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[announcer <Sandra.Fauconnier@rug.ac.be>]

   . The Weekender ...................................................
   . a weekly digest of calls . actions . websites . campaigns . etc .
   . send your announcements and notes to announcer@simsim.rug.ac.be .
   . please don't be late ! delivered every friday . into your inbox .
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   ...................................................................



01 . Mike Riemel               . Hot Border Art Space News
02 . Dooley Le Cappellaine     . TECHNOPHOBIA
03 . Mouchette                 . Just tell them you love me
04 . Oleg Kireev               . mailradek no. 8
05 . Film-Philosophy           . Film-Philosophy review call
06 . xleton                    . 'mazecorp'
07 . Stichting STEIM           . TOUCH festival
08 . com.une.farce             . com.une.farce 1/98
09 . Erica Deutsch             . ANIMATION AND SOUND POSITION OPENINGS




   ................................................................... 01

From: "Mike Riemel" <riemel@border2000.org>
Date: Thu, 3 Dec 1998 22:00:43 +0000
Subject: Hot Border Art Space News

Pressemitteilung - Einladung
Grande Finale @ New Border Art Space i.d. ACUD Galerie

5.12. - 31.12.98
Der New Border Art Space (NBAS) in der ACUD Galerie zieht weiter. 
Nach beinah 20 Ausstellungen und Aktionen in den Rumen des ACUD
Kulturvereins wird der Art Space des Border Projektes vorerst eine
Winterpause einlegen. NBAS ist solange im Internet unter
www.border2000.org/nbas zu besuchen. Neue Rume sind bereits in
Aussicht. Die Flyer Soziotope Ausstellung wird auf Tour ein Aspekt der
mobilen Galerie darstellen. Hier wird Dokumentatorisches und Clubart
mitprsentiert. Genaueres unter www.border2000.org/flyer. Whrend der
gesamten Zeit laden wir zur 'APFEL ART SPACE BAR' ein. ......de staade
Zeit !!! 
-I
Nikolaus: Samstag 5.12. - 7.12.98: 
Vernissage: 19.00 / open daily 
-------------------------------------------Santa Claus Spezial--- 
John Boerger's 'Coca Cola Mania' vs. 
Jrg Sundermeier's ' Zucker fr Fred Astaire'
 
Amerikanismen in Reinform feiern Nikolaus in einem Clash von Sammlung 
und Abstraktion. Und: es darf getrunken werden - Hauptsache s !
>haste noch nich gesehen......
 ----------------------------------------
-II
Donnerstag 10.12. - 22.12.98 NBAS ALLSTARS vs. NEWCOMER PREVIEWS 
Gruppenausstellung und Weihnachtsaktion Eine Weihnachtsaktion der 
besonderen Art: 25 Knstler nutzen den Art Space intensiver denn je. 
Letzte Chance die Knstler der Galerie mit einem Vorgeschmack auf die 
Zukunft kennenzulernen. Und: es darf gekauft werden - alles geht ! 
Allstars: Claus Bunge - Martin Schtze - Christa Biedermann - Crisans 
- Tia Schmidt - Angelica Chio - Claudia Tribin -Raul de Zarate - Tilo 
Weiser - Juliane Hundertmark - Heiko Matting -Stephane Martineau - 
Miguel Esteban Cano - Claudia Tribin Newcomer: Hans Jrgen Klaus 
Robert Grimm (Grimmi), Rollbilder - Marco Microbi Reckmann, Malereien 
- Antje Neppach, Malerei - Ross Henriksen, Malerei, Tina M. Lucht, 
Christian Pfefferle, Reflektionen Photographie, Marie Trk - 
Photographie
-----------------------------------------
-III
29.12. - 1.1.99
Visitenkartenausstellung
+
SYLVESTER, 2000 -1
Mit Licht und Sound der Borderliner ins neue Jahr


Reservierungen und Rckfragen unter: riemel@border2000.org 
oder
44359884 
Die Galerie ist von Mittwoch bis Sonntag 18.00 - 21.00
geffnet. Unvb. Veteranenstr. 21, Galerie 3. Etage. Wir bedanken uns
bei allen Knstlern und Besucher und vor allem beim ACUD. Viel Glck
im letzten Jahr des Jahrtausends !

-------------------------------------------
-IV
Flyer Soziotope (Berlin)  meets  Flyer Research (Heidelberg)
Flyer Soziotope - Packung e.V. Verein zur Frderung von Flyerkultur

4.12.98 - 2.1.99

Internetcafe Le Bit
im Listbogen, Kohlgartenstr. 2, 04103 Leipzig
Ansprechpartner: Tine
Tel: 0341/ 998 20 20 , e-Mail: tine@img-net.de
Fax:0341/998-2001 
www.le-bit.de
Straenbahnhaltestelle: Friedrich-List-Platz
Straba-Nr.: 3; 8; 13; 17;  37 vom Bahnhof sind es 5 min zu Fu
>
Die Ausstellung im Leipziger Internetcafe 'Le Bit' ist die
erste Kooperation mit dem Projekt 'Flyer Research' aus Heidelberg
unter dem Namen 'FLYER CULTURE'. Die ausgestellten Streifen sind nur
ein kleiner Ausschnitt der Gesamtsammlung hinter Plexiglas. Wir
arbeiten an der Tourplanung, der Vereinsorganisation und den
Partnerschaften fr 1999 um schon im Januar die nchste Station mit
der gesamten Ausstellung besuchen zu knnen.

________________________________________________________
____......:::::////RADIO AUSSEN-BORDER_berlin400.1\\\\::::.......____
......sending + receiving cultural noise around the borderline.......
==============================================================
~~~~~~~~~~~~~~~~~~~~~~~~~~)|>!<|(~~~~~~~~~~~~~~~~~~~~~~





   ................................................................... 02

Reply-To: Dooley Le Cappellaine <dooley@thing.net>
Mime-Version: 1.0
Precedence: Bulk
Date:  Fri, 4 Dec 1998 19:30:04 -0500
From: Dooley Le Cappellaine <dooley@thing.net>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject:  ann! ...  (No subject)



You are invited to a preview of "TECHNOPHOBIA"

at

http:www.thing.net/dooley


                              TECHNOPHOBIA

(TECHNOPHOBIA , CD ROM ,plays on Mac and PC computers.)

"Technophobia" : the first independently produced collection of original
multimedia art  made as an interactive exhibition.

The artists on the CD are:
Judith Ahern, Bill Albertini, Huma Bhabha, Joseph Ferrari, Alan Koninger,
Tim Maul, Christian Perez, Troy Innocent, Guillaume Wolf and Genevieve
Glaucker, Jody Zellen, Lynne Sanderson and Dooley Le Cappellaine.

