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01 . ROLUX . ROLUX V3.5 has been launched
02 . Tom Gaitens . World Premiere of Tod Machover's "Resurrection"
03 . zina@world.net . space 1999 : cinema simulacra
04 . . NYC: ETHNICITY AND CONFLICT at OSI 4/26
................................................................... 01
Date: Wed, 14 Apr 1999 20:07:45 +0200
From: ROLUX <h0444wol@rz.hu-berlin.de>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject: ann! ... ROLUX V3.5 has been launched
[background = http://www2.hu-berlin.de/~h0444wol/rolux/archive/009.txt]
=========================================================================
##### ROLUX HAS BEEN SUCCESSFULLY UPGRADED TO V3.5 #####-berlin.de> *****
##### ON MONDAY, APRIL 12, 1999, 18:00:00 CET #####
-
--- ##### ROLUX IS A FREE, PUBLIC NETWORK FOR THE #####
"Club##### ADVANCEMENT OF THE CRITIAL MINORITIES . #####it was also
"hype" or "boom", is absolutely untrue. On the contrary: as a regular
"I am currently interested in the clash and dialogue between the
"Maybe it is the right of every young artist to draw on well-known,
"new media". Some of the objections, which then are used against net art,
"subversion, fake, surveillance, transgression, service, corporate
"Texte zur Kunst" can be considered as an offical organ of
"Texte zur Kunst". ##### LUXOR EMULATION ENGINE: UPDATED #####e fact
# <nettime> is a closed moderated mailinglist for net criticism,
# collaborative text filtering and cultural politics of the nets
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(re)placed artists of the "classic" conceptual school in an art
(secret) interest. Because as Lovink says, there are "dozens of
1. Working with new media turns the artists more or less automatically
2. Just because artists work with new technologies, this does not mean
3. The assertion that media art or net art (key word: hypertext) is
4. And on top of this, these people presume they are part of some
80's to be precise. In fact a lot of contemporary net art works are a
a form of interaction or that this form of art makes the audience
a new generation of artists is already inventing new artistic concepts
a participant/co-creator of the work is a myth. Indeed with an
actions. JB).##### A.S.AMBULANZEN: ARCHIVATED #####
against the law and has given all participants a lot of pleasure.
Also the claim that net art without question adopts conditions,
and developments into account."##### ADFORCE: AVAILABLE #####
and methods. (That this never-ending cycle of complete innovation in art
and more artists start to work with computers - despite repeated
and than bash it as a very doubious enterprise - yet also an
announcements of a "new art" on the net).##### AUDIO: COMING SOON #####
any art practice, that at some point tried to leave the white cube of
anyway.##### AUSEINANDER: ARCHIVATED #####
Apart form the fact that Rachel Baker should get a kick out of the fact
are well-known. They are always warmed up when artists dare - against
argumentation ("nothing new, all seen before"), Graw criticizes some
arsenal of art history, where they are well stored, and where, in a
art", there is something Graw in her simplistic criticism fails to see.
artistic alter ego Trina Mould (Rachel Baker works mostly under her
artistic ideas on a new technical platform. Take, for instance the
As Video- and Computer Art are by now to be perceived as historical
asked for. But, well... so-rry!
avantgarde, while the idea of an avantgarde is historically not
avoided the art world, as the net art section of the last Documenta
backroom of the ZTK editorial offices, they are - with the correct
both artistic signification and social set up... (With net art one
But a lot of what is now criticized in TZK are just that:
But apart form that, it is not true that net art has systematically
by now out-dated models, without having to take relevant discussions
can't be art at all, because it doesn't happen in an art context, but
Cistercienser monks. By this time out there in the galleries and museums
clear about it: gangwar! The empire strikes back!
compares them - before concluding both wiseacreously and venomously:
concepts of subversion and fake functions slightly different on the
conceptual art and media art was not an issue yet with Dada or the
conceptual art mafia and the media art mafia", says media theorician
concerned with the manipulation of search engines.)
