
From: "medialounge_list" <> (by way of richard barbrook)
Subject: ULTRASOUND 2002 UPDATE // medialounge // #13 //

medialounge // #13 // 22.11.02 //
ULTRASOUND FESTIVAL / 2002 / 28 / 29 / 30 / NOV /
Ultrasound is a new three day international
festival exploring the territory of experimental
sound and electronic music. Ultrasound 2002
presents an eclectic mix of experimentalists and
artists from the UK and overseas.

The Ultrasound Live sessions oscillate between
the extreme and the sublime in musical terms,
embracing the full range of contemporary digital
music practise from experimental generative
programming techniques to rich synthesised

Space, Soundscape and the Urban Landscape
The conference presents a series of papers
and projects that explore the ambient sonic
environment and the relationship between lived
space, soundscape and the urban landscape.

An informal afternoon discussion showcasing
developments in the creative use of software in
the areas of electronic music and sound art.

Because there's more to Black music than
Hip-Hop, Garage and R&B. Conceived by DJ,
producer, writer and Attica Blues frontman
Charlie Dark.

The Media Centre
07 Northumberland Street

Info / 0870 990 5003 / /

// shutdown // : //


Date: Wed, 27 Nov 2002 15:08:09 +1100
From: "geert lovink" <>
Subject: ICT Conference in St. Petersburg, Russia, April 22-24, 2003

From: "Sergei Stafeev" <>

International Conference

Building the Information Commonwealth:
Information Technologies and Building Prospects for the Development of Civil
Society Institutions in the CIS Countries

St. Petersburg, Russia, April 22-24, 2003

The disintegration of the USSR is still resonating within the world

The formation of an effective civil society sector will hopefully work  to
overcome the economical, social and cultural effects of a totalitarian
government which are the common heritage of the Commonwealth of Independent
States (CIS) countries.  This remains one of the most immediate and
significant  tasks for all the ex-USSR states.

The decade since 1991 has shown that the path to stable democratic societies
in the CIS region is a very difficult one. The negative factors common to
all the CIS countries, unstable economic growth, traditions of state
paternalism, low living standards, a hazardous investment climate, the
"soviet mentality" are still even now determining the everyday lives of the
majority of the population of our countries.

It is thus crucial to make effective use of available "global resources"
such as information and communication technologies (ICTs) to support a
radical improvement in the quality of life of ordinary people, of women,
youth, the elderly, the disabled and indigenous peoples. Currently, ,
information technologies in the countries of the CIS region it would be
generally agreed are primarily used as tools for private gain and are
accessible only to the relatively small numbers who can afford individual
  Developing strategies for enabling information technologies to serve the
broader needs of society, to support the development of democratic
institutions, and to strengthen the struggle against poverty is a challenge
that presents itself to civil society and public authorities?

These questions are becoming more and more critical for the peoples in our
countries where rapid technological development presents possibilities (and
risks) of radical change in economic and social circumstances and for
responding to growing social injustice. Critical analysis of the the
Information Society in the CIS region as it is evolving, the influence of
new technical (and following these social and cultural) factors within our
societies and their impacts on the development of  the civil society in
stitutions, the analysis of the applicability of modern inter-disciplinary
approaches (e.g. Community Networking/Community Informatics) to support the
realization of community-based IT projects will be the main goals of the
conference. We'll focus on several key problems of the civil society
development in CIS countries looked at  through the prism of the use of

Participants in  the Conference:

Leaders of the non-profit and civil society organizations performing
projects in the area of ICTs in the CIS countries; deputies of national
Parliaments; representatives of the executive structures of the countries of
the region; specialists from  governmental agencies and programs;
representatives of  international charitable organizations, NGO's and
foundations; experts from  International Organizations, academicians and
practitioners from the different countries who are interested in  discussing
the Co
nference issues.

Organizers of the Conference:

The Inter-Parliamentary Assembly of Member Nations of the Commonwealth of
Independent States (IPA)

Institute of Research on Problems of Nonprofits in the Newly Independent
States (IRPN)

Centre of Community Networking and Informational Policy Studies (CCNS)

The Conference Venue:

St. Petersburg, which is Russia's Northern capital,  preparing for its 300
anniversary  is a very appropriate and natural place for this event.

The Conference will take place of the main building of the IPA - Tavrichesky
Palace, one of the most
magnificent palaces in St. Petersburg (XVIII century).

