announcer on Fri, 28 Aug 1998 21:10:08 +0200 (MET DST)

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<nettime> announcer 049

NETTIME'S WEEKLY ANNOUNCER - every friday into your inbox
send your PR to in time!

1...Andrea Zapp...........Last ISEA 98
2...Joanna M Krysa........London/Poland - invitations
3...Thundergulch..........Screens and Memes press release
5...Stefan J Wray.........Sept 9 ECD Zapatistas FloodNet SWARM Hybrid Fall
6...Switch................Switch V4N1, Electronic Gender:
                          Art and the Interstice
7...Vladislava Gordic.....Spiral of Words
8...jesse compromised (exploit)
9...Alt-X.................Alt-X/trAce International
                          Hypertext Competition
10..influx................'Vagabond' new website
12..Josephine Berry.......critical mass contributions


Date: Mon, 24 Aug 1998 14:25:40 +0200
From: Andrea Zapp <>
Subject: "Last ISEA 98"

"Last Entry: Bombay, 1st of a collective documentary inspired by
Virginia Woolf's Novel "Orlando". Reading like a metaphor on the internet
it is a biography of a figure - identity and gender unknown - travelling
through time and space, centuries and cultures. Being a "net.drama", the
work introduces an open narrative frame as a montage and performance
scenario for the participant.

After a year of collaboration with users and artists, tracing back the
paths of the net identity Orlando, it now contains a wide variety of
entries. Intimate and virtual storyrooms represent the
figure/user/spectator(?), ranging from simple e-mails to quicktime VR,
sound and video.

The new developments will be shown as an interactive installation at the
ISEA 98, Bluecoat Gallery, Liverpool from 03 Sep to 10 Oct.

You can also check the updated online version as a first info under

Further more it is still possible to take part, just send an e-mail to


Date: Mon, 24 Aug 1998 16:22:52 +0100 (BST)
From: Joanna M Krysa <>
Subject: London/Poland - invitations


INVITATION 1 -  from guest editor of

 Magazyn Sztuki/Art Magazine no 18 (2/98)

on contemporary british art scene

(quarterly, in Polish and English language version, distributed in Poland
and currently available in England - from mid September)

 with such contributors as:

- Susan Collins,
- Lisa Haskel,
- Sadie Plant,
- Rachel Armstrong,
- Julian Stallabrass,
- Neil Spillar,
- Neil Cummings,
- Jeremy Valentine,
- Monika Duda, among others.
Focused on contemporary British art, this issue of Art Magazine explores a
multiple critical perspective that is offered by contemporary art history.
This means examining different critical positions ranging from non- art
disciplines, for example sociology (Jeremy Valentine) or science fiction
medicine (Rachel Armstrong), through artistic (Neil Cummings, Susan
Collins) and curatorial approach (Iwona Blazwick, Lisa Haskel), to
cultural criticism as such (Julian Stallabrass, Sadie Plant).
In terms of structure this magazine can be seen as a product of a
curatorial practice itself.  Dealing with the question of selection the
editors took the challenge to represent the most important and urgent
issues concerning the British art scene.

             Invitation 2  from

Creative Curators / MA Fine Arts Curatorship
Goldsmiths College, University of London
As one of creative curators I would like to invite all of you who are in
London for

                                            Book Launch


which looks at the current possibilities for art curating in diversity of
contexts and aspects.(new media and Internet, site-specific, fashion and
art, etc)
It is an outcome of our one-year participation in  Curatorship course at
Golsmiths  and it includes essays, surveys, artists pages, art projects,
The project was managed both intellectually and in terms of production by
Jeanne von Haejswik from Amsterdam.



open to the public:

4th Sept.  10AM - 5 PM
5th Sept 10 - 5 PM
6th Spet 12 - 4 PM


Goldsmiths College
Lewisham Way , New Cross
London SE14 6NW




guest editor of Magazyn Sztuki/Art Magazine no 18
contributor to RECORD PLAY....

tel: (London) 0171-686 1866

best to all,


Date: Mon, 24 Aug 1998 12:41:03 -0400
From: Thundergulch <>
Subject: Screens and Memes press release

						H A R V E S T W O R K S
                                         Digital Media Arts Center with
                                         T H U N D E R G U L C H presents for
						Downtown Arts Festival

PRESS RELEASE                                                   18 AUGUST,

CONTACT:  Carol Parkinson at 212-431-1130 x12 or Kathy Brew at 212-634-9660.