connections" between the two schools: while the devision between
contemporary art.)
context is avoided and secondly the difference between artwork and
context is liquidated.##### 1001-1 CLASS LIBRARY: ACTIVE #####
continues to function, is obvious after a visit to any group show of
Contrary to this, for the generation of artists that operates on the
correct. These technical paradigms are on the contrary constantly
criticism of this quite simple assumption. Many net artists have
deals) with a phenomenon, wherein first of all the traditional art
designed by artists or Paul Garrins "name.space" project show. But
does. It doesn't ex##### CUT&PASTE: UPDATED ##### Lovink
early, formative years of the internet as a massmedium artists have
easily named with period titles, the world completely anew. After these
exiting at all? What interests me as netuser and -journalist about
experiments. The high art view of net art which is formulated
Geert Lovink in an interview which appeared in the latest issue of
genres, the magazine TZK decides to come down hard upon the relatively
global - persuasiveness that by far exceeds the crediblity of art
group has worked distinctively along the path of technology, and out
Happenings, Performance and actions in the public space, artists'
hardly possible to be more concise about the conflict - and the
have a computer, a modem and internet access, that is. To reduce the
he or she did not understand, and even with more vigor because of it.
here, ignores one of its genuine qualities: namely the
historical context.##### DAIMLERCHRYSLER: OPEN #####
however isolates them from a large, constantly growing part of a
http://www.heise.de/tp/deutsch/inhalt/sa/3324/1.html
identity", and refers specifically to Rachel Bakers' "Clubcard"
implicit concept of art history, which in itself appears anachronistic.
in another part of this article. Following another tired pattern of
in its first phase was mostly occupied with genuine, media specific
in modernist art after 1945.
in terms of art historicy, nobody knows... and, so what? Would that be
In the brand of art history 'according to ZTK' the good old concept of
inability for precise observations. The problem lies rather in the
interactivity stems from the past - from computer art of the 70's and
interesting example of how one type of mafia projects its own reality
Interestingly this avantgarde-position is exactly what is called for
internet then they did in projects in the 80's, to which Graw
internet) as the most recent manifestation of artistic practice within
internet, this classical concept of avantgarde seems to have become
into useful idiots for hardware producers. Aesthetics and artistic ideas
is a re-occurring theme on the internet - which is not just proved by
Isabelle Graw, the editor of "Texte zur Kunst", finishes her essay -
its own context, an important property of art lost: the fact that it is
Knowing a little bit about how this type of polarized in-out-thinking
large number of very different projects and works to "net art as such"
made critical or renouncing remarks on the subject of interactivity.
mafia against mafia.##### EVIDENCE MEDIA CONCEPTS: NOT AVAILABLE #####
MAFIA CONTRA MAFIA ##### FILMS D'ACTION GRATUITE: UPDATED #####
Maybe it is the right of an art critic to mercylessly bash projects
medium. One can summarize these objections like this:
##### FLOOD.NET: NOT ACTIVE ##### you will get the drift.
move to the background compared with the capability to cope with the
neo-conceptaul art - watch each other with just as much suspicion as
net art is its status as experimental lab for the internet. In the
net art projects as new versions of concepts from the 80's such as
net art: the "myth of interactivity". The idea that playing around
net fakes became a reoccuring motive in net art. (Rachel Bakers
new art movements have been around for some time, they are put into the
new genre of internet art (also known as net art, net.art, art on the
nobody has really claimed in a long time anymore anyway. The claim
North America, for example. At the same time artists have of course
notion that everybody can be an artist on the internet - if they
now in TZK cooked up as THE final manifestation.
