Diana McCarty on Fri, 14 Aug 1998 22:22:28 +0200 (MET DST)

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<nettime> Announcer 047

NETTIME'S WEEKLY ANNOUNCER - every friday into your inbox
send your PR to sandra.fauconnier@rug.ac.be in time!

1... Sean Healy....... ....5,935,500,818...World POPClock Projection......

2... CyberSalon............August Cyber.Salon Announcement...............

3... jesse hirsh...........Micro$oft vs the cDc...........................

4....Honor Harger..........Call for Content - ANAT newsletter..............

5... S. Kritikos"..........Workshop: Christian community in cyberspace.....

6... THE BLIND PAINTERS....Europartrain....................................

Date: Wed, 12 Aug 1998 10:42:11 +1000
From: Sean Healy <evolver@loud.org.au>
To: oz-envirolink@altnews.com.au
Subject: 5,935,500,818

World POPClock Projection
According to the International Programs Center, U.S. Bureau of the Census, the
total population of the World, projected
to 8/12/98 at 0:05:16 GMT (8/11/98 at 8:05:16 PM EDT) is


Projected monthly World population figures:
06/01/99    5,998,517,484
07/01/99    6,004,969,783

octapod: http://users.hunterlink.net.au/~ddsbh


Date: Wed, 12 Aug 1998 00:59:40 +0000
Subject: August Cyber.Salon Announcement
From: CyberSalon Announce <cs-announce@hrc.westminster.ac.uk>

Cyber.Salon will be taking a holiday for August.

There will NOT be a meeting on Wednesday 26th August.

Cyber.Salon 8 will be held on Wednesday 23rd September.

All Cyber.Salon participants are invited to the launch party for 'DIY
Culture: party in protest in Nineties Britain' edited by George McKay and
published by Verso Books.

Friday 21st August
8pm to 11pm (followed by DiY's Floppy Disco club night)

333 Club
333 Old Street

If you would like to attend, please give your surface mail address to Amelia
la Fuente at Verso:


Verso Books
6 Meard Street

See you there!


Date: Mon, 10 Aug 1998 15:12:14 -0400 (EDT)
From: jesse hirsh <jesse@tao.ca>
Subject: Micro$oft vs the cDc (fwd)

if you haven't already, check out:

Back Orifice is a new app that comprimises all windows machines that are
at any time connected to the internet...

---------- Forwarded message ----------
Date: Sat, 8 Aug 1998 14:10:10 -0400 (EDT)
From: Will Waites <ww@styx.org>
Reply-To: internet@tao.ca
To: internet@tao.ca
Subject: Micro$oft vs the cDc

It is getting very interesting to look at the ways in which large
companies perform damage control. There is a public rebuttal of
Micro$oft's misinformative "Market Bulletin" dealing with Back Orifice
(www.microsoft.com/security/mktBackOrifice.htm) avaliable now at
www.cultdeadcow.com/tools/bomsrebuttal.html. It puts things quite
clearly, methinks. The only thing is, the vast majority of users
/don't even know Back Orifice exists/. Neither the propaganda of
Micro$oft nor that of the cDc has reached them, so they can't even
begin to try to defend themselves in whatever way they can figure

Micro$oft is between a rock and a hard place though, since Back
Orifice exploits fundamental DESIGN flaws in Win9[58]. There is no way
that I can see them fixing it short of completely re-engineering the
OS from a security point of view. There is no useful concept of a
'user' or 'priveleges' with Win9[58] (NT is /slightly better, but not
much). Anyone with any amount of control over the system has
/complete/ control over it. Back Orifice merely illustrates this.

Cheers all,

Oh -- another shameless plug for OpenBSD: What are you doing sitting
there reading this? Go and check out www.openbsd.org NOW!
Will Waites                                               ww@styx.org

   "To be responsive at this time, though I will simply say, and
   therefore this is a repeat of what I said previously, that
   which I am unable to  offer in response is based on information
   available to make no such statement."