Exhibition: September 10th - 19th  596 Bdway, Suite 602, NY, NY 10012
Artists' Forum: Saturday Sept. 12,  4-6pm

SCREENS and MEMES,  a digital media exhibition at Harvestworks, September
10th - 19th 1998, noon - 6pm.  Curated by Carol Parkinson, Tina LaPorta and
Kathy Brew.  Opening reception with forum by participating artists on
Saturday, September 12th, 4 - 6pm.  The exhibition features works for
interactive installation, internet, video and CD-ROM by artists Tina
LaPorta, Art Jones, Lynn Hershman, Mary Lucier, Jaron Lanier, Steina
Vasulka, Zoe Beloff, Troika Ranch, and Tennesee Rice Dixon.

LOOSE ENDS/CONNECTIONS  September 19th, 8pm  Internet Performance Event

A networked performance from multiple locations will happen on Saturday,
September 19th, 8pm.  The audience can hear the concert at Harvestworks or
on the internet from the, and websites.

LOOSE ENDS/CONNECTIONS is an Internet performance event that will include
improvisations by artists Pauline Oliveros, Brenda Hutchinson and Maggie
Payne performing from Mills College; by Beth Coleman and Zeena Parkins
performing from Harvestworks, NYC.  The improvisations will be brought
together with pretaped work by Helen Thorington and Scott Rosenberg in the
Morton Street Studio in the West Village and mixed there by Jesse Gilbert
before being streamed to the Internet as a real audio stream.  Video stills
by Mary Lucier will be presented during the performance.

Harvestworks is a not-for-profit arts organization which was founded in
1977 to provide support services to emerging and experimental artists who
use technology as a creative medium.  Thundergulch is a nexus of arts and
technology projects, an exciting laboratory space that provides new forms
of interaction between artists, audiences, and the new technology
industries.  New Radio and Performing Arts, Inc. is an independent media
production and distribution organization specializing in artistic work for
the worldwide web and for radio.  The Pauline Oliveros Foundation was
founded in 1985 to encourage and support the creation of new work, further
research in arts technology and sponsor the exploration and uses of art for
the education and development of human consciousness, making the results
available to the public.

Harvestworks Internet access provided by Transwire Communications.  Funding
is provided by Presentation Funds, a program of the Experimental Television
Center and supported by the New York State Council on the Arts, as well as
the Chase Manhattan Foundation and the Jerome Foundation.

55 Broad Street, 3rd Floor
New York, NY 10004
tel (212) 634-9660
fax (212) 634-9664


Date: Mon, 24 Aug 1998 20:40:53 +0100
From: rammeke.pic <>
Subject: mp3_11h_650Mb

Hello there,

Maybe we talked about it before.
It has taken some time to get properly organised.
Finally it is there. We are starting up our net audio project.
Read, enjoy & participate!

The idea.
Sola P., our dbonanzah! contact for South America,
calculated that, with a decent MPEG3 compression
we could make a cd containing 11 hours of music.
We already had this ftp-server <>
set up, so that is what we are going to use,
and we just hope that the connection can hold!

The name.
We have been mixing it up in all possible ways but it should all
point in the same direction:

In reality, nothing coherent seemed to be happening here in Belgium/Flanders,
and we thought it was due to the will to set up an infrastructure
where anti/multi/super/un - disciplinary digitaloz
could connect to: audio & visio & action or just a big yell! we don't care,
as long as it is not Flemish, pragmatic and consolidating and ...
still 100% digital! It is of no use limping after cultural moneymakers,
kick start your own channels and get your feet wet!
So the idea is to give space to an emerging electronic community
of local artousiasts of any kind, provide them with tools for
creativity and connect to similar initiatives world wide.
Empowerment = digital!