Now on to another reproach, that is being formulated in TZK towards
now young curators from the contemporary art department struggle with
numerous pseudo-businesses, which two years ago have been something
of a sub-genre in net art: though they were - consciously or
of the artwork.
of the critic is understood quite well by Isabelle Graw. Maybe that's
of this the genre of Media/Video and Electronic Art developed... And
oilpainting the recipiant is also the co-producer of the meaning
on the internet. With this kind of argument one could of course put down
onto another one. ##### THIS IS NOT A LINK #####
Or interesting coalitions?" With their latest issue ZTK is pretty
original article (in german): ##### WE.ARE.NOT@HOME #####
ouside of the art context - something which to my knowledge is not
own name, the alter ego has its own identity and is used for specific
periodic specifications- inscribed in large leatherbound volumes by
pioneer-role, something which would discredit them in their own scene
place - and that much research was appearantly too much for
place." What makes matters worse, says Lovink, "is the fact that more
played with the fact that they operate at the same time within and
potential audience for contemporary art in Western Europe and the
project. Funny enough Graw attributes this project to Bakers'
projects, where the artist buys himself a suit and a tie and claims to
properties of the internet, there was some logic to the fact that these
proved. It is closer to the truth to say that the traditional art
questionable (which probably explains why there have been so few
relevant technologies.
remarkable conclusion: "Because net art operates in a medium that is
reporter from this somewhat marginal sphere of the artworld I am always
represent a company. The continuous play with digital fact and fiction
scene out of habit excludes artists who experiment with new media -
several decades of postmodernism. One could describe this concept like
situationists, the schism started with Fluxus. After this a certain
Smells like Adorno, doesn't it? In plain words this means: net art
Some of these arguments are historicaly outdated in the case of net art,
strikes back with the same polemic means. Which is what this article
subconsciously - in effect not too different from 80's-style "business
surprised about the fact, that so little net artists take this alledged
sustainable anymore anyway.
technologies, does not mean it is automatically an avantgarde - which
television... and come to think about, most of what was of interest
territory, in which rules and standards are not defined clearly yet, and
Texte zur Kunst, Heft 32 (Dezember 199##### SPLITSCREEN: ACTIVE #####
that finally someone fell for her pseudonym, this example shows that
that journalistic or artistic pleas for net art constantly predict a
that net art is reduced to art which is comfortably consumed through
the "conceptual art mafia" (Lovink), and has in this respect helped
the avantgarde continues to exist undamaged and indisputed, despite
the break through of some neo-conceptual artists, just as it has
the fact that Isabelle Graw fell for Rachel Bakers pseudonym. As net art
the fact they know nothing about computers and networks, while at
The following text is a rough translation of an article by
the gallery: Graffiti, Mail Art, Radio- and Soundworks, Land Art,
the german art magazine "Texte zur Kunst" (TZK) from Cologne. It is
The problem with this kind of art criticism lies not so much in its
the same time they wonder where this gap is coming from in the first
the same way it excludes artists that are not from Western Europe or
the technophobic atmosphere within the artscene - to use a new
the WorldWideWeb.
their work is new or innovative.
themselves.##### TEXTMARKER THEORIEBAHN TRANSPORTER: UPDATED #####
There is a good reason for the fact that both camps, media art and
These internet projects have developed a completely different - and
they can of course ignore new technologies like the internet. This
This does not mean that net art only recycles previously invented
this: artists invent in certain times, that are for convenience's sake
Tilman Baumgaertel in the online magazine Telepolis. The translation
Tilman Baumgärtel##### ZORK: EMULATED #####
to acknowlege that one would have to know these projects in the first
'tribal' thinking - which informs the new issue of this magazine:
United States. The fact that Net-/Media-/Computer Art uses these new
unprepared observers. That such a situation also threatens the hegemony
used as themes and as targets for criticism, like the many browser
used the net for purposes, which it was not not designed for, but which
warnings from Cologne, Vienna and New York... Will there be a gangwar?
