PORTFOLIO (2)
Fw: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
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----- Original Message -----
From: Joao Pedro
To: list@rhizome.org
Cc: Oliveira Pereira
Sent: Wednesday, September 11, 2002 2:09 PM
Subject: Re: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
Dionysus like to dance and Paul D. Miller plays great dance music! My =
favourite album is "Songs of a Dead Dreamer" and in this work, by de words =
of her alter-ego, Dj Spooky, That Subliminal kid, he wrote in the booklet o=
f CD: "The link-ages between memory, time, and place, are all externalized =
and made accessiblc to the listner from the wiewpoint of the Dj who makes d=
e mix (...). The mix, in this picture, allows the invocation of different l=
anguages, texts and sound to converge, meld and create a new medium that tr=
anscends its original components". A good exemple of that, is what Paul D. =
Miller did with a sampler of the David Lynch instrumental tune, "In heaven,=
everything is perfect," from their debut movie, "Eraserhead". This particu=
lar trake is the number seven of the album and have for title, "Juba". The =
organ of the David Lynch tune, in the Dj Spooky context, invoke me a ameri=
can stadium full of people, in a day of a baseball game.That's a reminiscen=
ce of the fairwell state of USA, the happy state bulding in a massive repre=
ssion of the black culture, represented in "Juba" by tribal percussions and=
a flute and, in the end of the track, the organ sound get out of tune and =
switch off.
Another excellent work of Paul D. Miller, is "Necropolis, the Dialogic=
Project," a compilation with Dj SoulSlinger, Outtro, We, Naut Humon, Joe N=
ation and Dj Spooky mixed this experimental album of ambient dub and Jungle=
: "The anomalies in this mix are coordinate points marking an invisible ter=
rain (...) distortion and feedback, strange silences that pop up from nowhe=
re, scratchy record noises, etc, are all sgnifiers of a construction zone o=
f sound seeking sensibility. Teach your eyes to hear and your ears to see a=
nd you will understand what we call reality," wrote Paul Miller.
Listen to him... I have no words!
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
----- Original Message -----
From: <goldberg@ieor.berkeley.edu>
To: "Announce ATC @ UCBerkeley" <goldberg@ieor.berkeley.edu>
Sent: Tuesday, September 10, 2002 6:59 PM
Subject: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
> ATC@UCB:
>
> Sound Unbound: Strategies for Reconstructing Media
> Paul Miller aka DJ Spooky, with 47
>
> The Art, Technology, and Culture Colloquium
> Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,
> Location: 160 Kroeber Hall
> All ATC Lectures are free and open to the public.
>
> Miller's Sound Unbound will be a "live" multi-media audio and visual
> presentation of the history of digital art and media from the
> viewpoint of an artist who remixes "found" audio and video using
> turntables and digital projectors. History itself will be the
> material for the mix, and the lecture presentation will focus on how
> dj culture has evolved out of the same technologies that are used for
> digital media and art.
>
> **********************************************************************
> In the second half of the presentation, Paul will be joined by the new
> media art collective 47 for a panel on reconstructing media and
> digital graffiti. The panel will explore strategies for increasing
> media literacy and responses to a world increasing saturated by
> imagery and dominated by corporate propaganda.
>
> **********************************************************************
> Paul will be introduced by David Wessel, Professor of Music.
>
> **********************************************************************
> Paul D. Miller is a conceptual artist, writer, and musician working in
> NYC. His written work has appeared in The Village Voice, The Source,
> Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other
> periodicals. He is a co-Publisher, along with the African American
> downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"
> - a periodical dedicated to new works by writers from a multi-cultural
> context. He is currently Editor of the media journal 21C. See:
> 21cmagazine.com
>
> Miller's work as an artist has appeared in a wide variety of contexts
> such as the Whitney Biennial, The Venice Biennial for Architecture
> (year 2000), the prestigious Ludwig Museum in Cologne, Germany,
> Kunsthalle, Vienna and The Andy Warhol Museum in Pittsburgh, among
> others. Miller has given presentations at Harvard Law School,
> Princeton, the Museum of Contemporary Art (L.A.), Columbia University
> School of Architecture, and MIDEM. He is a faculty member at the
> European Graduate School.
>
> Miller is best known under the moniker of his "constructed persona":
> "DJ Spooky that Subliminal Kid" a character from his upcoming novel
> "Flow My Blood the Dj Said," that uses a wide variety of digitally
> created music as a form of post-modern sculpture. Miller has recorded
> many CDs and has collaborated with a wide variety of musicians and
> composers such as Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool
> Keith a.k.a. Doctor Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,
> and Thurston Moore from Sonic Youth. His two latest releases "Under
> the Influence" and "Modern Mantra" are dj mix records that include
> tracks from artists including Moby, Future Sound of London, Ryuichi
> Sakamoto, Talvin Singh, Saul Williams, Anti-Pop Constortium, DJ Krush,
> Aesop Rock, Jack Dangers, and others. In his live performances DJ
> Spooky weaves a unique sonic texture using vinyl records, CDs,
> electronic effects, an amplified kalimba and an upright electric bass,
> mixing video footage live from his laptop computer. More at
> www.djspooky.com
>
> **********************************************************************
> The group 47 creates digital art and performances using innovative new
> media production techniques. Their primary tools are animation, video
> programming, sound and digital light projection. As digital graffiti
> artists, avatars of information culture and architects of media, 47
> builds narratives within the modern media flux. As live performers and
> activists, 47 celebrate life while pushing art and politics to the
> edge. At the present 47 consists of Ethan Eismann, Abe Burmeister and
> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom. More at
> www.four7.com
>
> **********************************************************************
> Culture Cache Gallery will parallel the themes and artists of this
> presentation in an exhibit called Metataggers : Digital Graffiti, on
> view September 13-22 with a reception Sept. 13, 7-11pm. The primary
> medium for the show is digital projection, both video and still.
