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Table of Contents:
Difference Engine 1994-2001
"Lachlan Brown" <lachlan@london.com>
7s01 -- final report?
SCP-New York <notbored@panix.com>
cfp: hosting@cddc
jeremy hunsinger <jhuns@vt.edu>
Interview Yourself - New Fall Season
Amy Alexander <plagiari@plagiarist.org>
Re: <nettime> The Algebra Of Infinite Justice
"b g" <brucegottlieb@hotmail.com>
In Conversation Lev Manovich and Aaron Betsky
Nat Muller <Nathalie.Muller@skynet.be>
"Luchezar Boyadjiev" <luchezb@cblink.net>
Avatare - Take The Biscuit!
Guenter Eger <guenter.eger@mailbox.tu-dresden.de>
SlamPoetryPictures
jimpunk <jim@jimpunk.com>
current work
Alan Sondheim <sondheim@panix.com>
M/C Call for Contributors: 'work' issue
"Axel Bruns" <mc@mailbox.uq.edu.au>
------------------------------
Date: Mon, 24 Sep 2001 17:32:29 -0500
From: "Lachlan Brown" <lachlan@london.com>
Subject: Difference Engine 1994-2001
That Ludic Impulse - Lets Do It Again.
For those who may have missed it first time around, Difference Engine 1 1994-2001
is here http://www.third.net/001a.html. It is the earliest online publication addressed to broader readerships than specialist IT communities or specialist post-modernist (remember that?) academic communities.
The idea was to spend around seven years exploring the possibilities and limitations of Internet as publishing in a practical way, before implementing online publishing (via Third.net) while also employing the site to help research a range of beliefs, policies and legalities among a number of producer and consumer constitutents of Internet as it emerged in culture through aesthetic, political and legal spheres.
I include a picture of me not for vanity's sake (well...not really) but to 'humanise' the endeavour, as well as to counter a recent poor representation employing a pic of me from around 1995. IBM's Blue Velocity 'IN' ad campaign employs a digitally enhanced (aged and distraught) photograph of me from around 1995 to illustrate 'The Hacker'. 'The Hacker' is the only figure specifically excluded from a range of 'figures' from the services and benefits of the Blue Velocity programme. My pic comes with the text: 'Hackers can't get IN'.
Need I say that I am not a 'hacker' I am a part time researcher in cultural studies. I view the use of my image by the marketing company that handles IBMs account as a remarkable admission by an agency of global corporate capital that the very thing it seeks to deny: that 'class' matters. Global Corporate Capital's self-representation 'cracked'?
Lachlan Brown
lachlan@third.net
http://third.net - alternative media, alternative media servers
http://coalition.org.uk - drawing the line on hate online and racism anywhere
d i f f e r e n c e e n g i n e - m e m o r i e s . h i s t o r i e s . f o r e s i g h t
'it makes common sense, but it hasn't been commonsense for very long'
- --
____________________________________________________
Talk More, Pay Less with Net2Phone Direct(R), up to 1500 minutes free!
http://www.net2phone.com/cgi-bin/link.cgi?143
Powered by Outblaze
------------------------------
Date: Sat, 29 Sep 2001 20:07:52 -0500
From: SCP-New York <notbored@panix.com>
Subject: 7s01 -- final report?
My friends
Mes amis
meine Freunde
The most recent and perhaps final report on
http://www.notbored.org/7s01-reports.html
has been posted. Everything originally in German and French has been
translated. Everything else is beyond me.
Le derniere et peut-etre le ultime rapport de 7s01 est ici
http://www.notbored.org/7s01-reports.html (en anglais)
Die letzte und vielleich die final Berichte ist hier
http://www.notbored.org/7s01-reports.html (Englisch)
Bill
------------------------------
Date: Mon, 01 Oct 2001 11:40:50 -0400
From: jeremy hunsinger <jhuns@vt.edu>
Subject: cfp: hosting@cddc
The Center for Digital Discourse and Culture (CDDC) in the College of
Arts and Sciences at Virginia Polytechnic Institute and State University
is accepting proposals for hosting artistic, critical, and literary
projects. The CDDC ( http://www.cddc.vt.edu ) has been in operation for
over two years, and it publishes hypertext journals, hosts digital
research archives, and cooperates with many international cyberculture
organizations.