The task.
Read the readme. Spread the news.
Fwd it to interested noise/snd/music makers
and please: upload YOUR music !!!

You still don't know who we are and what we want you to do?
Or what the hell is mpeg3 and how do I use it?
All descriptions are at
The readme.html/.txt is at!/
And the project can also be accessed via hotline

We are going to finish the program with an 11 hours webcast!
Announced in due time. You can also contact our staff:

And join the MP&G_11h.dbh! mailing list!
(with an empty email without subject to

all the best,
gz & fkk


Date: Tue, 25 Aug 1998 14:44:12 -0400 (EDT)
From: Stefan J Wray <>
Subject: Sept 9 ECD Zapatistas FloodNet SWARM Hybrid Fall


Advance News Release

Tuesday, August 25, 1998




In solidarity with the Zapatistas, indigenous peoples in Chiapas, others
resisting the Mexican government, the global pro-Zapatista movement, and
people everywhere struggling against neoliberalism and the global
economy, the Electronic Disturbance Theater urges SWARM actions, multiple
acts of Electronic Civil Disobedience, on Wednesday, September 9, 1998.

To demonstrate our capacity for simultaneous global electronic actions and
to emphasize the multiple nature of our opponents, FloodNet will target
three web sites in Mexico, the United States, and Europe representing three
important sectors: government, military, and financial.

In Mexico, FloodNet will target President Zedillo's web site,
( an obvious choice and one we have made
before. In the United States, FloodNet will target the Pentagon,
( also an obvious choice given the level of
U.S. military and intelligence involvement in Mexico. And in Germany,
FloodNet will target the Frankfurt Stock Exchange,
( a less obvious choice, but one that makes sense
as it is a key European financial site with high symbolic value and as
Germany is a major player in the global neoliberal economy.

The Electronic Disturbance Theater calls these electronic actions in
conjunction with its participation in the Ars Electronica Festival on
Infowar, held in Linz, Austria, from September 7 to 12.
( We urge people to join our actions and we urge
people to engage in their own actions at the same time as ours.

We urge multiple actions, virtual and real, on multiple levels, aimed at
multiple targets, from multiple sources, both on September 9, but also for
a series of dates scheduled for this fall. We call for hybrid street/Net
actions on September 16, October 12, and November 22.

September 16 is Mexican Independence Day. The Mexico Solidarity Network in
North America has called for a month-long series of activities starting on
this day and ending on October 12, Columbus Day in the United States. The
North East Zapatista Solidarity Network has called for actions on October
12. And in New York, on Oct. 12, the New York Zapatistas are planning a
Festival of Resistance that includes a march to the United Nations. As
happened last year, this November 22 there will be another civil
disobedience action at the School of the Americas, a good opportunity for
a joint civil disobedience - electronic civil disobedience action.

Stay tuned to the Electronic Civil Disobedience page for details of Sept.
9, Sept. 16, Oct. 12, Nov. 22, and other actions this fall.
(site just reorganized - take a look)

- The Electronic Disturbance Theater


From: Switch <>
Subject: Switch V4N1, Electronic Gender: Art and the Interstice
Date:  the future

Switch V4N1, Electronic Gender: Art at the Interstice
Editorial Notes by Christine Laffer

This issue developed out of the Chik Tek '97 conference and exhibition
held here in San Jose, California, last November.  In that forum,
participants discussed various aspects of women artists working in/with
technology, including whether women needed to have a gender-specific
forum at all.  These questions triggered a debate that could have
continued and which Helen Wood took up in her series of post-conference
interviews (see "Chik Tek Symposium Revisited").