> Miranda Gill started Culture Cache Gallery as a website devoted to
> emerging local artists in 1999. Merging from the digital highway onto
> the concrete frontier, Culture Cache emphasizes the 'Mission' School,
> the 'low brow' aesthetic, and other local movements now gaining wide
> recognition. 1800 Bryant St. @ corner of 17th 415.626.7776. More at:
> www.culturecache.com
>
> **********************************************************************
> The ATC Colloquium will continue our partnership with the Berkeley Art
> Museum and the Walker Art Center to present online video of ATC talks,
> available both in QuickTime (highlights) or MP3 audio. For links and
> the full 2002-2003 series schedule, please see:
> www.ieor.berkeley.edu/~goldberg/lecs/
>
> **********************************************************************
>
> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30
> and we'll need some music after all that atoning... -ken]
>
>
> + If the reader will keep me company I shall be glad.
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
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<DIV> </DIV>
<DIV style="FONT: 10pt arial">----- Original Message -----
<DIV style="BACKGROUND: #e4e4e4; font-color: black"><B>From:</B> <A
title=oliveirapereira1@sapo.pt href="mailto:oliveirapereira1@sapo.pt">J=
oao
Pedro</A> </DIV>
<DIV><B>To:</B> <A title=list@rhizome.org
href="mailto:list@rhizome.org">list@rhizome.org</A> </DIV>
<DIV><B>Cc:</B> <A title=oliveirapereira1@sapo.pt
href="mailto:oliveirapereira1@sapo.pt">Oliveira Pereira</A> </DIV>
<DIV><B>Sent:</B> Wednesday, September 11, 2002 2:09 PM</DIV>
<DIV><B>Subject:</B> Re: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley M=
onday
7:30pm</DIV></DIV>
<DIV><BR></DIV>
<DIV><FONT face=Arial size=2> Dionysus like to =
dance
and Paul D. Miller plays great dance music! My favourite album is=
"Songs of a Dead Dreamer" and in this work, by de words of her alter-ego, D=
j
Spooky, That Subliminal kid, he wrote in the booklet of CD: "The link-ages=
between memory, time, and place, are all externalized and made accessiblc t=
o the
listner from the wiewpoint of the Dj who makes de mix (...). The mix, in th=
is
picture, allows the invocation of different languages, texts and sound to=
converge, meld and create a new medium that transcends its original compone=
nts".
A good exemple of that, is what Paul D. Miller did with a sampler of t=
he
David Lynch instrumental tune, "In heaven, everything is perfect," from the=
ir
debut movie, "Eraserhead". This particular trake is the number seven of the=
album and have for title, "Juba". The organ of the David Lynch tune, i=
n the
Dj Spooky context, invoke me a american stadium full of people, =
in a
day of a baseball game.That's a reminiscence of the fairwell state of USA, =
the
happy state bulding in a massive repression of the black culture,=
represented in "Juba" by tribal percussions and a flute and, in the en=
d
of the track, the organ sound get out of tune and switch
off.</FONT></DIV>
<DIV><FONT face=Arial size=2> Another excellent=
work of
Paul D. Miller, is "Necropolis, the Dialogic Project," a compilation w=
ith
Dj SoulSlinger, Outtro, We, Naut Humon, Joe Nation and Dj Spooky mixed=
this experimental album of ambient dub and Jungle: "The anomalies=
in
this mix are coordinate points marking an invisible terrain (...) distortio=
n and
feedback, strange silences that pop up from nowhere, scratchy record noises=
,
etc, are all sgnifiers of a construction zone of sound seeking sensibility.=
Teach your eyes to hear and your ears to see and you will understand what w=
e
call reality," wrote Paul Miller.</FONT></DIV>
<DIV><FONT face=Arial size=2> Listen to him...&=
nbsp;I
have no words!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> Joao
Pedro</FONT></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="mailto:oliveirapereira1@sapo.pt"><FONT face=Arial
size=2>oliveirapereira1@sapo.pt</FONT></A></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="http://oliveirapereira1.no.sapo.pt">http://oliveirapereira1.no.sapo=
.pt</A></DIV>
<DIV><FONT face=Arial size=2> </FONT></DIV>
<DIV><FONT face=Arial size=2>----- Original Message ----- </FONT>
<DIV><FONT face=Arial size=2>From: <</FONT><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>To: "Announce ATC @ UCBerkeley" <</FONT=
><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>Sent: Tuesday, September 10, 2002 6:59
PM</FONT></DIV>
<DIV><FONT face=Arial size=2>Subject: RHIZOME_RAW: Paul Miller aka DJ S=
pooky,
Berkeley Monday 7:30pm</FONT></DIV></DIV>
<DIV><FONT face=Arial><BR><FONT size=2></FONT></FONT></DIV><FONT face=
=Arial
size=2>> </FONT><A href="mailto:ATC@UCB"><FONT face=Arial
size=2>ATC@UCB</FONT></A><FONT face=Arial size=2>: <BR>> <BR>> =
Sound
Unbound: Strategies for Reconstructing Media<BR>> Paul Miller aka DJ Spo=
oky,
with 47<BR>> <BR>> The Art, Technology, and Culture Colloquium<BR>>=
;
Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,<BR>> Location: 160 Kroeber
Hall<BR>> All ATC Lectures are free and open to the public.<BR>> <BR>=
>
Miller's Sound Unbound will be a "live" multi-media audio and visual<BR>>=
;
presentation of the history of digital art and media from the<BR>> viewp=
oint
of an artist who remixes "found" audio and video using<BR>> turntables a=
nd
digital projectors. History itself will be the<BR>> material for t=
he
mix, and the lecture presentation will focus on how<BR>> dj culture has=
evolved out of the same technologies that are used for<BR>> digital medi=
a and