As an entirely digital point-of-publication, the CDDC is seeking from
individuals and groups, proposals of artistic or academic merit for use
of our server space. The main focus of the CDDC is to explore the new
communicative potentials of hypertext, hypermedia, and web-centered
publication. The review processes will be as extensive as those
experienced in print academic outlets, but it too will be conducted in a
fully on-line format.
Proposals should be approximately one page in length. They should
explain the work, and, if possible, provide examples (current urls) of
the work proposed. We imagine projects by individual digital artists or
writers, groups of artists, reviewed or curated online display spaces
or literary journals, and other unique endeavors will take advantage of
this service. On average, each project can be allocated a considerable
amount of space (i.e. around 50 MB, of web addressable server space,
though both larger and smaller requests will be considered), accessible
from an ftp account on the CDDC servers.
To propose a publication project, or to get more information, contact
the Center for Digital Discourse and Culture at cddc@vt.edu .
- --
Jeremy hunsinger http://www.cddc.vt.edu/jeremy
CDDC/political science http://www.cddc.vt.edu
526 major williams hall 0130
virginia tech
blacksburg, va 24061
540-231-7614
------------------------------
Date: Tue, 2 Oct 2001 22:30:18 -0700 (PDT)
From: Amy Alexander <plagiari@plagiarist.org>
Subject: Interview Yourself - New Fall Season
http://plagiarist.org/iy
Interview Yourself is Back!
After a brief summer hiatus, Interview Yourself returns!
Plagiarist.org is pleased to announce these new additions
to the Interview Yourself Literary Archive:
thealexgallowaybot as interviewed by thealexgallowaybot An Interview
Yourself Update: 3 Months Later - Vincent Salvati catches up with Vincent
Salvati
and
Vuk Cosic as interviewed by Vuk Cosic
Remember, Interviews are accepted on a rolling basis at
interview@plagiarist.org
- -----
Join the Web Celebs at Interview Yourself... Celebrity interviews just
like Warhol used to do 'em.... only cheaper.
....IY-IY-IY-IY-IY-IY...Interview Yourself Interview Yourself Interview
Yourself....
- -@
- --
plagiarist.org
Recontextualizing script-kiddyism as net-art for over 1/20 of a century.
------------------------------
Date: Wed, 03 Oct 2001 10:00:15 +0000
From: "b g" <brucegottlieb@hotmail.com>
Subject: Re: <nettime> The Algebra Of Infinite Justice
I have compiled a personal website to resonate news events. The current
issue may be of interest to you...and the nettime community. Of ycourse ,
as a web resource, it is always in evolution, so I would appreciate your
suggestions and comments.
http://vociferous.org
B
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
------------------------------
Date: Wed, 03 Oct 2001 15:21:47 +0200
From: Nat Muller <Nathalie.Muller@skynet.be>
Subject: In Conversation Lev Manovich and Aaron Betsky
In Conversation
Lev Manovich and Aaron Betsky
Featuring a performance by Jeremy Bernstein
Thursday 11th October 2001, 20.30 uur, admission: fl. 10,-
Location: V2_Organisatie, Eendrachtsstraat 10, Rotterdam
Lev Manovich (USA)
Is an Associate Professor at the Visual Arts Department, University of
California, San Diego where he teaches courses in new media art and theory.
He is the author of The Language of New Media ( MIT Press, 2001), Tekstura:
Russian Essays on Visual Culture (Chicago UP, 1993). Manovich has been
working with computer media as an artist, computer animator, designer, and
programmer since since 1984. His art projects include little movies, the
first digital film project designed for the Web (1994-), Freud-Lissitzky
Navigator, a conceptual software for navigating twentieth century history,
and Anna and Andy, a streaming novel (2000).
Aaron Betsky (NL)
Is currently director of the Netherlands Architecture Institute and of the
First International Architecture Biennial in Rotterdam. He was from 1995 -
2000 Curator of Architecture, Design and Digital Projects at the San
Francisco Museum of Modern Art. He is the author of eight books, including
most recently Landscrapers (Thames & Hudson, 2001) Architecture Must Burn
(Thames & Hudson, 2000), and Queer Space (William Morrow, 1997). He is
Editor-at-Large for Architecture Magazine and a Contributing Editor for
Metropolitan Home, ID and Blueprint.
Starting point of the discussion is Manovich' latest publication The
Language of New Media, wherein 'he offers the first systematic and rigorous
theory of new media' (quote from book sleeve).