Date: Mon, 10 Aug 1998 13:37:33 +0930
From: ANAT - Honor Harger <honor@anat.org.au>
Subject: Call for Content - ANAT newsletter

Dear All,

I am in the process of researching for the Australian Network for Art &
Technology's forthcoming quarterly newsletter.  It will be published and
distributed in the first week of September.

I would like to invite you to submit information on the forthcoming
activities of you or your organisation if you would like us to include a
short listing to help with your promotion.  Any notices on events with an
art & technology or art & science focus, commencing during or after late
May, will be gratefully accepted.

Appropriate notices may include:

* events
* exhibitions
* conferences
* calls for proposals/papers
* workshops
* symposia etc

Bear in mind that, as always, our deadline is approaching fast, so if you
could submit this information by this Friday 14 August, it will have more of
a chance of being included.

Thanks a lot.

Kind Regards

Honor Harger

postal address: PO Box 8029 Hindley Street, Adelaide, SA 5000, Australia
web address: http://www.anat.org.au/
telephone:  +61 (0)8-8231-9037
fax:   +61 (0)8-8211-7323
Director: Amanda McDonald Crowley   (mobile: 0419 829 313)
Administration & Information Officer: Honor Harger
Web & Technical Officer:  Martin Thompson

Memberships: $A10 (unwaged), $A20 (waged), $A40 (institutions)

ANAT receives support from The Australia Council, the Federal
Government's arts funding and advisory body

Date: Sun, 9 Aug 1998 19:38:34 -0500 (CDT)
From: "S. Kritikos" <napoli@wwa.com>
Subject: Workshop: Christian community in cyberspace


I would like to take this opportunity to invite everybody to the third
presentation of the Virtual Community Workshop on the GNA Forum:

TITLE:  Wherever two or three are gathered together:
        Christian community in cyberspace

A presentation by Debbie Gaunt:

TIME: Thursday, August 13, at 16:30 NY Time, 20:30 GMT, 21:30 London UK.

PLACE: The GNA Forum is a virtual room accessible from 20 MOOs from
around the world. Informations about access is available at:


Community is a big issue in cyberspace generally, and a number of people
have suggested that defining community in any meaningful way is
difficult. I have looked at some Christian paradigms of community and
used them to evaluate the way people group themselves online. The real
challenge is to find a way of "doing religion" that makes sense in the
computer mediated environment.

More information about the workshop is available at:

Hope to see you there!

S. Kritikos


The Virtual Community Mailing List


From: kaliwoda@euronet.nl Fri Aug 14 15:22:41 1998
Subject: Europartrain

the Europartrain

The Europartrain is a mobile, dynamic, contemporary art ‘museum’, with a
constantly changing character, which is meant to travel for two years
through about 10 European countries. At the moment, the train exists of
seven railway wagons from different countries; Denmark, the Netherlands,
Yugoslavia, Greece, Hungary and Austria.

The debut of the train was on the 20. March 1997 in Thessaloniki, Greece,
the Cultural Capital of Europe 1997 and found an enthusiastic welcome in
Greek, Jugoslav, Hungarian and Austrian train stations. Every host
(Railway company), who is receiving the Europartrain, is automatically
connecting a new wagon to the train. One could describe this exhibition
concept as a growing `Gesamtkunstwerk’. The train measures now over 150
meters, which is about 400 square meters of exhibition space, always on
view in the centre of the cities, on train stations. In every country the
train passes through, we invite curators and artists to participate. The
inside and the furnishings of the individual wagon is typical for its
national origin. The train forms a perfect symbol of the ongoing
development in Europe. These radical changes nowadays, raise
internationally a lot of questions and there is certainly the need for
artists, to give a vision of the European mind.

The Network lounge and presentations

Soon the Euro partrain will come to The Netherlands.  In the Netherlands,
the wagons will be transformed into exhibition spaces, which can be seen
as small islands of these countries, connected to each other.