For the forum of Switch, however, the conference as a beginning point
offered only a narrow range of possibilities, particularly for those of
us in graduate programs who wished to take up questions in theoretical
discourse.  Thus the question of constructing oneself as a female,
whether through role-playing or in a game patch as Anne-Marie Schleiner
does (see "Does Lara Croft Ware Fake Polygons: Gender Analysis of the
'1st Person shooter/adventure game with female heroine' and Gender Role
Subversion and Production in the Game Patch"), expands into conceptual
structures beyond 'women in technology.'

The shift to 'gender' allows play, beyond feminism or post-modernism, in
the disruptive field of queer theory.   'Gender' is most problematic when
it acts as an umbrella or cover term for women's studies, rarely
including references to constructions of maleness by men.  Evidence of
recent publications begins to allow that this all-inclusive term actually
can apply to men (an example might be Male Trouble: A Crisis in
Representation, by Abigail Solomon-Godeau (1997), although by a female
author).  Yet the strength of 'gender' shows most clearly when Joan
Schuman, in her paper "Either/Or...Both/And: Field Notes on Gender
Ambiguity & Medical Technologies," excavates a middle space -- an
interstice between the female and male topographies -- which challenges
both sides of dominant sexual binarism.

The revolt against socially accepted norms spawns the development of new
cultural identities, and in this expanding gap where 'gender' cuts across
'electronic media' cyberfeminists have also appeared.  New to the
feminist pantheon, cyberfems evolve idiosyncratically, totally without a
need to be consistent with each other or any other authority.  Sadie
Plant, who coined the word, has her own fascination with the complex, and
largely ignored, relationship between woman and machine.  In reviewing
her recent book, Zeros and Ones, Alex Galloway, in his "Report on
Cyberfeminism," goes further and makes an attempt to describe cyberfem's
history and clarify its theoretical forms.

For another glimpse into the difficulty of of pinning this identity down
in any definitive way, Mary-Anne Breeze interviews Francesca da Rimini
(see "Attack of the Cyberfeminists"), one of the members of the VNS
Matrix collective which published the 'VNS Matrix Manifesto' (1991) that
declared themselves cyberfeminists.  As artists/writers/ gamers they feel
free to shift from essentialist woman-womb image/word combinations to
technoist lingo aimed to infect technology from within.

Monica Vasilescu's "Cyberfeminist Resources" and my own "Charred Edges:
Grrrl Power and the Structures of Feminism" flesh out the web-based map
of cultural activity going on at the female\/machine interstice.  Not all
of this activity shows up as art, nor does it always exhibit a radical or
subversive political stance.  Access, however, equals power, and
electronic media -- even as it loses ground to commercialization and
censorship -- have now been accessed and occupied by more than one
gender, with enough energy to cause arcs at the gaps.


Date: Wed, 26 Aug 1998 15:07:19 +0100
From: Vladislava Gordic <bit@EUnet.yu>
Subject: Spiral of Words


vladislava gordic


Date: Thu, 27 Aug 1998 00:21:42 -0400 (EDT)
From: jesse hirsh <>
Subject: hotmail compromised (exploit)

the general hacker genre vs. microsoft continues:


Date: Thu, 27 Aug 1998 17:01:00 -0600
From: Alt-X <>
Subject: Alt-X/trAce International Hypertext Competition


         Alt-X and trAce are pleased to announce their first
       International Hypertext Competition. We offer a single prize
       of One Thousand English Pounds for the best hypertext site on
       the web.

       Deadline for entries: December 31st 1998

       What is hypertext?

       Ted Nelson, who invented the term hypertext over 30 years
       ago, described it as "non-sequential writing -- text that
       branches and allows choices to the reader, best read at an
       interactive screen. As popularly conceived, this is a series
       of text chunks connected by links which offer the reader
       different pathways." We prefer to see it as
       "multi-sequential" writing but are generally comfortable with
       his description here. Also, we're open to work that
       integrates other media as well (sound, images, Java, etc.)
       but it should be primarily text-based and easily accessible
       from the average web-surfer's home-computer.

       What kinds of hypertext entries are you looking for?