art.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
In the second half of the presentation, Paul will be joined by the new<BR>&=
gt;
media art collective 47 for a panel on reconstructing media and<BR>> dig=
ital
graffiti. The panel will explore strategies for increasing<BR>> media
literacy and responses to a world increasing saturated by<BR>> imagery a=
nd
dominated by corporate propaganda.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
Paul will be introduced by David Wessel, Professor of Music.<BR>> <BR>&g=
t;
**********************************************************************<BR>&=
gt;
Paul D. Miller is a conceptual artist, writer, and musician working in<BR>&=
gt;
NYC. His written work has appeared in The Village Voice, The Source,<BR>>=
;
Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other<BR>>
periodicals. He is a co-Publisher, along with the African American<BR>>=
downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"<BR>&=
gt; -
a periodical dedicated to new works by writers from a multi-cultural<BR>>=
;
context. He is currently Editor of the media journal 21C. See:<BR>>=
;
21cmagazine.com<BR>> <BR>> Miller's work as an artist has appeared in=
a
wide variety of contexts<BR>> such as the Whitney Biennial, The Venice=
Biennial for Architecture<BR>> (year 2000), the prestigious Ludwig Museu=
m in
Cologne, Germany,<BR>> Kunsthalle, Vienna and The Andy Warhol Museum in=
Pittsburgh, among<BR>> others. Miller has given presentations at Harvard=
Law
School,<BR>> Princeton, the Museum of Contemporary Art (L.A.), Columbia=
University<BR>> School of Architecture, and MIDEM. He is a faculty membe=
r at
the<BR>> European Graduate School.<BR>> <BR>> Miller is best known=
under the moniker of his "constructed persona":<BR>> "DJ Spooky that
Subliminal Kid" a character from his upcoming novel<BR>> "Flow My Blood =
the
Dj Said," that uses a wide variety of digitally<BR>> created music as a =
form
of post-modern sculpture. Miller has recorded<BR>> many CDs and has
collaborated with a wide variety of musicians and<BR>> composers such as=
Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool<BR>> Keith a.k.a. D=
octor
Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,<BR>> and Thurston Moo=
re
from Sonic Youth. His two latest releases "Under<BR>> the Influence" and=
"Modern Mantra" are dj mix records that include<BR>> tracks from artists=
including Moby, Future Sound of London, Ryuichi<BR>> Sakamoto, Talvin Si=
ngh,
Saul Williams, Anti-Pop Constortium, DJ Krush,<BR>> Aesop Rock, Jack Dan=
gers,
and others. In his live performances DJ<BR>> Spooky weaves a unique soni=
c
texture using vinyl records, CDs,<BR>> electronic effects, an amplified=
kalimba and an upright electric bass,<BR>> mixing video footage live fro=
m his
laptop computer. More at<BR>> </FONT><A
href="http://www.djspooky.com"><FONT face=Arial
size=2>www.djspooky.com</FONT></A><BR><FONT face=Arial size=2>> <B=
R>>
**********************************************************************<BR>&=
gt;
The group 47 creates digital art and performances using innovative new<BR>&=
gt;
media production techniques. Their primary tools are animation, video<BR>&g=
t;
programming, sound and digital light projection. As digital graffiti<BR>>=
;
artists, avatars of information culture and architects of media, 47<BR>>=
builds narratives within the modern media flux. As live performers and<BR>&=
gt;
activists, 47 celebrate life while pushing art and politics to the<BR>>=
edge. At the present 47 consists of Ethan Eismann, Abe Burmeister
and<BR>> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom.&nbs=
p;
More at<BR>> </FONT><A href="http://www.four7.com"><FONT face=Arial=
size=2>www.four7.com</FONT></A><BR><FONT face=Arial size=2>> <BR>&=
gt;
**********************************************************************<BR>&=
gt;
Culture Cache Gallery will parallel the themes and artists of this<BR>>=
presentation in an exhibit called Metataggers : Digital Graffiti, on<BR>>=
;
view September 13-22 with a reception Sept. 13, 7-11pm. The
primary<BR>> medium for the show is digital projection, both video and=
still.<BR>> Miranda Gill started Culture Cache Gallery as a website devo=
ted
to<BR>> emerging local artists in 1999. Merging from the digital=
highway onto<BR>> the concrete frontier, Culture Cache emphasizes the
'Mission' School,<BR>> the 'low brow' aesthetic, and other local movemen=
ts
now gaining wide<BR>> recognition. 1800 Bryant St. @ corner of 17t=
h
415.626.7776. More at:<BR>> </FONT><A
href="http://www.culturecache.com"><FONT face=Arial
size=2>www.culturecache.com</FONT></A><BR><FONT face=Arial size=2>>=
; <BR>>
**********************************************************************<BR>&=
gt;
The ATC Colloquium will continue our partnership with the Berkeley Art<BR>&=
gt;
Museum and the Walker Art Center to present online video of ATC talks,<BR>&=
gt;
available both in QuickTime (highlights) or MP3 audio. For links
and<BR>> the full 2002-2003 series schedule, please see:<BR>> </FONT>=
<A
href="http://www.ieor.berkeley.edu/~goldberg/lecs/"><FONT face=Arial
size=2>www.ieor.berkeley.edu/~goldberg/lecs/</FONT></A><BR><FONT face=A=
rial
size=2>> <BR>>
**********************************************************************<BR>&=
gt;
<BR>> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30<BR>=
>
and we'll need some music after all that atoning... -ken]<BR>> <BR=
>>
<BR>> + If the reader will keep me company I shall be glad.<BR>> ->=
;
post: </FONT><A href="mailto:list@rhizome.org"><FONT face=Arial