One part of every island forms a ‘network lounge’, consisting of
furniture, equipment and gadgets from every country. It is used as a
cultural embassy, where the curators and artists work from. The embassies
are finding ways and means to explain the ‘European mind and vision’ from
their countries specific perspective. The preparation will happen, in
co-operation with the appointed “cultural ambassador” of every country.
They will not operate in the conventual way, but stimulate the working
process of the individual artists . The art will be created in the train,
like in a laboratory, through the intensive process, parallel or in
co-operation with the other embassies. This will happen for a period of 2
weeks, prior to the opening. The working title for the stage in The
Netherlands is ‘territory’.

The other part of the wagon is functioning as exhibition space of the
produced art. The exhibition in the individual wagon will give a vision of
the different, country specific European meaning. One of the goals of the
Europartrain is the interaction between the artistic creations and the
visiting public. This should stimulate the spectator to find answers
within the ‘old’ and the ‘new’ Europe.

Cultural political meaning

The boarders of Europe are in motion. This could be seen as a metaphor for
another moving area, contemporary art. People are questioning more and
more the meaning of art and what role it is actually playing in society.
In any case, it is an obsolete concept, that art is just being kept
between 4 walls on view for a selected public. Art has a right of
existence beyond these 4 walls, probably more rights then inside. Let the
arts live, bring the art to the people and we don’t mean the selected
public, but all Europeans. The museum must try harder, to connect with
society andthe public. Only then, a larger public will find a relation to
the arts.

Why should it not be possible that a museum, just like a circus or a fun
fair comes to town, bringing a large caravan of artworks and performances.
A mobile museum, which reaches new places and according to this place,
will always look different. The place, which the museum reaches, will get
an added value. The exhibition is open and changing, just as a public
space, inviting the visitor or by-passer to participate. Borders of what
is the exhibition and what isn’t, falls away. Through this, ‘contact
zones’ are created, where the dialogue between the public and the arts can
take place.

The art is full speed in motion. On this European tour, new art works can
be installed, while other work will be taken away or stored for a while.
Artists can for a period of time join actively the museum and maybe,
continue to travel with it. Also suggestions coming from the public can be
realised. That’s how an interaction between the mobile museum and its
‘customers’ can develop, with enough possibilities to participate and
influence the exhibitions. The exchange between the arts and the visitors
makes the works being alive and the borderline between the museum and
society is melting.

the Suitcases

Up to now, the train was collecting cultural luggage in the form of
suitcases. They were on display in the wagons. Until the stage in Austria,
the invited artists were asked to make a conscious effort to have their
suitcases speak on a personal level, revealing much about the individual
participating artists, as well as how they have chosen to employ the
concept of luggage in their lives. In these first stages of the project,
we realised, that by creating an artwork, the involvement of the artist in
the train was over.  As we find an active network of artists and curators
and the development of processes very important, we decided to change the
exhibition concept of the static show of suitcases into active ‘Network

Public and publicity

As the exhibition is being held at train stations, it is very accessible
and aims for a broad public. A visit is free of charge. There are also
special educational programmes for school classes. In the countries where
the train has been, it drew a lot of attention from the public as well as
art historians and the media.

Simultaneously to the train being on view at the station, a container is
placed in the city centre. Just a peep through small windows reveals it’s
inner life and the by-passers are getting inspired to pay a visit to the
train. Satellite exhibitions on different locations in town and symposia
are part of the programming.

For the visitor on the train, the thought of travelling is stimulated by
walking from one wagon into the next, one realises clearly the typical
aspects of one’s culture in relation to cultures from other countries of
Europe. One of the aims of the Europartrain is, to physically connect the
different regions of Europe through this international exhibition and
stimulate the cultural dialogue.

Stichting De Blinde Schilders

Postal address:
        Post Box 1136
        1000 BC Amsterdam / NL

Visiting address:
        Oostelijke Handelskade 33
        Amsterdam, Holland

Tel. + 31 20 419 49 49
Fax  + 31 20 419 10 90
Mobile + 31 6 55 35 63 43
E-mail  kaliwoda@euronet.nl
www: http://www.blindpainters.org (from 25.8.98)

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