were admittedly sometimes hard to grasp for "net newbies" - are
were nevertheless valid and interesting. These early experiments - that
What could be relevant about all the net art projects in the long run
What is exiting about net art is that it operates in a relatively new
where some works can - hopefully - cause irritation and confusion to
which are forced upon it by the hardware and software industry is not
which is filled with numerous false facts - with the following
which is put forward in an article by Isabelle Graw (the editor of TZK),
while others depend on false assumptions. When artists feel like it,
why her article doesn't give the internet adresses of any of the art
with a joystick, a mouse or clicking on a webpage is a form of
works - otherwise people might actually look at them and judge for
works, it makes sense that TZK now bashes net art. And that net art
**##### <ROLUX> MAILING LIST: ACTIVE #####*******************************
ROLUX ##### http://www2.hu-berlin.de/~h0444wol/rolux/ #####~h0444wol/r
=========================================================================
" F O R T S C H R I T T B R A U C H T Z U S A M M E N H A E N G E "
................................................................... 02
Subject: World Premiere of Tod Machover's "Resurrection"
Date: Tue, 13 Apr 1999 09:41:49 +0200
From: "Tom Gaitens" <tgaitens@fineartsmgmt.com>
FOR IMMEDIATE RELEASE
Contact: Zachary H. Hooper
Fine Arts Management
201-A Sixth Avenue
Brooklyn, NY 11217
Tel: 718.857.2757/Fax: 718.857.4582
E-mail: zhooper@fineartsmgmt.com
http://www.media.mit.edu/hyperins/resurrection
Tod Machover’ Resurrection:
Exploration of Possibility and Transformation
Houston Grand Opera Mounts Premiere of Tolstoy Adaptation
April 23, 1999, the Houston Grand Opera presents the world premiere of Tod
Machover’s Resurrection. Based on Leo Tolstoy’s final novel, with a
libretto by Laura Harrington, and directed by Braham Murray, Resurrection
brings Machover’s musical imagination to Tolstoy’s urgent tale of a prince
and a prostitute, whose interlocking fates take them on a journey of
self-discovery, despair and spiritual rebirth.
When David Gockley -director of the Houston Grand Opera--first expressed
interest in commissioning this opera, Machover instantly knew the theme he
wanted to tackle: In a world dominated by overpowering and dehumanizing
forces, can we find a better-more human-way to live? Initially thinking to
draw on contemporary American social issues, a chance rediscovery of Tolstoy
’s work sparked the recognition of his source material. With the help of
Gockley, Harrington and Murray, the composer created an operatic version of
Tolstoy’s disturbing yet hope-filled work, capturing its vast range of tone
and feeling as the story unfolds. In characteristic Machover style, the
music is lyrical and emotionally direct, yet layered with complex, ambiguous
undertones, and shifts constantly effectively as the action swerves from
courtroom melodrama to innocent love to social satire to Siberia and
finally, to redemption. In seeking to issue what Machover says is “a call
to action, to make the world a better place,” he has crafted a work “which
would use the opera’s resources in a fresh but idiomatic way, and which
would speak directly and immediately to opera lovers, while not being in any
way ‘conventional’.”
The synthesis of the classical tradition and the pulse of the entertainment
world, of high technology and human virtuosity, of the intellectual and the
emotional, has been one of Machover’s prime motivations since well before
his days as a student with Elliott Carter and Roger Sessions at Juilliard.
>From his tenure as Director of Musical Research at Pierre Boulez’s IRCAM
institute to his current role as Professor of Music and Media at M.I.T.’s
Media Lab, Machover has merged worlds both as a composer and as a scientist.
Pulitzer prize-winning critic Lloyd Schwartz writes that “more than any
other composer of his generation, Machover uses the music of his generation:
computer electronics, minimalism, rock rhythms, improvisational jazz…What’s
most exciting about Machover’s pieces is how beautiful and moving they are,
what lyrical and exotic melismas keep surfacing, how dramatically they
build, how they haven’t a dull moment, and what magnificent opportunities
for performers they provide.”