$25 each
contact:
Dooley Le Cappellaine.
e-mail dooley@thing.net
http://www.thing.net/dooley
284 Mott Street #9K

http://www.thing.net/dooley
Phone and Fax (212) 966-3046





   ................................................................... 03

Date:  Sat, 05 Dec 1998 17:34:46 +0100
From: Mouchette <mouche@xs4all.nl>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject:  ann! ...  Just tell them you love me

Dear friend, dear fan

My japanese friends asked me to participate to their quiz game, which I
did. Some chosen people could propose their own questions and I hope you
will like mine. In case you wonder what the whole thing with questions
is about, don't worry: remember it's only art and just tell them you
love me !

Question project:
http://www.bekkoame.or.jp/i/ga2750/qproject.html

While you 're wandering about in that japanese site, you might want to
see how they presented my latest project (Flesh&Blood). They wrote a
text comparing me to Caravaggio (you'll be lucky if you understand their
english)
http://www.bekkoame.or.jp/i/ga2750/Mouchette.html

They also projected my tong very big on their gallery wall (Candy
Factory, Tokyo)
http://www.bekkoame.or.jp/i/ga2750/oct98/i04.html

If I don't get as famous as Caravaggio, it won't be their fault. And who
cares, as long as you love me !


-- 
*bisou*
__________________________
mouchette
http://www.xs4all.nl/~mouche

   ................................................................... 04

Date: Sat, 5 Dec 1998 11:33:21 +0300 (WSU)
From: Oleg Kireev <radek@glasnet.ru>
Subject: mailradek no. 8

Moscow-based magazine "Radek", dedicated to theory, art and politics
continues the project "mailradek in english". The information about the
magazine is available on the Website:
 	http://www.geocities.com/SoHo/Coffeehouse/1457.
Everybody who doesn't receive it can send a "subscribe english mailradek" 
e-mail to radek@glasnet.ru, and we'll include him into the mailing list.
	Our address is: Russia 117333 Moscow, Vavilova 48-237, for
O.Kireev. 
tel./fax:(095)137 71 31. 
                                     		text no. 63, part 1
                        5.11.1998
"Radek" has received the proclamation of Revolutionary Partisan Groups on
the Nicolas the Second monument's explosion in Podolsk. The activists of
the
group asked us to distribute their text within the frames of mailradek
project and to write a comment on it. Here's their text:

			Proclamation no. 1
Revolutionary Partisan Groups continue their program of eliminating
Symbols
of tsarism, started by the RVS RSFSR and the RKKA with an explosion of the
monument of the bloody hangman of peasants and workers Nicolas the Second
in
the town of Podolsk, Moscow district.

This action has been carried out as a protest against the policy of
criminal
regime, against repressions of those revolutionaries who have been kept
for
more than a year in Lefortovo prison. We are strictly against a
rehabilitation of tsarism and attempts to discredit the achievements
of October revolution. We consider an organization of a partisan struggle
against the regime and capitalism to be the main task for the present
moment. Our actions serve as an example of an active civil resistance to
the
criminal policy of the regime.
        
FREEDOM TO THE IMPRISONED REVOLUTIONARIES!
DEATH TO THE WORLD CAPITAL!
LONG LIVE TO THE PROLETARIAN REVOLUTION!
 
       The partisans' actions, which we, undoubtedly, completely and
certainly support, should be discussed in two aspects: political and
artistic.

1) Quite clear that an elimination of the capitalist system's symbols is
one of the most effective forms of resistance. Moreover, in modern society
exactly this form brings the most significant result. The power of
information increases the importance of symbolic substances extremely. The
same power permanently renews and changes the real political and economic
power.
Today it is Yeltsin (is it Yeltsin really? Maybe, it is Berezovsky or
Primakov?), tomorrow it's somebody else. That's why the direct physical
elimination practically has no sense (we should remember, that Yeltsin is,
first of all, a symbol of power, but not a power itself). None among the
potential terrorists can know who is to be stroken and where to, but
symbols
of the system are evident for everyone, and they are that should be
eliminated.
This does not manifest weakness or usual intelligentsia's philistinery,
just
the modern world has lost its corporal element (Guy Debord was among the
first to
recognize it). The political struggle in contemporary reality world takes
place on the territory of mass-media, not in the real life.

2) Art is a social contract. The time has the first-of-all-importance for
this kind of activity. The artworks that were rejected by the
contemporaries with disgust, seem splendid after some time (The Eifel's
tower, architecture of the Stalin's epoch and many others). The whole
cultural policy of the current Russian government rehabilitates the most
outdated and reactionary forms of art (for example, both the discussed
monument to Nicolas the Second and the previously exploded one were
erected
by the nationalist sculptor Klykov). It's extremely important that they
won't become a living historical fact. A great majority of contemporary
regime's cultural monuments are to be destroyed as soon as possible. Their
place will be taken by the real contemporary art, which can situate the
Russian cultural scene into an international art's context. 

The only thing we take with skepticism is the text of the leaflet itself.
We
think that it's necessary to write more originally, to formulate new
slogans. Experiment is the main value of any left radical. 
Experiment, phantasize, be merry!

We completely support their initiatives. Good luck guys! Rattle the brains
with the hammer! We're solidary!

                                                               Anatoly
Osmolovsky
project: Anatoly Osmolovsky and Oleg Kireev
translation: Irina Aristarkhova and Oleg Kireev
realization: mailradek






   ................................................................... 05

Date:  Sat, 5 Dec 1998 20:44:16 +0000
From: F i l m - P h i l o s o p h y <d.frampton@philosophy.bbk.ac.uk>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject:  ann! ...  Film-Philosophy review call


| ||| | || |      | |    |||    || ||||| || ||||||||||||||||||||||

        f i l m - p h i l o s o p h y
                electronic salon

| ||| | || |      | |    |||    || ||||| || ||||||||||||||||||||||



                Thursday, 3 December 1998

        The following works have been received and need reviewers:

Geoff Andrew, _The 'Three Colours' Trilogy_ (1998)

John Thornton Caldwell, _Televisuality_ (1995)

Mary Carruthers, _The Craft of Thought_ (1998)

Sean Cubitt, _Digital Aesthetics_ (1998)

Donald, Friedberg and Marcus, eds., _Close-Up 1927-33_ (1998)

Lucy Fischer, _Sunrise_ (1998)

Sabine Hake, _The Cinema's Third Machine_ (1993)

Andrew Higson, ed., _Dissolving Views_ (1996)

Robert Hopkins, _Picture, Image and Experience_ (1998)

Frederic Jameson, _Signatures of the Visible_ (1992)

Douglas Kellner, _Media Culture_ (1995)

Kilborn and Izod, _An Introduction to Television Documentary_ (1997)

Robert Kolker, _Film, Form, and Culture_ (1998)

Scott MacDonald, _Avant-Garde Film_ (1995)

Adrian Martin, _Once Upon a Time in America_ (1998)

Laura Mulvey, _Fetishism and Curiosity_ (1996)

Derek Paget, _No Other Way to Tell It_ (1998)

Stephen Prince, _Savage Cinema_ (1998)

Kaja Silverman, _The Threshold of the Visible World_ (1996)

Silverman and Farocki, _Speaking About Godard_ (1998)

Peter Wollen, _Signs and Meaning in the Cinema_, expanded edition (1998)

        _Film-Philosophy_ also invites emails from those interested in
composing a review of the electronic journal issue:

Jim Roberts, ed., 'On the Film/Image', _Enculturation_,1998

        [Further details of all these publications below.]