More information about the Palace and the Conference facilities at

Languages of the Conference

The working languages of the Conference will be Russian and English

Themes of the Conference:

The Conference will be organized with an alternation of plenary sessions and
panels following 12 main directions:

+ civil society and information society in the CIS countries:identifying the
problem area

+ e-governance and participation of local citizens in the decision-making at
the local, regional and national

+ local communities in the CIS countries: typology, myths and realities

+ new information infrastructure at local level: creation and ownership of
Community Information

+ participation of the countries of the region in international projects and
programs directed
   towards ICT usage for the development of the civil sector

+ using ICTs for not-for-profit and civil society purposes in the CIS

+ connectivity and software

+ civil society/communities and digital economies

+ Social, Psychological and Cultural Barriers to access.

+ model legislation concerning information policy for the CIS countries and
national programs.

+ formation of the information society in the CIS and problems of Global

+ how do ICTs influence local, national, and regional development?

        Submission of papers

Proposals for papers should be submitted as abstracts of no more than 500
words, and should
include details of the proposer's name, position, affiliation, and contact
details. The abstracts will
be reviewed by the Program Committee which consist of CIS and international

Ñriteria for selection for Proposals:

- -       relevance to the Themes of the Conference
- -       relevance to the development of Civil Society in the CIS
- -       papers can address either the theoretical or the practical aspects
of the issues

Proposals should be submitted electronically:

- - in English to Michael Gurstein, Conference Co-Chair
- - in Russian to Organizing Committee to <>

   in RTF, Word or PDF format.

Deadline for abstracts:                             31st December 2002
Authors of accepted papers notified by:    20th February 2003

For further information and submission details, please, contact Organizing

27, Mayakovskogo str., St. Petersburg, Russia 191123
Fax: +7 812 2726547


Date:  Tue, 26 Nov 2002 09:39:37 +0100
From: "Frau von Sydow" <>
Subject: =?iso-8859-1?Q?Ausstellungser=F6ffnung_'Total_=DCberzogen'?=

[scroll down for english]

Total Überzogen
30. November 2002 - 9. Februar 2003

Eröffnung: Freitag, 29. November 2002, 20 Uhr

Grußworte: Dr. Hans-Jörg Siewert, Niedersächsisches Ministerium für Wissenschaft und Kultur
Einführung: Rosanne Altstatt, Leiterin

Adbusters (CAN), Banner Art Collective (USA), Urs Breitenstein (CH), Candice Breitz (ZA), Deportation Class (D), Johan Grimonprez (B), Lise Harlev (DK), Swetlana Heger (CZ), Jenny Holzer (USA), Inventory (GB), Adria Julia (E), Dagmar Keller/Martin Wittwer (D/CH), Michael Mandiberg (USA), Julian Opie (GB), Peter Roehr (D), Daniel Pflumm (D), Johannes 
Wohnseifer (D) und Florian Zeyfang (D) 

Das Edith-Ruß-Haus für Medienkunst ist von außen mit Werbebannern und Fenstertransparenten "Total Überzogen", auf denen Entwürfe von Künstlern neben Logos von Geldgebern zu sehen sind. Im Inneren des Ausstellungshauses werden Internetbanner und Websites, Video, Zeitschriften, Poster und Flyer sowie Jingles präsentiert.
weitere Informationen siehe unter 

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


Total Überzogen (Completely Covered/Totally Overdone) 
30. November 2002 - 9. February 2003

Opening Reception: Friday, 29. November 2002, 8 pm

Dr. Hans-Jörg Siewert, Ministry for Science and Culture of Lower Saxony
Rosanne Altstatt, Director

Adbusters (CAN), Banner Art Collective (USA), Urs Breitenstein (CH), Candice Breitz (ZA), Deporatation Class (D), Johan Grimonprez (B), Lise Harlev (DK), Swetlana Heger (CZ), Jenny Holzer (USA), Inventory (GB), Adria Julia (E), Dagmar Keller/Martin Wittwer (D/CH), Michael Mandiberg (USA), Julian Opie (GB), Peter Roehr (D), Daniel Pflumm (D), Johannes 
Wohnseifer (D), Florian Zeyfang (D)

For this exhibition, the outside of the Edith Russ Site for Media Art's building is covered with designs by artists as well as the funders' logos: in the form of banners and window transparencies. Inside, the exhibition hall also features works that employ a variety of the forms of advertising as it is used by the media such as Internet banners, video, magazines, posters and flyers, and audio jingles: The media art space will be completely covered inside and out: "Total Überzogen".
For more information have a look at 

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


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