Jeremy Bernstein (USA)
Bernstein's work with sound and video has been presented abroad, in
Germany, the Netherlands, England, Spain, and in New York at such venues as
P.S. 122, the Knitting Factory, HERE and The Kitchen. He performs regularly
around Manhattan. Bernstein's work proposes a noisy, nervous, pluralistic
world.
Bookmarks
Lev Manovich
www.manovich.net
Aaron Betsky
www.nai.nl
www.sfmoma.org
Jeremy Bernstein
http://www.bootsquad.com/
See also www.v2.nl/2001
Remote viewing www.v2.nl/live
Concept and production: V2_Organisatie, Eendrachtsstraat 10, 3012 XL
Rotterdam
This program is supported by:
Las Palmas, International Centre for Visual Culture and Media technology,
Rotterdam 2001, Cultural Capital of Europe, Cultural Affairs City of
Rotterdam, Ministry of OC&W, Luna Internet
------------------------------
Date: Tue, 25 Sep 2001 23:10:59 +0300
From: "Luchezar Boyadjiev" <luchezb@cblink.net>
Luchezar Boyadjiev - Artist View
A selection of new and old works + text, currently on view at
www.artmargins.com
Artist View
Best regards,
lchzr bdjv
------------------------------
Date: Fri, 28 Sep 2001 18:01:16 +0200
From: Guenter Eger <guenter.eger@mailbox.tu-dresden.de>
Subject: Avatare - Take The Biscuit!
SCROLL DOWN FOR AN ENGLISH VERSION
Take The Biscuit! präsentiert:
|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|
'd i e d u r c h w e g u n g d e r h a u t'
|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|
http://www.biscuits.de/pg/ava/index.html
ein virtual-reality projekt mit figuren der italienischen commedia dell'
arte. realisiert waehrend eines emare stipendiums im sommer 2001 am v2_lab
in rotterdam.
besonderer dank an: artm baguinski (3d programmierung), anne nigten
(koordination), dem v2_ team und peter zorn von werkleitz!
"Die Durchwegung der Haut" führt die betrachter in eine welt aus 3
unterschiedlichen realen und virtuellen raeumen. in den 3d umgebungen
tauchen die besucher in die welt der gefuehle und konflikte ausgewaehlter
archetypen der italienischen commedia dell' arte. die erzaehlungen variieren
dabei durch die jeweiligen launen der figuren und durch die handlungen der
besucher.
Take The Biscuit! ist eine zusammenarbeit der kuenstlerin lilian juechtern
und dem architekten guenter eger. ihre projekte beschaeftigen sich mit der
theoretischen und kuenstlerischen erforschung von strukturen zeit-basierter
raeume.
mailto:teatime@biscuits.de
___[Take The Biscuit!]_________________
|
| are Lilian Juechtern and Guenter Eger
| http://www.biscuits.de
| teatime@biscuits.de
_______________________________________
Take The Biscuit! is proud to announce the new project:
|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|
'd i e d u r c h w e g u n g d e r h a u t'
|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|
http://www.biscuits.de/pg/ava/index.html
a virtual reality project based on the Italian Commedia dell' Arte.
developed during the Emare program 2001 at the V2_Lab, Rotterdam, the
Netherlands.
Thanks to artm baguinski (3d programming), anne nigten (coordination), the
v2_ team and peter zorn from werkleitz, germany!
"Die Durchwegung der Haut" is formed by a circle of three virtual worlds
which connects three remote visitors through their environments. in each
individual 3D environment the visitor explores the conflicts and desires of
the archetypical personae which are involved in the Italian Commedia dell'
Arte. the stories which are revealed depend on the actions of the visitor
within his environment and the exchange of data between the remote worlds.
Take The Biscuit! is a collaboration between the artist lilian jüchtern and
the architect günter eger. the projects of Take The Biscuit! focus on the
theoretical and artistic exploration of patterns of time-based spaces.
mailto:teatime@biscuits.de
___[Take The Biscuit!]_________________
|
| are Lilian Juechtern and Guenter Eger
| http://www.biscuits.de
| teatime@biscuits.de
------------------------------
Date: Sat, 29 Sep 2001 14:29:29 +0200
From: jimpunk <jim@jimpunk.com>
Subject: SlamPoetryPictures
- -----------------------------
SlamPoetryPictures
- -----------------------------
realise the idea
of a conversation in terms of pictures
which are created at "runtime".