***************************************************************

If you would like to review one of these works then please respond as soon
as possible to:

        film-philosophy-request@mailbase.ac.uk

Do not hit 'reply', or send to this list's address.
A brief statement of interest and experience will aid in the selection
process.
Don't forget your postal address.

Length: 2-5,000 words
Deadline: 1-2 months after receipt of book
Reviews are simultaneously published on the email salon and website.

***************************************************************

        Further details:

Geoff Andrew, _The 'Three Colours' Trilogy_ (London: British Film
Institute, 1998).
'In this highly personal appreciation of the trilogy, Geoff Andrew
analyses
how Kieslowski used his command of the cinema to open up the inner lives
of
his characters and to chart the way in which these lives are ruled by
unseen forces. For Andrew, the trilogy is a poignant, thrilling hymn to
the
resilience of compassion in the face of adversity.'

John Thornton Caldwell, _Televisuality: Style, Crisis, and Authority in
American Television_ (New Brunswick, New Jersey: Rutgers University Press,
1995).
'. . . demonstrates the cultural logic of stylistic exhibitionism in
everything from prestige 'boutique' series (_Northern Exposure_,
_thirtysomething_) and 'loss-leader' event-status programming (_War and
Rememberance_) to lower 'trash' and 'tabloid' forms (_Pee-Wee's
Playhouse_,
Rock-and-Rollergames_, and reality series) . . . showing how technologies
are tied to aesthetics and ideology, Caldwell calls for 'desegregation' of
theory and practice in media scholarship and for an end to the willful
blindness of 'high theory''.

Mary Carruthers, _The Craft of Thought: Meditation, Rhetoric, and the
Making of Images, 400-1200_ (Cambridge: Cambridge University Press, 1998).
'. . . examines medieval monastic meditation as a discipline for making
thoughts, and discusses its influence on literature, art, and
architecture.
In a process akin to today's 'creative thinking', or 'cognition', this
discipline recognizes the essential roles of imagination and emotion in
meditation . . . this study emphasizes meditation as an act of literary
composition or invention, the techniques of which notably involved both
words and the making of mental 'pictures' for thinking and composing'.

Sean Cubitt, _Digital Aesthetics_ (London: Sage, 1998).
'This is the first full-length study to investigate the aesthetic nature
and purposes of computer culture in the contemporary world. It casts a
cool
eye on cybertopians, tracing the globalisation of the new medium and
enquiring into the effects on subjectivity and sociality.'

James Donald, Anne Friedberg and Laura Marcus, eds., _Close-Up 1927-33:
Cinema and Modernity_ (London: Cassell, 1998).
'Between 1927 and 1933, the journal _Close-Up_ presented itself as 'the
only magazine devoted to film as an art' . . . The writing is
theoretically
astute, politically incisive, open to ideas from psychoanalysis, and
passionately committed to a 'pure cinema' . . . The editors also show how
thinking about film shaped the contributions of women like H.D. and the
novelist Dorothy Richardson to a new literary aesthetic.'

Lucy Fischer, _Sunrise: A Song of Two Humans_ (London: British Film
Institute, 1998).
'. . . one of the most historically pivotal of all films. The first film
made in America by the celebrated German director F. W. Murnau, _Sunrise_
mediates between German expressionism and American melodrama, the
avant-garde and popular fiction, silent cinema and 'talkies' . . . This
book is a model of film analysis, which locates _Sunrise_ in a fascinating
range of historical, aesthetic and philosophical contexts.'

Sabine Hake, _The Cinema's Third Machine: Writing on Film in Germany
1907-1933_ (Lincoln and London: University of Nebraska Press, 1993).
'. . . reproduces a diversity of perspectives and the intensity of
controversies of early German film within the broad context of German
social and political history, from the aesthetic rapture of the first
years
to the institutionalization of film by the national socialist state.'
Includes her essay: 'Toward a Philosophy of Film'.

Andrew Higson, ed., _Dissolving Views: Key Writings on British Cinema_
(London: Cassell, 1996).
'Charles Barr on Hitchcock's British films; Kathryn and Philip Dodd on
discourses of nation, gender and the documentary idea in the 1930s; Pam
Cook on Gainsborough costume dramas; John Ellis on film criticism of the
1940s; Sue Harper on women in post-war films; Andy Medhurst on _Victim_,
homosexuality and British cinema; Terry Lovell and Andrew Higson on the
British New Wave; Michael O'Pray on the English avant-garde; Colin MacCabe
on Derek Jarman; and Andrew Higson on heritage films . . . Tim Bergfelder
on the influence of German technicians on British cinema in the 1930s;
Sarita Malik on recent Black and Asian films; and Justine King on the
woman's film of the 1980s'.

Robert Hopkins, _Picture, Image and Experience: A Philosophical Inquiry_
(Cambridge: Cambridge University Press, 1998).
'This book is about how pictures represent. Do they, like words, depend on
human conventions for their meaning, or do they exploit something else --
perhaps *looking like* what they represent? The problem is philosophical,
but it has also interested psychologists and art historians. Robert
Hopkin's study examines and criticizes the currently available answers to
this question before proposing and defending one of its own, and concludes
with an attempt to see what a proper understanding of picturing can tell
us
about that deeply mysterious phenomenon, the visual imagination.'

Frederic Jameson, _Signatures of the Visible_ (New York and London:
Routledge, 1992).
'. . . can the film replace the novel as the predominant instrument for
exploring social reality? . . . Jameson questions the critical-utopian
potential of film in our commodified culture, where contests over value,
desire, and power increasingly take place in the realm of the visual. He
reads politics, class, allegory, magic realism, and 'the historical' in
such films as _Diva_, _The Shining_, _Dog Day Afternoon_, and works by
Syberberg, Hitchcock, and others.'

Douglas Kellner, _Media Culture: Cultural Studies, Identity and Politics
Between the Modern and the Postmodern_ (New York and London: Routledge,
1995).
'. . . argues that media culture is now the dominant form of culture which
socializes us and provides materials for identity in terms of both social
reproduction and change . . . Criticizing social context, political
struggle, and the system of cultural production, Kellner develops a
multidimensional approach to cultural studies . . .'

Richard Kilborn and John Izod, _An Introduction to Television Documentary:
Confronting Reality_ (Manchester and New York: Manchester University
Press,
1997).