       First of all, they have to be web-based. On the entry form,
       please be sure to include the URL (web address) so that we
       know where to look for your project. Hypertexts submitted on
       disk are not acceptable. We will be judging the entries
       against the following criteria:

          * High quality writing
          * Excellent overall conceptual design and hyperlink
          * Ease of use for the average web-surfer (if we can't read
            it on our home machines then we'll just move on to the
            next one!)

       How many awards will there be?

       There will be a single award of One Thousand English pounds
       (approximately $1600). Other entries will be considered for
       publication at trAce or Alt-X and we will contact you if
       we're interested in publishing your work. We are happy to
       consider multi-authored sites, although there should be one
       named representative. (It's up to you how you split the

       How do I enter?

       Complete and send the entry form. You will receive an
       acknowledgement of your entry by email within the following
       few days. If you have a query about your entry please email

       Who will judge my entry?

       Entries will be shortlisted by a panel of experts in
       hypertext and web-authoring. The overall Judge will be
       eminent hypertext specialist ROBERT COOVER of Brown

       My site is dynamic and changes all the time. How can I be
       sure the judges will see it at its best?

       We know that hypertext sites are always being expanded and
       updated. Your entry will be scrutinised by several judges on
       several different occasions. Just make sure it's always at
       its best!

       What are the competition rules?

       Since this is such a fluid area of development we are keeping
       the rules simple and straightforward (see below).

       When will the results of the competition be announced?

       Spring 1999.

                         To enter, point your web browser to:


       The trAce/alt-x International Hypertext Competition is
       organised by:

       P.O. Box 241
       Boulder, CO 80306

       Nottingham Trent University
       Clifton Lane
       NG11 8NS
       phone ++ 44 (0)115 948 6360


          * Entries must be the work of the author(s) listed on the
            submission form.
          * Sites must remain online from the date of submission
            until 30th May 1999.
          * You can only submit one autonomous project per person
            (do not submit the URL for an entire website with
            multiple links to multiple projects)
          * Sites must be written in English.
          * TrAce and alt-x both have the option to feature the
            winning hypertext on their sites.
          * The Judge's decision is final.
          * The prize will be paid in sterling.


Subject: 'Vagabond' new website
Date: Fri, 28 Aug 1998 18:09:46 +0100


A new kind of website with eyes so wide open
that it dares too see through the cracks.


with frequently updated creative websites.
Performance Artists, Poetic Terrorists, writers
with attitudes & a variety of expressive &
non-expressive (arts), visual & non-visual declaring
their explorations to the world.

The conference area 'Danger Barbed Wire'
(Promises to get even the mildest of mellow dudes,
conspiracy,rants,sex,philosiphies,weird gestures,
alternative ideals, chats,dramatics,anarchy,
communication,networking & more.....

Pirate Radio 'Kiss the Wave'
playing out to the world new-fresh & experimental
soundz & verbalizations.
(also reviews of cd's by visitor's who want to
mention their own work, or something they have heard).

Links 'Other Worlds'
A Comprehensive link section to other websites,
our favourites etc,including those which have
been recommended to us.

Alternative Sex-sites 'Deep in the Shadows'
This area aims to present new ways of thinking & seeing,
offering alternative writings, images & ideas
of sexuality to blow away the cobwebs of trad concepts
that we (human beings are dogged by).

an archive section where visitors can read interviews
on people who are currently moving & re-shaping, in
their own ways, the creative world as we know it.

People who will be featured so far........
Ruth Catlow. Rick Buckley. Concrete Myrth. Heath Bunting.
John Hayward. Hakim Bey. James Hillman. Annie Lovejoy.
Mac Dunlop. Fiona Lord. Big Sister. Marc Garrett.
Sheila Vollmer. Simon Mclennon....and more

Online date is 0ctober 1st 98

If you want to contribute & are keen to be a part of
something special which will change & challenge things,
then we 'Influx' are interested in featuring what you
have to say and are doing. We will also show your website,
soundz or whatever it is you want to send us
an email & have chat.