To catch the evolutionary impact
this will have for communication in general
remember the saying
"an image says more than a thousand words".
In fact it means a whole new quality of communication.
which will emerge from the overwhelming developement
of visual creativtiy on the web
which until now has just
one way function: picture -> recipient.
In Future there will be picture to picture communication
and the painters are just waiting to start the movement.
To be clear:
If we say "pictures", we include animation,
and if we include animation, we include sound etc.
So wellcome to a real new world of visual impressions.
Watch out... The wave will break soon.
|
|
|
|
|
ATTENTIONE
movement of opening windows
beware of strong draught
|
|
|
|
|
http://www.jimpunk.com/slampoetrypictures
http://www.slampoetrypictures.de/
http://www.soy.de/SlamPoetryPictures/
|
|
|
Slampoetrypictures is a collaborative project by € sim € ro27 € jimpunk €
------------------------------
Date: Sun, 30 Sep 2001 13:18:21 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: current work
- -
Internet Philosophy and Psychology - Sept 001
Since the WTC tragedy, my work has been dealing with the creation and
destruction of language, of the broken teeth of words. It has also dealt
with the possibility of distance against its very impossibility, and with
exile, the corruption of culture, the corrosion of news and media.
In Miami, I am an inaccessible digit, furiously telephoning; what is writ-
ten travels through the mutilation and veering of thought. I am ashamed
over my own depression, aware that terror decathects meaning - that mean-
ing is a luxury. I try to write through this.
Below is the usual intro:
This is a somewhat periodic notice describing my Internet Text, available
on the Net, and sent in the form of texts to various lists. The URL is:
http://www.anu.edu.au/english/internet_txt/ which is partially mirrored at
http://lists.village.virginia.edu/~spoons/internet_txt.html. (The first
site includes some graphics, dhtml, The Case of the Real, etc.)
The changing nature of the email lists, Cybermind and Wryting, to which
the texts are sent individually, hides the full body of the work; readers
may not be aware of the continuity among them. The writing may appear
fragmented, created piecemeal, splintered from a non-existent whole. On my
end, the whole is evident, the texts extended into the lists, partial or
transitional objects.
So this (periodic) notice is an attempt to recuperate the work as total-
ity, restrain its diaphanous existence. Below is an updated introduction.
- -----
The "Internet Text" currently constitutes around 100 files, or 4500 print-
ed pages. It began in 1994, and has continued as an extended meditation on
cyberspace, expanding into 'wild theory' and literatures.
Almost all of the text is in the form of short- or long-waves. The former
are the individual sections, written in a variety of styles, at times
referencing other writers/theorists. The sections are interrelated; on
occasion emanations are used, avatars of philosophical or psychological
import. These also create and problematize narrative substructures within
the work as a whole. Such are Susan Graham, Julu, Alan, Jennifer, and
Nikuko, in particular.
The long-waves are fuzzy thematics bearing on such issues as death, sex,
virtual embodiment, the "granularity of the real," physical reality, com-
puter languages, and protocols. The waves weave throughout the text; the
resulting splits and convergences owe something to phenomenology, program-
ming, deconstruction, linguistics, philosophy and prehistory, as well as
the domains of online worlds in relation to everyday realities.
Overall, I'm concerned with virtual-real subjectivity and its manifesta-
tions. I continue working on a cdrom of the last eight years of my work
(Archive); I also additional video materials, created with Azure Carter
and Foofwa d'Imobilite, on two cdroms, Baal and Parables. I've worked on a
series of codeworks and political pieces, as well as Asteroids, a group of
videos based on 3d modeling of spatial objects and fly-byes. Finally, I've
recently completed two cdrom collections of materials, Miami and Voyage.
I have used MUDS, MOOS, talkers, perl, d/html, qbasic, linux, emacs, vi,
CuSeeMe, etc., my work tending towards embodied writing, texts which act
and engage beyond traditional reading practices. Some of these emerge out
of performative language - soft-tech such as computer programs which _do_
things; some emerge out of interferences with these programs, or conversa-
tions using internet applications that are activated one way or another.
And some of the work stems from collaboration, particularly video, sound,
and flash pieces.
There is no binarism in the texts, no series of definitive statements.
Virtuality is considered beyond the text- and web-scapes prevalent now.