'What impact has television's growing commercialisation had on the type of
documentary broadcast? What has led to the introduction of an increasing
number of hydridised forms? These questions are addressed within an
examination of the role of institutions, documentary's 'special
relationship with the real and an insight into how audiences interpret the
documentaries they view.'

Robert Kolker, _Film, Form, and Culture_ (New York, NY: McGraw-Hill
College, 1998).
'[The book] explains how film works and explores the interaction between
movies and the society of which they are part. [The CD-Rom] is the ideal
supplement to introduce readers to visual concepts that are hard to
explain
in words alone. Through clips, stills and animation, the user is shown how
top directors have used the elements of editing and montage, shot
structure, point of view, mise-en-scene, lighting, camera movement, and
music.'

Scott MacDonald, _Avant-Garde Film_ (Cambridge: Cambridge University
Press,
1995).
'The past thirty years have seen the proliferation of forms of independent
cinema that critique the conventions of mass-market commercial movies from
within the movie theater. This study examines fifteen of the most
suggestive and useful films from this tradition.'

Adrian Martin, _Once Upon a Time in America_ (London: British Film
Institute, 1998).
'As well as detailing the film's genesis, its production history, and its
different versions, this study considers _Once Upon a Time in America_
within the context of Leone's evolution as a grand cinema stylist. It
illuminates his themes, his method and his aesthetic, and judges his
enormous impact upon subsequent generations of film-makers the world
over.'

Laura Mulvey, _Fetishism and Curiosity_ (London: British Film Institute;
Bloomington and Indianapolis: Indiana University Press, 1996).
'This collection contains her most recent writings, ranging from analyses
of _Xala_, _Citizen Kane_ and _Blue Velvet_ to an extended engagement with
the work of the American Indian artist Jimmie Durham and the feminist
photographer Cindy Sherman. The essays explore the concept of fetishism as
developed by Marx and Freud, and how it relates to the ways in which
artistic texts work.'

Derek Paget, _No Other Way to Tell It: Dramadoc/Docudrama on Television_
(Manchester and New York: Manchester University Press, 1998).
'Combining the factual approach of documentary and the entertaining values
of drama, dramadoc/docudrama has featured in television schedules for over
forty years, and has often been the focus of controversy. Questions are
frequently asked about how the viewer is to judge between fact and fiction
in it, and whether is invades individuals' privacy.'

Stephen Prince, _Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent
Movies_ (Austin: University of Texas Press, 1998).
'. . . Prince explains the rise of explicit violence in the American
cinema, its social effects, and the relation of contemporary ultraviolence
to the radical, humanistic filmmaking that Peckinpah practiced'.

Kaja Silverman, _The Threshold of the Visible World_ (New York and London:
Routledge, 1996).
'. . . provides a psychoanalytic examination of the field of vision. While
offering extended discussions of the gaze, the look, and the image,
Silverman is concerned above all else with establishing what it means to
see. She shows that our look is always impinged upon by our desires and
our
anxieties, and mediated in complex ways by the representations which
surround us.'

Kaja Silverman and Harun Farocki, _Speaking About Godard_ (New York and
London: New York University Press, 1998).
'. . . a lively set of conversations about Godard and his major films,
from
_My Life to Live_ to _New Wave_ . . . get at the heart of his formal and
theoretical innovations, teasing out, with probity and grace, the ways in
which image and text inform one another throughout Godard's oeuvre'.

Peter Wollen, _Signs and Meaning in the Cinema_, expanded edition (London:
British Film Institute, 1998).
'. . . included in this volume is a series of articles, reprinted for the
first time, written by Wollen under the name of 'Lee Russell' in the 1960s
for the radical magazine, _New Left Review_. Concise and lucid auteurist
analyses, they consider the work of directors including Jean Renoir,
Stanley Kubrick and Alfred Hitchcock. In a new afterword, written for this
edition, Wollen reflects on developments in film theory and film-making
since publication of _Signs and Meaning in the Cinema_ [in 1969]'.

Jim Roberts, ed., 'On the Film/Image', _Enculturation: An E-Journal for
Cultural and Rhetorical Studies_, vol. 2 no. 1, 1998
<http://www.uta.edu/enculturation>.
Including articles such as 'Imagistic Information ', 'Georges Bataille and
the Visceral Cinema of Kathryn Bigelow', 'From Mouse to Mouse - Overcoming
Information ', '"Give me a body": Deleuze's Time Image and the Taxonomy of
the Body in the Work of Gabriele Leidloff', 'The Silence of the Limbs:
Critiquing Culture from a Heideggerian Understanding of the Work of Art ',
and 'Frames of Reference: Peter Greenaway, Derrida and the Restitution of
Film-Making'.

                          *************

To my way of thinking the creation of film was as if meant for philosophy
--
meant to reorient everything philosophy has said about reality and its
representation, about art and imitation, about greatness and
conventionality, about judgment and pleasure, about skepticism and
transcendence, about language and expression. Stanley Cavell

Film-Philosophy is a reviews and discussion internet salon founded in
November 1996.

http://www.mailbase.ac.uk/lists/film-philosophy/files

To join, send the message:
join film-philosophy firstname lastname
to:
mailbase@mailbase.ac.uk

If you know of someone else who may be interested please pass this on.

For further information contact the owner at:
film-philosophy-request@mailbase.ac.uk





   ................................................................... 06

Date:  Sun, 06 Dec 1998 14:20:34 +0100
From: xleton <xleton@imaginet.be>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject:  ann! ...  'mazecorp'

Bonjour,
Welcome,

to 'Mazecorp', le 6 dcembre 1998, index:
http://www.geocities.com/SoHo/Workshop/6643/
http://www.respublica.fr/mazecorp
4 courts films. / 4 shorts films. :
http://www.respublica.fr/mazecorp/a.00.html
http://www.geocities.com/SoHo/Workshop/6643/a.00.html
http://www.respublica.fr/mazecorp/a.11.html
http://www.geocities.com/SoHo/Workshop/6643/a.11.html
http://www.respublica.fr/mazecorp/a.22.html
http://www.geocities.com/SoHo/Workshop/6643/a.22.html
http://www.respublica.fr/mazecorp/a.33.html
http://www.geocities.com/SoHo/Workshop/6643/a.33.html
dure / during: 20 sec.
format: quicktime
files: .mov
Si vous ne dsirez plus recevoir de mises--jour, rpondez  ce courrier

en inscrivant 'onion' en tant que sujet de ce courrier.
If you would not receive mazecorp's up-dates, plase  reply with "onion"
in the subject line.
Merci
-- THE VIRTUAL CONDITION IS A TELEGAMBLE THAT ALWAYS SPINS OFF?
xleton@imaginet.be
tl: 32 (0)2 345 76 40
http://www.respublica.fr/mazecorp





   ................................................................... 07

>From: Stichting STEIM <steim@xs4all.nl>
>Subject: TOUCH festival
>
>
>In this mail you will find the press release for our TOUCH
>festival(14th until 19th) and Symposium (14th until 16th) to be held
>this coming December in Amsterdam at the Frascati theater. Also you will
>find the program of the symposium and concerts.