size=2>list@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
questions: </FONT><A href="mailto:info@rhizome.org"><FONT face=Arial
size=2>info@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
subscribe/unsubscribe: </FONT><A
href="http://rhizome.org/preferences/subscribe.rhiz"><FONT face=Arial=
size=2>http://rhizome.org/preferences/subscribe.rhiz</FONT></A><BR><FONT=
face=Arial size=2>> -> give: </FONT><A
href="http://rhizome.org/support"><FONT face=Arial
size=2>http://rhizome.org/support</FONT></A><BR><FONT face=Arial size=
=2>>
+<BR>> Subscribers to Rhizome are subject to the terms set out in the<BR=
>>
Membership Agreement available online at </FONT><A
href="http://rhizome.org/info/29.php"><FONT face=Arial
size=2>http://rhizome.org/info/29.php</FONT></A><BR><FONT face=Arial si=
ze=2>>
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----- Original Message -----
From: Joao Pedro
To: list@rhizome.org
Cc: Oliveira Pereira
Sent: Wednesday, September 11, 2002 2:09 PM
Subject: Re: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
Dionysus like to dance and Paul D. Miller plays great dance music! My =
favourite album is "Songs of a Dead Dreamer" and in this work, by de words =
of her alter-ego, Dj Spooky, That Subliminal kid, he wrote in the booklet o=
f CD: "The link-ages between memory, time, and place, are all externalized =
and made accessiblc to the listner from the wiewpoint of the Dj who makes d=
e mix (...). The mix, in this picture, allows the invocation of different l=
anguages, texts and sound to converge, meld and create a new medium that tr=
anscends its original components". A good exemple of that, is what Paul D. =
Miller did with a sampler of the David Lynch instrumental tune, "In heaven,=
everything is perfect," from their debut movie, "Eraserhead". This particu=
lar trake is the number seven of the album and have for title, "Juba". The =
organ of the David Lynch tune, in the Dj Spooky context, invoke me a ameri=
can stadium full of people, in a day of a baseball game.That's a reminiscen=
ce of the fairwell state of USA, the happy state bulding in a massive repre=
ssion of the black culture, represented in "Juba" by tribal percussions and=
a flute and, in the end of the track, the organ sound get out of tune and =
switch off.
Another excellent work of Paul D. Miller, is "Necropolis, the Dialogic=
Project," a compilation with Dj SoulSlinger, Outtro, We, Naut Humon, Joe N=
ation and Dj Spooky mixed this experimental album of ambient dub and Jungle=
: "The anomalies in this mix are coordinate points marking an invisible ter=
rain (...) distortion and feedback, strange silences that pop up from nowhe=
re, scratchy record noises, etc, are all sgnifiers of a construction zone o=
f sound seeking sensibility. Teach your eyes to hear and your ears to see a=
nd you will understand what we call reality," wrote Paul Miller.
Listen to him... I have no words!
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
----- Original Message -----
From: <goldberg@ieor.berkeley.edu>
To: "Announce ATC @ UCBerkeley" <goldberg@ieor.berkeley.edu>
Sent: Tuesday, September 10, 2002 6:59 PM
Subject: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
> ATC@UCB:
>
> Sound Unbound: Strategies for Reconstructing Media
> Paul Miller aka DJ Spooky, with 47
>
> The Art, Technology, and Culture Colloquium
> Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,
> Location: 160 Kroeber Hall
> All ATC Lectures are free and open to the public.
>
> Miller's Sound Unbound will be a "live" multi-media audio and visual
> presentation of the history of digital art and media from the
> viewpoint of an artist who remixes "found" audio and video using
> turntables and digital projectors. History itself will be the
> material for the mix, and the lecture presentation will focus on how
> dj culture has evolved out of the same technologies that are used for
> digital media and art.
>
> **********************************************************************
> In the second half of the presentation, Paul will be joined by the new
> media art collective 47 for a panel on reconstructing media and
> digital graffiti. The panel will explore strategies for increasing
> media literacy and responses to a world increasing saturated by
> imagery and dominated by corporate propaganda.
>
> **********************************************************************
> Paul will be introduced by David Wessel, Professor of Music.
>
> **********************************************************************
> Paul D. Miller is a conceptual artist, writer, and musician working in
> NYC. His written work has appeared in The Village Voice, The Source,
> Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other
> periodicals. He is a co-Publisher, along with the African American
> downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"
> - a periodical dedicated to new works by writers from a multi-cultural
> context. He is currently Editor of the media journal 21C. See:
> 21cmagazine.com
>
> Miller's work as an artist has appeared in a wide variety of contexts
> such as the Whitney Biennial, The Venice Biennial for Architecture
> (year 2000), the prestigious Ludwig Museum in Cologne, Germany,
> Kunsthalle, Vienna and The Andy Warhol Museum in Pittsburgh, among
> others. Miller has given presentations at Harvard Law School,
> Princeton, the Museum of Contemporary Art (L.A.), Columbia University
> School of Architecture, and MIDEM. He is a faculty member at the
> European Graduate School.