The various issues of embodiment that will arrive with full-real VR are
already in embryonic existence, permitting the theorizing of present and
future sites, "spaces," nodes, and modalities of body/speech/community.
It may be difficult to enter the texts for the first time. The Case of the
Real is a sustained work and possible introduction. It is also helpful to
read the first file, Net1.txt, and/or to look at the latest files (lq, lr)
as well. Skip around. The Index works only for the earlier files; you can
look up topics and then do a search on the file listed.
The texts may be distributed in any medium; please credit me. I would ap-
preciate in return any comments you may have.
Current cdroms are available for $14; if you've have an earlier version,
they go for $10. (Video format is .mov with Sorenson compression or .avi
or .avi-jpg). (Costs include shipping.)
You can find my collaborative projects at
http://trace.ntu.ac.uk/writers/sondheim/index.htm and my conference
activities at http://trace.ntu.ac.uk - both as a result of my virtual
writer-in-residence with the Trace online writing community.
See also:
Being on Line, Net Subjectivity (anthology), Lusitania, 1997
New Observations Magazine #120 (anthology), Cultures of Cyberspace, 1998
The Case of the Real, Pote and Poets Press, 1998
Jennifer, Nominative Press Collective, 1997
Parables of Izanami, Potes and Poets Press, 2000/1
Alan Sondheim - Miami cellphone (voicemail) 305-610-5620
Miami phone (no voicemail) 305-668-5303 email sondheim@panix.com
Home address: 4600 SW 67th Avenue, Apartment 252, Miami, FL, 33155
- --------------------------------------------------------------------------
------------------------------
Date: Tue, 2 Oct 2001 20:40:35 +1000
From: "Axel Bruns" <mc@mailbox.uq.edu.au>
Subject: M/C Call for Contributors: 'work' issue
M/C - A Journal of Media and Culture
<http://www.media-culture.org.au/>
Call for Contributors
The University of Queensland's award-winning journal of media and culture,
M/C, is looking for new contributors. M/C is a crossover journal between
the popular and the academic, and a blind- and peer-reviewed journal.
To see what M/C is all about, check out our Website, which contains all the
issues released so far, at <http://www.media-culture.org.au/>. To find
out how and in what format to contribute your work, visit
<http://www.media-culture.org.au/contribute.html>. We're also welcoming
submissions to our sister publication M/C Reviews, an ongoing series of
reviews of events in culture and the media. M/C Reviews is available at
<http://www.media-culture.org.au/reviews/>.
We are now accepting submissions for the following issue:
'work' - article deadline: 29 October 2001
issue editors: Axel Bruns & Greg Hearn
In the bad old days, people lived to work: to produce enough food, to
make enough money just to get by was hard enough, and there was no time to
waste on the finer things in life. Things are so much better now -- or are
they? Do we really work to live now, doing our work only to sustain and
support our pursuits outside the workplace? Does the divide even apply any
more -- in the days of teleworking, flexitime, and plug'n'play computing
in the home office, where does work stop, and recreation start? What is
the future of the workplace if neither the location of that place nor the
activities of work can be pinned down with any accuracy? With the
inceasing deployment of media in workplaces, how are the culture and
practice of work affected? And what becomes of the worker, in both the
general and the specific meaning of the term: if everyone's an information
worker, does the working class become extinct (or is it simply pushed to
the geopolitical outskirts of the Western world)?
Perhaps these questions aren't even as recent as they appear to be.
Consider 'work', the noun: it describes both the activity and its outcome -
- - so if you love (or hate) your work, do you mean the work you do or the
work you've created in doing your work (which in turn may indicate that
you love having finished your work and being ready to play)? And speaking
of creativity, what about the artwork: is it work, is it art, can it be
both? Where (in analogy to the work/play divide above) does work stop and
art begin (a question of significant legal implications, as recent cases
around the copyrighting of software as artworks have shown)?
So, get to work on these and other ideas. Articles on the past and future
of work and play, on individual works (of art, or otherwise), on the
concept of work itself, and other labours of love are gratefully accepted
for this issue of M/C. If they work for us (and our hard-working
referees), we'll publish them.
issue release date: 28 November 2001
Axel Bruns
Greg Hearn
- --
M/C - A Journal of Media and Culture mc@mailbox.uq.edu.au
The University of Queensland http://www.media-culture.org.au/
------------------------------
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