>
>If you know other individuals or groups who might be interested in the
>event please feel free to pass the word on or let us know so we can
>make the contact.
>
>We hope to see you in December.
>
>On behalf of the organizing committee Joel Ryan, Sally Jane Norman and
>Michel Waisvisz,
>
>Ruud Backx (coordinator)
>and Hellen Drooger (symposium coordinator)
>
>
>Press Release Touch
>
>
>STEIM's Touch, the festival of Tactile Tronics
>
>STEIM will open doors to a manifestation called "Touch", from December
>14th through 19th, filling the halls at the Frascati theatre venue in
>Amsterdam.
>
>"Touch" will be the ideal opportunity for visitors to literally Touch
>and play with new instruments conceived and developed for the
>electronic performance arts.
>
>"Touch" is not about worshipping 'old content-new media' cyber-hype,
>but is rather a feast for the 'hands-on': alive and vivacious,
>throbbing, warm, sensual, ecstatic live electronic stage acts and
>immediate media.
>
>"Touch" is a festival of music, theatre and performances, hosting an
>exhibition of 'Please Do Touch' instruments and a meeting place for
pioneers,
>inventors, scientists and philosophers.
>
>
>
>The Touch Performances
>
>The "Touch" Festival program is a bountiful harvest of internationally
>known and, until now, unknown performers and composers in the realm of
>the electronic stage arts. In many cases the inventors of their own
>instruments, these artists are virtuoso performers as well as
>creators.
>
>The audience will be presented a treat of authentic Sound Magicians,
>Trance-Webbers, Electrified Tightrope Walkers, Ambiatronics,
>Radio-Ham-Jammers, The Singing Greeting Card Quick Step, Real
>Electronic Music and a variety of old and new electric entertainment.
>
>All performances will take place in Frascati's main hall during three
>nights of non-stop electroeuphoria. (December 16th, 17th and 18th)
>
>The cast of performers includes:
>
>Laure Pique, Serge de Laubier & Remy Dury, John Rose, Joel Ryan & Evan
>Parker, Laetitia Sonami, Xavier & Dave & Thijs, Cas de Marez, Henley
>James & Shaun Smith directed by Patrizia van Roessel, Frances Marie
>Uitti & Michel Waisvisz, Seven Seas, Ernst Zettl & Helmut Schaefer,
>Schreck Ensemble, and Marko Peljhan.
>
>
>
>STEIM's Electro Squeek Club
>
>
>"Touch" will allow visitors to meander through a labyrinth of PalpEars,
>FondleEyes, CaressKeys & CuddleButtons, BrainFingers and Sonic
>PinchChips - the instruments of the STEIM Electro Squeek Club.
>
>Visitors are invited to touch the sound and image instruments and
>installations specially designed for the "Touch" Festival. Schools and
>groups are welcome to make appointments to visit the exhibition
>throughout the week.
>
>On Saturday 19th of December, the exhibition will be open to everyone
>who wants to touch and play, or just wander through the labyrinth,
>watching and listening to other visitors touching and playing the
>instrumental objects.
>
>Those who choose to be in touch can play the TeleTelePhoneToneChatter
>or the Magic Miracle Organ with its 'Flip, Smack, Bang, Poof'=20
>keyboard, or have close encounters with their own manipulated
>reflections in the Electronic Mirror Palace. For animal lovers there's
>the Animal Symphony Web, for peepers the Crackle Stage and the classic
>CrackleBoxes, for dancers the Dance-O-Matic, for lovers of the quiet
>the SoundRecycler, and for the more physically oriented the
>MIDI-Conductor, TouchBoxes and the living doll called 'Touchy-Feely'.
>or those who hate office work, there is the OfficeOrgan, the
>BebobTable and many other instruments.
>
>
>
>The Touch Symposium
>
>
>The Touch Symposium is focused on the renaissance of the physical
>presence of the performer in the electronic performance arts. Until
>now, technical thinking has had the upper hand in the development of
>the electronic arts. It is high time that music and theater makers, and
>visual artists assumed their responsibilities, driving technological
>evolution to satisfy their artistic and cultural needs
>
>The Touch Symposium has attracted a selection of pioneers from the
>electronic performing arts and music, philosophers, and critics engaged
>in reflection on the body in performance, and scientists from the
>fields of neurophysiology and telerobotics. Together with the artists,
>they will consider the place of performance in our booming techno
>culture. Touch here stands for that immediate, high speed,
>non-self-conscious, fine-tuned intelligence encountered in virtuoso
>music or dance. The inimitable prowess of human gesture, the
>overwhelming sensuality of the human performer, are lost in the myth of
>desktop omnipotence.
>
>What is it that makes this sort of human behavior distinct from say
>symbol manipulation? Is there something about the perception of time
>that is peculiar to the performing arts?  If the perception of musical
>time involves a special structure of memory or cognition, how does this
>structure influence composition? Is it possible to imagine composing
>new music or new movement without reference to perceptible experience?
>
>Speakers: Trevor Wishart, Thecla Schiphorst, Barbara Becker, George
>Lewis, Tim Roberts, Jean-Pierre Roll, Roger Malina, Roman Paska, Dick
>Raaijmakers.
>
>The Touch meetings are designed to trigger lively debate amongst a
>group of artists and theorists concerned with issues of live
>performance, bodily intelligence, and new technologies. The symposium
>will make a public presentation at the opening of the festival on
>Wednesday 16th.
>
>
>
>STEIM - how it works
>
>
>
>STEIM (Studio voor Electro-Instrumentale Muziek) is the only media lab
>in the world which has its roots in stage arts, particularly music. The
>Foundation's artistic and technical departments support a wide selection
of
>international
>performers, musicians and a growing group of visual  artists, in the
>development of unique instruments for the creation of their works.
>STEIM hosts artists for intensive work periods, catalyzing their ideas
>by offering critical professional experience, and an artistic and
>technical environment in which concepts can be given concrete form.
>These new creations are then exposed to a highly receptive, responsive
>niche public at STEIM, before being groomed for a broader audience.=20
>
>=46or many years, STEIM has developed a special line of activity, which
>consists of letting children play with its newly developed instruments.
>The often playful, bright and inventive minds of children have long
>acted as a decisive stimulus in STEIM's creation of really playable
>electronic music instruments. Since the mid-seventies STEIM has
>fostered the development of tangible electronic devices, not intended
>as toys but rather as instruments: 'approved by children' (The Crackle
>Boxes, LiSa the live sampler etc).
>
>
>STEIM's international reputation is founded on its physical and
>intuitive approach to technology. STEIM has always encouraged the use
>of low-tech solutions and also the creative 'misuse' of re-cycled
>high-tech. Most of STEIM's projects are presented on a wide palette of
>cultural settings: the traditional concert circuit, the techno scene,
>media festivals, schools, symposiums and conventions, exhibitions, the
>circus and improvisation pools.