>
> Miller is best known under the moniker of his "constructed persona":
> "DJ Spooky that Subliminal Kid" a character from his upcoming novel
> "Flow My Blood the Dj Said," that uses a wide variety of digitally
> created music as a form of post-modern sculpture. Miller has recorded
> many CDs and has collaborated with a wide variety of musicians and
> composers such as Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool
> Keith a.k.a. Doctor Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,
> and Thurston Moore from Sonic Youth. His two latest releases "Under
> the Influence" and "Modern Mantra" are dj mix records that include
> tracks from artists including Moby, Future Sound of London, Ryuichi
> Sakamoto, Talvin Singh, Saul Williams, Anti-Pop Constortium, DJ Krush,
> Aesop Rock, Jack Dangers, and others. In his live performances DJ
> Spooky weaves a unique sonic texture using vinyl records, CDs,
> electronic effects, an amplified kalimba and an upright electric bass,
> mixing video footage live from his laptop computer. More at
> www.djspooky.com
>
> **********************************************************************
> The group 47 creates digital art and performances using innovative new
> media production techniques. Their primary tools are animation, video
> programming, sound and digital light projection. As digital graffiti
> artists, avatars of information culture and architects of media, 47
> builds narratives within the modern media flux. As live performers and
> activists, 47 celebrate life while pushing art and politics to the
> edge. At the present 47 consists of Ethan Eismann, Abe Burmeister and
> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom. More at
> www.four7.com
>
> **********************************************************************
> Culture Cache Gallery will parallel the themes and artists of this
> presentation in an exhibit called Metataggers : Digital Graffiti, on
> view September 13-22 with a reception Sept. 13, 7-11pm. The primary
> medium for the show is digital projection, both video and still.
> Miranda Gill started Culture Cache Gallery as a website devoted to
> emerging local artists in 1999. Merging from the digital highway onto
> the concrete frontier, Culture Cache emphasizes the 'Mission' School,
> the 'low brow' aesthetic, and other local movements now gaining wide
> recognition. 1800 Bryant St. @ corner of 17th 415.626.7776. More at:
> www.culturecache.com
>
> **********************************************************************
> The ATC Colloquium will continue our partnership with the Berkeley Art
> Museum and the Walker Art Center to present online video of ATC talks,
> available both in QuickTime (highlights) or MP3 audio. For links and
> the full 2002-2003 series schedule, please see:
> www.ieor.berkeley.edu/~goldberg/lecs/
>
> **********************************************************************
>
> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30
> and we'll need some music after all that atoning... -ken]
>
>
> + If the reader will keep me company I shall be glad.
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
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<DIV> </DIV>
<DIV style="FONT: 10pt arial">----- Original Message -----
<DIV style="BACKGROUND: #e4e4e4; font-color: black"><B>From:</B> <A
title=oliveirapereira1@sapo.pt href="mailto:oliveirapereira1@sapo.pt">J=
oao
Pedro</A> </DIV>
<DIV><B>To:</B> <A title=list@rhizome.org
href="mailto:list@rhizome.org">list@rhizome.org</A> </DIV>
<DIV><B>Cc:</B> <A title=oliveirapereira1@sapo.pt
href="mailto:oliveirapereira1@sapo.pt">Oliveira Pereira</A> </DIV>
<DIV><B>Sent:</B> Wednesday, September 11, 2002 2:09 PM</DIV>
<DIV><B>Subject:</B> Re: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley M=
onday
7:30pm</DIV></DIV>
<DIV><BR></DIV>
<DIV><FONT face=Arial size=2> Dionysus like to =
dance
and Paul D. Miller plays great dance music! My favourite album is=
"Songs of a Dead Dreamer" and in this work, by de words of her alter-ego, D=
j
Spooky, That Subliminal kid, he wrote in the booklet of CD: "The link-ages=
between memory, time, and place, are all externalized and made accessiblc t=
o the
listner from the wiewpoint of the Dj who makes de mix (...). The mix, in th=
is
picture, allows the invocation of different languages, texts and sound to=
converge, meld and create a new medium that transcends its original compone=
nts".