There is no deadline, but don't hang about cause we move
pretty fast & we get restless. (Although we are all cute
in our own & very special ways he he :-)

(note the above address for oct 1st 98)


Date: Fri, 28 Aug 1998 10:55:27 -0500 (CDT)
From: bstryker <>l
Subject: dissemiNET

Sawad Brooks + Beth Stryker
opening Sept 18, 1998 @
in conjunction with an installation, "DissemiNETion"
at the Wexner Center for the Arts

to view current DissemiNET prototype:

DissemiNET is conceived by Sawad Brooks + Beth Stryker to elaborate a
diaspora on the web. Creating a repository for personal and social memory,
DissemiNET uses web technologies to give visual form to the transactions
(deposits, retrievals, and loss) through which we experience memory. The
Disseminet reelaborates terms such as "origin", "home(site)", "diaspora",
and "search", in terms of and through the mechanisms of the web. Drawing
parallels between diasporas and the dispersal of meaning over the web,
DissemiNET in response provide spaces (lacunae) for people to recall and
recollect, gathering there to re-tell stories about their own experiences
with displacement and dispersal. Over time, DissemiNET will become a
collection of such stories of errancy. The pool of stories may be
harvested and read in relation to searcheable keywords or themes (words
and phrases which the search engine may match or exclude). A visitor may
trace visually the displacement and distribution of their keywords or
themes over the stories culled by the search engine. In this way the
DisseminNET may touch an "unconscious" element of the archive which would
otherwise be constituted through *conscious* retelling.  Through
DissemiNET, participants may re-image the "family tree";  drawing "trees"
of emergent identifications, of resemblance, and kinship.  In addition to
the asynchronous, additive construction of the database of stories,
DissemiNET includes a synchronous "presence"  showing who else is on the
site, giving people an opportunity to find one another on-line.

An initial curated installment will investigate and upload cases with
Probusqueda de Los Ninos in El Salvador, where stories of disappearances
and displacements have accumulated in the wake of a 12 year civil war.
Traveling through the countryside of El Salvador, Probusqueda has gathered
testimonials, tracing the passages of youth taken from their families, to
unknown places spanning countries and continents.  DissemiNET will act as
a broadcast mechanism, disseminating these stories.

The DissemiNET storytelling system will allow users to pursue themes
across the space of various narratives. The images in the Disseminet image
bankwill be tagged according to various thematic/conceptual elements
stored in the themes table.  As users traverse the storyportions, the
thematic underpinnings of the stories will dynamically call up pictures
from the image-store and display them layered underneath the present
texts.These images are played out in a "shutter" mechanism,with the frames
changing each time the user shuttles through a new thematic space. In this
way an abstract video vignette plays out under the surface of the texts as
the user surfs the narrative spaces.

The initial curated segment of digital images is uploaded in
collaboration with
cinematographer Arthur Jafa.
Central image upload  by Topsy Page, Sawad Brooks + Beth Stryker

Disseminetion As part of the Body Mechanique show at the Wexner Center for
the Arts, Sept 18- Jan 3, "Disseminetion" will install two telematic
instruments as interfaces between the transient public space of the
gallery, and the cumulative public webspace of dissemiNET. Providing a
gathering space and region for dispatches to dissemiNET, these
freestanding hardware/software interfaces to a local community are
designed for multiple user viewing and input (collection) and output
(recollection). These homing + dissemination devices may be later
transplanted to target communities.


From: Josephine Berry <>
Subject: critical mass contributions
Date: Thu, 27 Aug 1998 16:28:34 +0100


         _______                       __
        /   ___ \____________    _____|  |__
       /    \  \/\_  __ \__  \  /  ___/  |  \
       \     \____|  | \// __ \_\___ \|   |  \
        \________/|__|  (______/______\___|__/
            _____              ___ __
           /     \   ____   __| _/|__|____
          /  \ /  \_/ __ \ / __ | |  \__  \
         /    |    \  ___// /_/ | |  |/ __ \_
         \____|____/\_____\_____| |__(______/

              C R A S H   M E D I A #4

        Where Media Reaches its Critical Mass




          * A small tabloid for boys and girls.*

         (this publication belongs to everyone)

"Polly and Deborah unlock a locked block."