>
>
>STEIM is short for 'human approach to technology'. Technology has to be
>manipulated and tailored to the individual. Unique instruments such as
>The Hands, The Web, The Sweatstick and the MIDI Conductor were born as
>a result of personal and individual projects, but are now widely in use
>by other performers. Soft(ware) instruments such as Image/ine and LiSa
>(Live Sampling) developed by STEIM have proven to be a very successful
>branching out of the institute. LiSa was awarded 'Non Plus Ultra' by
>the international GMEB 1998 Electronic Music Festival in Bourges, France.
>
>
>
>Touch, The Organization
>
>
>
>"Touch" is organized by the STEIM Foundation and supervised by Sally
>Jane Norman, Joel Ryan and Michel Waisvisz, and produced by Ruud Backx.
>
>Technical realization by the STEIM designers team Frank Balde, Tom
>Demeyer, Jorgen Brinkman en Skip Goes.
>
>Technical coordination for the Touch exhibits by Jeannot Waisvisz.
>
>Performance Festival technical coordination by Nico Bes and Daniel
>Schorno.
>
>STEIM secretariat supervision by Hellen Drooger.
>
>General Assistant: Marc Meijer.
>
>for educational activities of STEIM's Electro-Cub-Club: contact Lara
>van Druten.
>
>
>Soon you will receive the complete concert and symposiumprogram.
>
>
>Information:		Ruud Backx		020 638 5400
>
>			STEIM			020 622 8690
>
>			Achtergracht 19=09
>
>			1017 Wl Amsterdam
>
>			e-mail: 	steim@xs4all.nl
>
>			url:	 	http://www.xs4all.nl/~steim
>
>
>The 'Touch' festival is funded by the HGIS-Culture-program of the
>Ministry of Foreign Affairs and the Ministry of Education, Culture and
>Science, and the Mondriaan Foundation
>
>
>
>
>INFORMATION  ABOUT  SPEAKERS
>
>
>Barbara Becker studied philosophy, sociology, and art
>history ; her PhD in  philosophy dealt with questions of artificial
>intelligence and cognitive  science. She works as a research scientist
>at the German National Research  Centre of Computer Science (GMD) in
>St. Augustin. Her current research focuses  on the philosophical
>implications of the interrelation of culture, media, and  technology.
>
>
>
>George Lewis is an improviser, composer, performer, and
>computer/installation  artist, who studied composition with Muhal
>Richard Abrams and trombone with Dean  Hey. His interdisciplinary
>compositions have been presented in Eastern and  Western Europe, North
>America, and Japan ; his computer compositions and  intermedia
>installations have been presented on the European and American
>continents. In 1991, he joined the Music Department at the University
>of  California, San Diego, where he is Professor of Music in the
>Critical Studies/Experimental Practices Program.
>
>
>Roger Malina is an astronomer, involved with the design,
>construction and  operation of space observatories. He is currently
>Director of the Laboratoire  d'Astronomie Spatiale in Marseille,
>=46rance, and is also employed at the  Center for Extreme Ultraviolet
>Astrophysics, University of California, Berkeley.  He is the editor of
>the scholarly art, science and technology journal Leonardo  published
>by the MIT Press.
>
>
>
>Roman Paska is a writer, director, designer, and performer
>in the field  of puppet theatre, creator of solo pieces collectively
>called Theatre for the  Birds, and of group productions including " The
>Shadowy Waters " at the Abbey Theatre, Dublin, " The Ghost Sonata " at
>the Marionetteater,  Stockholm, and " Moby Dick in Venice " at the
>Public Theatre in New  York. His Marlowe-inspired work, " God, Mother,
>Radio ", was recently  presented in Paris, Stockholm and New York.
>Paska has written and taught widely,  and was recently nominated to
>direct the Institut International de la Marionnette in
>Charleville-M=E9zieres, France, as of January  1999.
>
>
>
>Dick Raaymakers= studied the piano at the Royal
>Conservatory Den Haag. From 1954 till 1960 he worked for NV Phillips
>Eindhoven. From 1963 till 1966 he worked with Jan Boerman in their own
founded
>studio for electronic music in Den Haag.
>Since 1966 until his retirement (1995) he worked as a teacher at the
>Royal Conservatory in Den Haag in the department for electronic and
>contemporary music and since 1991 he also worked as teacher in
>electronic musictheatre at the interfaculty Sound and Image of the Roal
>Conservatory in Den Haag.
>Besides composing and teaching, Raaymakers is also active as a visual,
>theatrical, film, literary artist. In all these disciplines he shows in
>different ways the relation between art and technique.
>
>
>Tim Roberts has been a professional juggler since he was
>15 years old. After  two-and-a-half years as a clown with Ringling
>Bros. and Barnum + Baileys  Circus he left America for Europe, where he
>founded, with three other  professionals, the French juggling troupe "
>L'Institut ". Since  1993, he has fulfilled the role of Vocational
>Training Coordinator and juggling  teacher at the National Center for
>Circus Arts in Chalons-en-Champagne,  France.
>
>
>Jean-Pierre Roll is Professor of Neurosciences, and
>Director of the Human  Neurobiology Laboratory at the Universite de
>Provence, CNRS (Marseille).  He holds a Doctorate of Science (1983) on
>"The Contribution of Muscular  Proprioception to Perception and
>Movement Control in Humans ". His current  research is focused on
>sensitivity of the human motor apparatus  (proprioception), and its
>role extending " the five senses ".  Roll's laboratory has implemented
>a programme of experiments designed to  determine how the muscles
>function as " organs of perception ", at the  psychophysiological and
>neurophysiological levels.
>
>
>Thecla Schiphorst is a computer media artist whose work
>includes interactive  installation, performance, and software design.
>Trained in computing science and  contemporary dance, her interface
>designs subvert commonly held notions of  interactivity and navigation
>by incorporating models of kinesthesia and  synesthesia. Thecla
>Schiphorst is a member of the team that developed Life  Forms, the
>computer compositional tool for animation and choreography. Her
>interactive art work, " Bodymaps: artefacts of touch " has been
>exhibited in Europe, North America and Asia ; her latest interactive
>piece,  "Felt Histories", was premiered in Vancouver in October 1998.
>
>Trevor Wishart is an independent composer living and
>working in the north of  England, where he is Honorary Visiting
>Professor at the University of York. His  composition work focuses on
>free improvisation for voice ; in the computer music  area, he has been
>involved with software development. Trevor Wishart also works  in the
>areas of community arts and music education, and has directed
>electro-acoustic music workshops for school pupils. His interest in
>musical  environments led to his realization of a soundscape,
>commissioned by the Jorvik Viking Museum.