A good exemple of that, is what Paul D. Miller did with a sampler of t=
he
David Lynch instrumental tune, "In heaven, everything is perfect," from the=
ir
debut movie, "Eraserhead". This particular trake is the number seven of the=
album and have for title, "Juba". The organ of the David Lynch tune, i=
n the
Dj Spooky context, invoke me a american stadium full of people, =
in a
day of a baseball game.That's a reminiscence of the fairwell state of USA, =
the
happy state bulding in a massive repression of the black culture,=
represented in "Juba" by tribal percussions and a flute and, in the en=
d
of the track, the organ sound get out of tune and switch
off.</FONT></DIV>
<DIV><FONT face=Arial size=2> Another excellent=
work of
Paul D. Miller, is "Necropolis, the Dialogic Project," a compilation w=
ith
Dj SoulSlinger, Outtro, We, Naut Humon, Joe Nation and Dj Spooky mixed=
this experimental album of ambient dub and Jungle: "The anomalies=
in
this mix are coordinate points marking an invisible terrain (...) distortio=
n and
feedback, strange silences that pop up from nowhere, scratchy record noises=
,
etc, are all sgnifiers of a construction zone of sound seeking sensibility.=
Teach your eyes to hear and your ears to see and you will understand what w=
e
call reality," wrote Paul Miller.</FONT></DIV>
<DIV><FONT face=Arial size=2> Listen to him...&=
nbsp;I
have no words!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> Joao
Pedro</FONT></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="mailto:oliveirapereira1@sapo.pt"><FONT face=Arial
size=2>oliveirapereira1@sapo.pt</FONT></A></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="http://oliveirapereira1.no.sapo.pt">http://oliveirapereira1.no.sapo=
.pt</A></DIV>
<DIV><FONT face=Arial size=2> </FONT></DIV>
<DIV><FONT face=Arial size=2>----- Original Message ----- </FONT>
<DIV><FONT face=Arial size=2>From: <</FONT><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>To: "Announce ATC @ UCBerkeley" <</FONT=
><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>Sent: Tuesday, September 10, 2002 6:59
PM</FONT></DIV>
<DIV><FONT face=Arial size=2>Subject: RHIZOME_RAW: Paul Miller aka DJ S=
pooky,
Berkeley Monday 7:30pm</FONT></DIV></DIV>
<DIV><FONT face=Arial><BR><FONT size=2></FONT></FONT></DIV><FONT face=
=Arial
size=2>> </FONT><A href="mailto:ATC@UCB"><FONT face=Arial
size=2>ATC@UCB</FONT></A><FONT face=Arial size=2>: <BR>> <BR>> =
Sound
Unbound: Strategies for Reconstructing Media<BR>> Paul Miller aka DJ Spo=
oky,
with 47<BR>> <BR>> The Art, Technology, and Culture Colloquium<BR>>=
;
Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,<BR>> Location: 160 Kroeber
Hall<BR>> All ATC Lectures are free and open to the public.<BR>> <BR>=
>
Miller's Sound Unbound will be a "live" multi-media audio and visual<BR>>=
;
presentation of the history of digital art and media from the<BR>> viewp=
oint
of an artist who remixes "found" audio and video using<BR>> turntables a=
nd
digital projectors. History itself will be the<BR>> material for t=
he
mix, and the lecture presentation will focus on how<BR>> dj culture has=
evolved out of the same technologies that are used for<BR>> digital medi=
a and
art.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
In the second half of the presentation, Paul will be joined by the new<BR>&=
gt;
media art collective 47 for a panel on reconstructing media and<BR>> dig=
ital
graffiti. The panel will explore strategies for increasing<BR>> media
literacy and responses to a world increasing saturated by<BR>> imagery a=
nd
dominated by corporate propaganda.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
Paul will be introduced by David Wessel, Professor of Music.<BR>> <BR>&g=
t;
**********************************************************************<BR>&=
gt;
Paul D. Miller is a conceptual artist, writer, and musician working in<BR>&=
gt;
NYC. His written work has appeared in The Village Voice, The Source,<BR>>=
;
Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other<BR>>
periodicals. He is a co-Publisher, along with the African American<BR>>=
downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"<BR>&=
gt; -
a periodical dedicated to new works by writers from a multi-cultural<BR>>=
;
context. He is currently Editor of the media journal 21C. See:<BR>>=
;
21cmagazine.com<BR>> <BR>> Miller's work as an artist has appeared in=
a
wide variety of contexts<BR>> such as the Whitney Biennial, The Venice=
Biennial for Architecture<BR>> (year 2000), the prestigious Ludwig Museu=
m in
Cologne, Germany,<BR>> Kunsthalle, Vienna and The Andy Warhol Museum in=
Pittsburgh, among<BR>> others. Miller has given presentations at Harvard=
Law
School,<BR>> Princeton, the Museum of Contemporary Art (L.A.), Columbia=
University<BR>> School of Architecture, and MIDEM. He is a faculty membe=
r at
the<BR>> European Graduate School.<BR>> <BR>> Miller is best known=
under the moniker of his "constructed persona":<BR>> "DJ Spooky that
Subliminal Kid" a character from his upcoming novel<BR>> "Flow My Blood =
the
Dj Said," that uses a wide variety of digitally<BR>> created music as a =
form
of post-modern sculpture. Miller has recorded<BR>> many CDs and has
collaborated with a wide variety of musicians and<BR>> composers such as=
Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool<BR>> Keith a.k.a. D=
octor
Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,<BR>> and Thurston Moo=
re
from Sonic Youth. His two latest releases "Under<BR>> the Influence" and=
"Modern Mantra" are dj mix records that include<BR>> tracks from artists=
including Moby, Future Sound of London, Ryuichi<BR>> Sakamoto, Talvin Si=
ngh,
Saul Williams, Anti-Pop Constortium, DJ Krush,<BR>> Aesop Rock, Jack Dan=
gers,
and others. In his live performances DJ<BR>> Spooky weaves a unique soni=
c
texture using vinyl records, CDs,<BR>> electronic effects, an amplified=