These opportunities have been realized in the form of commissions and
performances by many of the world's most prestigious ensembles and
performers, including the Los Angeles Philharmonic, the London Sinfonietta,
the Tokyo String Quartet, the Kronos Quartet, Lincoln Center, Yo-Yo Ma and
magicians Penn and Teller. His unique synthesis of idioms has earned him
numerous international accolades, including France’s Chevalier de l'Ordre
des Arts et des Lettres and Germany’s first DigiGlobe prize. Among his more
notable musical/technological achievements are the invention of
hyperinstruments and the still-evolving Brain Opera, projects that use
technology to augment the musical potential of both virtuosi and amateurs.
Future projects delve further into these possibilities. These include a new
opera, Twelve Looney Tones: Schoenberg in Hollywood, an exploration of the
relationship between high art and pop culture, and Toy Symphony, which will
introduce specially designed Music Toys for a creative collaboration between
children and symphony orchestras.
................................................................... 03
From: zina@world.net
Date: Tue, 13 Apr 1999 19:19:53 +1000
Subject: space 1999 : cinema simulacra
Space 1999: Cinema Simulacra
This month, Space 1999 takes over the Performance Space
with a meta-show using grabs from 20th Century films...
Bette Davies' game of deception, Audrey Hepburn's souffle and
Donald Sutherland's sleazy Casanova will come to life
in an immersive field of romance captured by
live surveillance systems and projected film-sets.
Director/Designer: Sam James. Multimedia: Zina Kaye.
Performance/Installation: Denis Beaubois. Sound: Nicholas
Wishart.
Producer: Caitlin Newton-Broad.
Performers: Chantel Munro, Marion Jardine, Damon Young.
Performances: Fri 16 - Wed 21 April, 8pm.
Installation: Wed 14-Wed 21 April, 12-5pm.
Bookings: 02 9698 7235
$10 concession/$12 TPS members/$15 full.
Venue: The Performance Space,
199 Cleveland Street, Redfern 2016.
http://laudanum.net/space1999/
house of laudanum
po box 950, darlinghurst nsw 1300, australia
http://laudanum.net/
http://world.net/~zina
the anti-destination society
may also be found at this address
*
................................................................... 04
Subject: ann! ... NYC: ETHNICITY AND CONFLICT at OSI 4/26
Date: Fri, 16 Apr 1999 17:14:56 +0200
From: Geert Lovink <geert@xs4all.nl>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
OPEN SOCIETY INSTITUTE
presents
ETHNICITY AND CONFLICT
THE METHODS BEHIND THE MADNESS
Individual Project Fellows
Arjun Appadurai & Bill Berkley
with comments by
Aryeh Neier (OSI) & Elizabeth Neuffer (CFR)
Monday, April 26, 1999, 4-6pm, Open Society Institute,
400 W. 59th St. 3rd Floor,
RSVP: Joann Cohen, 212 548-0343 or jcohen@sorosny.org (by Monday 4/19)
WINE AND CHEESE RECEPTION TO FOLLOW
"From Central Africa to the Balkans to South and Central Asia, the
proliferation of ethnic and sectarian conflicts has emerged as one of the
most destructive problems of the post-Cold War era and one of the least
understood. Who is responsible for these ruinous conflicts? What accounts
for the power? Why do people follow? A journalist with broad experience in
Liberia, Congo-Zaire, South Africa, Sudan, Uganda and Rwanda, and an
anthropologist specializing in the cultural dimensions of ethnic violence,
with a special interest in contemporary India, will discuss the roots of
conflict - historical, institutional, political, geopolitical, psychological
and criminal - as well as some of the legal proceedings intended to help
resolve them."
---
# distributed via nettime-l : no commercial use without permission
# <nettime> is a closed moderated mailinglist for net criticism,
# collaborative text filtering and cultural politics of the nets
# more info: majordomo@desk.nl and "info nettime-l" in the msg body
# URL: http://www.desk.nl/~nettime/ contact: nettime-owner@desk.nl