  [ subscription info deleted, but if you are interested, ask
    sandra.fauconnier@rug.ac.be to resend the original message ]

>Concert programme TOUCH (16 till 18 December)
>
>
>Wednesday 16 December
>
>Serge de Laubier & Remi Dury (FR): 'Les Sargasses de Babylone'
>
>Jon Rose (AUS/GB): 'From the Chaotic Violin'
>
>DansOmatiek (dance and sound performance)
>
>INTERMISSION
>
>Laure Pique (FR): 'Dream wire' - The sensative cord
>
>Joel Ryan (VS) & Evan Parker (GB): 'Fayud's Dust'
>
>
>
>
>Thursday 17 December
>
>Laetitia Sonami (FR/VS): 'Why - dreams like a loose engine'
>
>Xavier, Dave en Thijs (NL): 'Ground Control'
>
>Cas de Marez (NL): 'Sens'
>
>INTERMISSION
>
>Patrizia van Roessel (NL): 'Sweet Touch' (dance and sound performance
>by Shaun Smith and Henley James)
>
>Frances Marie Uitti & Michel Waisvisz (NL): 'The Gentle Art of Live
>Electronic Music in Times of New-Media Hype'
>
>
>
>
>Friday 18 December
>
>Schreck Ensemble (NL): 'De Dag'
>
>Seven Seas (NL): 'Trance Music'
>
>INTERMISSION
>
>Ernst Zettl & Helmut Schafer (O): 'The Virtual String'
>- WienerKlangManufaktur
>
>Steina Vasulka (ICE/VS): 'Violin Power'
>
>Marko Peljhan (SLOV)  '. Signal..:.' and ' Wardenclyffe situation no.
>7'
>
>
>
>Programme TOUCH Symposium ( 14 till 16 December)
>
>
>Symposium hours	10:00 - 12:30 uur
>		14:00 - 17:00 uur
>
>
>Monday 14 December
>
>
>Introduction by the Touch Triumvirate: Sally Jane Norman, Joel Ryan and
>Michel Waisvisz
>
>
>Subject: 	ARTEFACTS OF TOUCH, COMPOSING MACHINES, INCORPOREAL SOUNDS
>
>Speakers:		Thecla Schiphorst - Dancer, computer media artist
>
>		George Lewis - Computer-music composer/constructor,
trombonist
>
>		Dick Raaijmakers - Legend
>
>
>Tuesday 15 December
>
>
>Subject:	THE SIXTH (MUSCULAR) SENSE: DEALINGS WITH SPACE AND TIME
>
>Speakers:		Jean Pierre Roll - Neurophysiologist
>
>		Tim Roberts - Juggler
>
>		Barbara Becker - Philosopher
>
>		Roger Malina - Astronomer
>
>
>Wednesday 16 December
>
>
>Subject:	(BEYOND) HUMAN REACH? HANDLING AND SHAPING VISIONS
>
>Speakers:		Trevor Wishart -  Composer
>
>		Roman Paska - Puppeteer
>
>The symposium will be closed by the Touch Triumvirate.
>
>
>Concert programme TOUCH (16 till 18 December)
>
>
>Wednesday 16 December
>
>Serge de Laubier & Remi Dury (FR): 'Les Sargasses de Babylone'
>
>Jon Rose (AUS/GB): 'From the Chaotic Violin'
>
>DansOmatiek (dance and sound performance)
>
>INTERMISSION
>
>Laure Pique (FR): 'Dream wire' - The sensative cord
>
>Joel Ryan (VS) & Evan Parker (GB): 'Fayud's Dust'
>
>
>
>
>Thursday 17 December
>
>Laetitia Sonami (FR/VS): 'Why - dreams like a loose engine'
>
>Xavier, Dave en Thijs (NL): 'Ground Control'
>
>Cas de Marez (NL): 'Sens'
>
>INTERMISSION
>
>Patrizia van Roessel (NL): 'Sweet Touch' (dance and sound performance
>by Shaun Smith and Henley James)
>
>Frances Marie Uitti & Michel Waisvisz (NL): 'The Gentle Art of Live
>Electronic Music in Times of New-Media Hype'
>
>
>
>
>Friday 18 December
>
>Schreck Ensemble (NL): 'De Dag'
>
>Seven Seas (NL): 'Trance Music'
>
>INTERMISSION
>
>Ernst Zettl & Helmut Schafer (O): 'The Virtual String'
>- WienerKlangManufaktur
>
>Steina Vasulka (ICE/VS): 'Violin Power'
>
>Marko Peljhan (SLOV)  '. Signal..:.' and ' Wardenclyffe situation no.7'
>
>
>
>Programme TOUCH Symposium ( 14 till 16 December)
>
>
>Symposium hours	10:00 - 12:30 uur
>		14:00 - 17:00 uur
>
>
>Monday 14 December
>
>
>Introduction by the Touch Triumvirate: Sally Jane Norman, Joel Ryan and
>Michel Waisvisz
>
>
>Subject: 	ARTEFACTS OF TOUCH, COMPOSING MACHINES, INCORPOREAL SOUNDS
>
>Speakers:		Thecla Schiphorst - Dancer, computer media artist
>
>		George Lewis - Computer-music composer/constructor,
trombonist
>
>		Dick Raaijmakers - Legend
>
>
>Tuesday 15 December
>
>
>Subject:	THE SIXTH (MUSCULAR) SENSE: DEALINGS WITH SPACE AND TIME
>
>Speakers:		Jean Pierre Roll - Neurophysiologist
>
>		Tim Roberts - Juggler
>
>		Barbara Becker - Philosopher
>
>		Roger Malina - Astronomer
>
>
>Wednesday 16 December
>
>
>Subject:	(BEYOND) HUMAN REACH? HANDLING AND SHAPING VISIONS
>
>Speakers:		Trevor Wishart -  Composer
>
>		Roman Paska - Puppeteer
>
>The symposium will be closed by the Touch Triumvirate.
>
>
>STEIM
>(studio for electro instrumental music)
>(studio voor elektro instrumentale muziek)
>
>Achtergracht 19
>1071 WL Amsterdam
>Nederland
>
>tel 00 31 (0) 20 6228690
>fax 00 31 (0) 20 6264262
>WEB SITE : http://www.xs4all.nl/~steim





   ................................................................... 08

Date: Fri, 04 Dec 1998 19:16:23 +0100
From: "com.une.farce" <farce@copyriot.com>
Subject: com.une.farce 1/98

--------------------------------------------
com/une/farce
online-bewegung fr zeitung im alltag und kritik im netz
--------------------------------------------
Die neue Ausgabe der com.une.farce (1/98) steht seit dem 1.12.1998 im
Netz
http://www.copyriot.com/unefarce

Inhaltsverzeichnis
--------------------------------------------

Editorial

Gottfried Oy: Demokratiemaschine Internet.