kalimba and an upright electric bass,<BR>> mixing video footage live fro=
m his
laptop computer. More at<BR>> </FONT><A
href="http://www.djspooky.com"><FONT face=Arial
size=2>www.djspooky.com</FONT></A><BR><FONT face=Arial size=2>> <B=
R>>
**********************************************************************<BR>&=
gt;
The group 47 creates digital art and performances using innovative new<BR>&=
gt;
media production techniques. Their primary tools are animation, video<BR>&g=
t;
programming, sound and digital light projection. As digital graffiti<BR>>=
;
artists, avatars of information culture and architects of media, 47<BR>>=
builds narratives within the modern media flux. As live performers and<BR>&=
gt;
activists, 47 celebrate life while pushing art and politics to the<BR>>=
edge. At the present 47 consists of Ethan Eismann, Abe Burmeister
and<BR>> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom.&nbs=
p;
More at<BR>> </FONT><A href="http://www.four7.com"><FONT face=Arial=
size=2>www.four7.com</FONT></A><BR><FONT face=Arial size=2>> <BR>&=
gt;
**********************************************************************<BR>&=
gt;
Culture Cache Gallery will parallel the themes and artists of this<BR>>=
presentation in an exhibit called Metataggers : Digital Graffiti, on<BR>>=
;
view September 13-22 with a reception Sept. 13, 7-11pm. The
primary<BR>> medium for the show is digital projection, both video and=
still.<BR>> Miranda Gill started Culture Cache Gallery as a website devo=
ted
to<BR>> emerging local artists in 1999. Merging from the digital=
highway onto<BR>> the concrete frontier, Culture Cache emphasizes the
'Mission' School,<BR>> the 'low brow' aesthetic, and other local movemen=
ts
now gaining wide<BR>> recognition. 1800 Bryant St. @ corner of 17t=
h
415.626.7776. More at:<BR>> </FONT><A
href="http://www.culturecache.com"><FONT face=Arial
size=2>www.culturecache.com</FONT></A><BR><FONT face=Arial size=2>>=
; <BR>>
**********************************************************************<BR>&=
gt;
The ATC Colloquium will continue our partnership with the Berkeley Art<BR>&=
gt;
Museum and the Walker Art Center to present online video of ATC talks,<BR>&=
gt;
available both in QuickTime (highlights) or MP3 audio. For links
and<BR>> the full 2002-2003 series schedule, please see:<BR>> </FONT>=
<A
href="http://www.ieor.berkeley.edu/~goldberg/lecs/"><FONT face=Arial
size=2>www.ieor.berkeley.edu/~goldberg/lecs/</FONT></A><BR><FONT face=A=
rial
size=2>> <BR>>
**********************************************************************<BR>&=
gt;
<BR>> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30<BR>=
>
and we'll need some music after all that atoning... -ken]<BR>> <BR=
>>
<BR>> + If the reader will keep me company I shall be glad.<BR>> ->=
;
post: </FONT><A href="mailto:list@rhizome.org"><FONT face=Arial
size=2>list@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
questions: </FONT><A href="mailto:info@rhizome.org"><FONT face=Arial
size=2>info@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
subscribe/unsubscribe: </FONT><A
href="http://rhizome.org/preferences/subscribe.rhiz"><FONT face=Arial=
size=2>http://rhizome.org/preferences/subscribe.rhiz</FONT></A><BR><FONT=
face=Arial size=2>> -> give: </FONT><A
href="http://rhizome.org/support"><FONT face=Arial
size=2>http://rhizome.org/support</FONT></A><BR><FONT face=Arial size=
=2>>
+<BR>> Subscribers to Rhizome are subject to the terms set out in the<BR=
>>
Membership Agreement available online at </FONT><A
href="http://rhizome.org/info/29.php"><FONT face=Arial
size=2>http://rhizome.org/info/29.php</FONT></A><BR><FONT face=Arial si=
ze=2>>
</FONT></BODY></HTML>
------=_NextPart_001_000B_01C259A0.7A8E49E0--
Fw: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
------=_NextPart_001_0009_01C2599D.6AE53920
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
----- Original Message -----
From: Joao Pedro
To: list@rhizome.org
Cc: Oliveira Pereira
Sent: Wednesday, September 11, 2002 2:09 PM
Subject: Re: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
Dionysus like to dance and Paul D. Miller plays great dance music! My =
favourite album is "Songs of a Dead Dreamer" and in this work, by de words =
of her alter-ego, Dj Spooky, That Subliminal kid, he wrote in the booklet o=
f CD: "The link-ages between memory, time, and place, are all externalized =
and made accessiblc to the listner from the wiewpoint of the Dj who makes d=
e mix (...). The mix, in this picture, allows the invocation of different l=
anguages, texts and sound to converge, meld and create a new medium that tr=
anscends its original components". A good exemple of that, is what Paul D. =
Miller did with a sampler of the David Lynch instrumental tune, "In heaven,=
everything is perfect," from their debut movie, "Eraserhead". This particu=
lar trake is the number seven of the album and have for title, "Juba". The =
organ of the David Lynch tune, in the Dj Spooky context, invoke me a ameri=
can stadium full of people, in a day of a baseball game.That's a reminiscen=
ce of the fairwell state of USA, the happy state bulding in a massive repre=
ssion of the black culture, represented in "Juba" by tribal percussions and=
a flute and, in the end of the track, the organ sound get out of tune and =
switch off.
Another excellent work of Paul D. Miller, is "Necropolis, the Dialogic=
Project," a compilation with Dj SoulSlinger, Outtro, We, Naut Humon, Joe N=
ation and Dj Spooky mixed this experimental album of ambient dub and Jungle=
: "The anomalies in this mix are coordinate points marking an invisible ter=
rain (...) distortion and feedback, strange silences that pop up from nowhe=
re, scratchy record noises, etc, are all sgnifiers of a construction zone o=
f sound seeking sensibility. Teach your eyes to hear and your ears to see a=
nd you will understand what we call reality," wrote Paul Miller.