"What on earth would mother say if she saw what we've done to the cabbage

"Rupert always liked to hog the channels - everyone else thought it was
most impolite."

p.30-109, 5 TAKES Z, K AND P FISHING:
"There'll be cakes, and crumpets and lashings of autopoesis!"

"Do you think we'll ever find our way out of the rhizome?"

"They all knew that when a pretend mouse had been stroked enough,
Nursery Magic was sure to turn it into something real."

p. 129-143, BACK TO SPOOL:
"The strange thing about Spool was the way things
kept getting repeated".

p. 144-159, REROUTE REBELS: "He really was a most
contrary young strategy."

p. 160-165, ALICE IN MICROLAND: "The pipes of power kept getting
wider and wider until Alice could finally fit her whole body through them".



Kindly ignore the above - it is but poor fiction.
What we are looking for is the REAL thing; content
for Crash Media issue #4.Crash Media is a publication
with a split personality; part tabloid newspaper and
part website, complete with discussion threads and a
low-interference editorial policy. [Feel free to enter
the online debate at any moment and be prepared to
find your statement in print.] Right now we are
calling for contributions for the next print issue to be
released in mid October.

      *.gif *.txt *.wav *.ra *.doc *.pic

Deadline for contributions: 18TH SEPTEMBER '98 !!!

Crash Media is (looking at) independent media practice;
taking media criticism off the bookshelf and stacking it
on the flyer table. Find Tech/Specs on CM and
contributions below.


  !*!*!*! Issue 4's 'Extra Special' section: !*!*!*!
  !*!*!*!                                    !*!*!*!
  !*!*!*!         THE END OF HISTORY         !*!*!*!

Issue 4 will also include the following permanent
sections(->Medium Roast, ->Culture Club, ->Under The
Needle, ->Access Denied, ->Balzac Nation, ->Strangeways).

Contributions in many guises required: deep undercover
analyses, sub-cutaneous cuts, bi-lateral dissections,
polemics for the hard of reason, trinkets for the virtual
mantelpiece, eye-sores for the foot-sore, nectar for the
hive mind, befuddlement for conspiracists, personal
highlights and urban low-lights.

In other words: articles, logos, interviews, artwork,
reviews, literature, listings, cartoons and info-blips.

We favour text within the 500 to 800 word limit - and we
envy the capacity to make a strong point with 200 words!
Scans should be 300dpi and stuffed, send as attachments
(MAC or PC) - stamp-based mail is just as good. Currently
we are not able to pay contributors. Every contributor
will receive ten copies of Crash Media.



Crash Media has been published in print as a free, bi-
monthly tabloid, since the middle of March 1998. Printed on
tabloid paper, each issue has a print run of 5,000. Crash
Media is based in Salford/Manchester and London (UK).
Each issue consists of 12 pages. Crash Media is
distributed intensively in the North West of England and
London, and selectively world-wide. We are also open to
any suggestions for worthwhile locations.

Crash Media is a joint venture, defining the agenda of
the 'Revolting' media lab happening RIGHT NOW in Manchester/Salford UK
Salford University and 'Skyscraper Digital Publishing'.

Crash Media is extended through a digital forum.
Threads generated in Crash Media on-line will be
selectively reprinted in the next issue. Crash Media also
works in association with the free server space project Yourserver
( Yoursever is also a content pimp.

!! To receive a free print copy of Crash Media within
!! the UK, send a 1st class stamped and self addressed
!! A4 or A5 envelope to the below address.



Micz Flor, Josephine Berry

Crash Media
University of Salford
Art and Design Technology Research Unit
Peru Street
UK-Salford M3 6EQ

fax: +44.171.6134052

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