Die Renaissance des Aktivbuergers im Cyberspace
Von den "Kalifornischen Ideologen" zu den bundesdeutschen
Liberaldemokraten: Das Internet dient weiter als Projektionsflaeche fr
Demokratietheorien jeglicher Provienz. Der Beitrag diskutiert das
Verhaeltnis von Medien, Kommunikation und Demokratie und stellt in
Frage, dass Medientechniken wie etwa Interaktivitaet 'an sich' und
zwanglaeufig in
einer spezifischen Art und Weise gesellschaftliche Verhaeltnisse
beeinflussen.

autonome a.f.r.i.k.a.-gruppe, Luther Blissett and Sonja Brnzels:
What about Communication Guerrilla?
A message about guerrilla communication out of the deeper German
backwoods/Version 2.0
Neben einer kurzen Einfhrung in einige grundstzliche Gedanken der
Kommunikationsguerilla, unternimmt dieser Beitrag den Versuch, erste
Anstze einer Kommunikationsguerilla im, fr und ber das Internet zu
skizzieren.

Michael Elm: Viel Neues im Osten
Informelle Oekonomie in Osteuropa
Seit dem Niedergang der staatssozialistischen Laender hat sich aus einer
immer schon bestehenden Schattenwirtschaft eine betraechtliche
informelle Oekonomie entwickelt, die hierzulande gerne als 'organisierte
Kriminalitaet' oder 'Mafia' bezeichnet wird. Ein Vorgang mit System,
wird doch so die Normalitt des westlichen Kapitalismus erst
konstruiert. Der Beitrag von Michael Elm greift die Thematik des
Interviews Aschenputtel bringt sich auf den Markt aus der letzten Nummer
der farce und des in dieser Ausgabe vorliegenden Interviews mit
polnischen Arbeitsmigranten auf. In dem Text soll der Versuch
unternommen werden, zu einer Einschaetzung der polit-oekonomischen und
ideologischen Transformationsprozesse zu gelangen und Einblicke in die
sich neu etablierende Normalitaet zu entwickeln, die der Hintergrund der
verschiedenen Formen der Migration ist.

"Fr so wenig Geld arbeite ich nicht mehr"
Interview mit Jerzy und Piotr
Bei dem Interview handelt es sich um ein Gespraech mit Jerzy (22) aus
Klodzko und Piotr (25) aus der Republik Polen. Jerzy und Piotr sind
gelernte KfZ-Mechaniker, die mit anderen Arbeitsuchenden tagtaeglich
entlang einem Teilstck der Hanauer Landstrae (einer
Hauptverkehrsstrae im Osten Frankfurts) stehen und darauf hoffen, von
vorbeifahrenden Interessenten fr sehr befristete und aeusserst niedrig
bezahlte Gelegenheitsarbeiten angeworben zu werden.

c`est ton truc
Interview mit dem HipHop-Projekt DJ Mahmut & Murat G.
Die Artikulation von MigrantInnen wird seit einigen Jahren auch im
herrschenden Blick interessiert zur Kenntnis genommen, solange sie als
multikulturelle Bereicherung des Eigenen und als Versuch von Integration
des Anderen gedreht werden kann. Die Konstruktion des Fremden bildet den
Boden des Checks, ob die Repraesentation des Anderen fr die
Selbstbestaetigung westlicher Toleranz brauchbar ist oder sich dieser
verweigert und ausgeschlossen bleibt. Ob als Problem, Opfer, Strung
oder als Exotik, dem Herkunftsterror entkommt hierzulande kaum ein
Mensch, der als Nichtdeutsch gekennzeichnet ist.

Franco "Bifo" Berardi
Forzalavoromente in Globalizzazione - Mentale Arbeit in der
Globalisierung
Mit der Uebersetzung von "Forzalavoromente in Globalizzazione" ("Mentale
Arbeit in der Globalisierung") moechten wir auf eine Debatte in Italien
hinweisen, die mehr umfasst als die in deutsch vorliegenden Texte von
Antonio Negri. Bifo gehoert zu jenen Post-Operaisten, die, inspiriert
von den marxschen Grundrissen, versuchen neue Bezugspunkte des
Widerstandes im Globalisierungsprozess zu finden. In diesem Text
charakterisiert er die Prozesse von Globalsierung und Mondialisierung
sowie die Veraenderung der Arbeit.

Desweiteren die neue Rubrik
Farce-food - Reaktionen, Rezenzionen und Dokumentationen
Kritik an der farce-Kritik an Geronimo (farce 0/98), Expo 2000, Plakate
zum Thema Gentechnologie und lustige Saetze aus Freitag, ak und taz

und als very special
"Best of marxsche Grundrisse" endlich in digitalisierter Form! [zu
erreichen ueber den Text "Mentale Arbeit in der Globalisierung"]


Viel Spass beim Lesen wuenscht
Die Redaktion





   ................................................................... 09

Date: Fri, 4 Dec 1998 13:38:36 -0600
From: Erica Deutsch <edeutsch@artic.edu>
Subject: ANIMATION AND SOUND POSITION OPENINGS *PLEASE POST*

To Whom It May Concern:

To follow are notices of two position openings in the of the School of the
Art Institute of Chicago.  Please post and distribute freely.

Thank you,
 Erica Deutsch
Assistant to Division Chairs
School of the Art Institute of Chicago
******************************************************************

ANIMATION

Animation/3D Visualization.  Full-time, tenure-track, rank open.

The School of the Art Institute of Chicago seeks practicing artist to
teach and
help expand animation courses in art & technology and filmmaking.
Animator-filmmakers, 3D animators, and real-time 3D Visualization artists
are encouraged to apply. Ability to work with beginning and advanced
students.  School's open curriculum nurtures experimentation and
interdisciplinary work in art & technology, film, video, sound, painting,
sculpture, etc. AA.EOE.WMA..

Send letter of application; resume; statement of teaching philosophy;
sample of work; names/addresses of 3 references and self-addressed,
stamped
envelope by February 1, 1999 to: Animation Search Committee/em3, SAIC,
Dean's Office, 37 S. Wabash, Chicago, IL  60603.

******************************************************************

SOUND

Audio Artist/Musician.  The School of the Art Institute of Chicago.
Full-time, tenure-track, rank open.

Sound department seeks practicing audio artist/musician with experience in
one or more of the following:  digital/analog electronic production
techniques, experimental instrument design and construction,
improvisation,
sound installation, and sound for internet or multi-media presentation.
Candidates should be familiar with current critical discourse as well as
with the history of audio art and experimental music. Candidates should be
comfortable working with sound and music in the context of a variety of
artistic disciplines.  MFA or other terminal degree or equivalent
experience as well as college-level teaching experience required.
AA.EOE.WMA.

Send letter of application; resume; documentation of work (audio cassette
or DAT, VHS/NTSC videotapes, slides, CDs or CD-ROMS, written materials);
names and addresses of three references and self-addressed stamped
envelope
y February 1, 1999 to:  Sound Search Committee/em3, SAIC, Dean's office,
7 S. Wabash, Chicago, IL 60603.
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