Listen to him... I have no words!
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
----- Original Message -----
From: <goldberg@ieor.berkeley.edu>
To: "Announce ATC @ UCBerkeley" <goldberg@ieor.berkeley.edu>
Sent: Tuesday, September 10, 2002 6:59 PM
Subject: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
> ATC@UCB:
>
> Sound Unbound: Strategies for Reconstructing Media
> Paul Miller aka DJ Spooky, with 47
>
> The Art, Technology, and Culture Colloquium
> Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,
> Location: 160 Kroeber Hall
> All ATC Lectures are free and open to the public.
>
> Miller's Sound Unbound will be a "live" multi-media audio and visual
> presentation of the history of digital art and media from the
> viewpoint of an artist who remixes "found" audio and video using
> turntables and digital projectors. History itself will be the
> material for the mix, and the lecture presentation will focus on how
> dj culture has evolved out of the same technologies that are used for
> digital media and art.
>
> **********************************************************************
> In the second half of the presentation, Paul will be joined by the new
> media art collective 47 for a panel on reconstructing media and
> digital graffiti. The panel will explore strategies for increasing
> media literacy and responses to a world increasing saturated by
> imagery and dominated by corporate propaganda.
>
> **********************************************************************
> Paul will be introduced by David Wessel, Professor of Music.
>
> **********************************************************************
> Paul D. Miller is a conceptual artist, writer, and musician working in
> NYC. His written work has appeared in The Village Voice, The Source,
> Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other
> periodicals. He is a co-Publisher, along with the African American
> downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"
> - a periodical dedicated to new works by writers from a multi-cultural
> context. He is currently Editor of the media journal 21C. See:
> 21cmagazine.com
>
> Miller's work as an artist has appeared in a wide variety of contexts
> such as the Whitney Biennial, The Venice Biennial for Architecture
> (year 2000), the prestigious Ludwig Museum in Cologne, Germany,
> Kunsthalle, Vienna and The Andy Warhol Museum in Pittsburgh, among
> others. Miller has given presentations at Harvard Law School,
> Princeton, the Museum of Contemporary Art (L.A.), Columbia University
> School of Architecture, and MIDEM. He is a faculty member at the
> European Graduate School.
>
> Miller is best known under the moniker of his "constructed persona":
> "DJ Spooky that Subliminal Kid" a character from his upcoming novel
> "Flow My Blood the Dj Said," that uses a wide variety of digitally
> created music as a form of post-modern sculpture. Miller has recorded
> many CDs and has collaborated with a wide variety of musicians and
> composers such as Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool
> Keith a.k.a. Doctor Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,
> and Thurston Moore from Sonic Youth. His two latest releases "Under
> the Influence" and "Modern Mantra" are dj mix records that include
> tracks from artists including Moby, Future Sound of London, Ryuichi
> Sakamoto, Talvin Singh, Saul Williams, Anti-Pop Constortium, DJ Krush,
> Aesop Rock, Jack Dangers, and others. In his live performances DJ
> Spooky weaves a unique sonic texture using vinyl records, CDs,
> electronic effects, an amplified kalimba and an upright electric bass,
> mixing video footage live from his laptop computer. More at
> www.djspooky.com
>
> **********************************************************************
> The group 47 creates digital art and performances using innovative new
> media production techniques. Their primary tools are animation, video
> programming, sound and digital light projection. As digital graffiti
> artists, avatars of information culture and architects of media, 47
> builds narratives within the modern media flux. As live performers and
> activists, 47 celebrate life while pushing art and politics to the
> edge. At the present 47 consists of Ethan Eismann, Abe Burmeister and
> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom. More at
> www.four7.com
>
> **********************************************************************
> Culture Cache Gallery will parallel the themes and artists of this
> presentation in an exhibit called Metataggers : Digital Graffiti, on
> view September 13-22 with a reception Sept. 13, 7-11pm. The primary
> medium for the show is digital projection, both video and still.
> Miranda Gill started Culture Cache Gallery as a website devoted to
> emerging local artists in 1999. Merging from the digital highway onto
> the concrete frontier, Culture Cache emphasizes the 'Mission' School,
> the 'low brow' aesthetic, and other local movements now gaining wide
> recognition. 1800 Bryant St. @ corner of 17th 415.626.7776. More at:
> www.culturecache.com
>
> **********************************************************************
> The ATC Colloquium will continue our partnership with the Berkeley Art
> Museum and the Walker Art Center to present online video of ATC talks,
> available both in QuickTime (highlights) or MP3 audio. For links and
> the full 2002-2003 series schedule, please see:
> www.ieor.berkeley.edu/~goldberg/lecs/
>
> **********************************************************************
>
> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30
> and we'll need some music after all that atoning... -ken]
>
>
> + If the reader will keep me company I shall be glad.
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
------=_NextPart_001_0009_01C2599D.6AE53920
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
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<META content="MSHTML 6.00.2716.2200" name=GENERATOR>
<STYLE>BODY {
MARGIN-TOP: 25px; FONT-SIZE: 10pt; MARGIN-LEFT: 15px; COLOR: #993300; FONT=
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<BODY bgColor=#ffffff background=cid:000701c25995$0919cc40$22a537d4@mec=
anismum>
<DIV> </DIV>
<DIV style="FONT: 10pt arial">----- Original Message -----
<DIV style="BACKGROUND: #e4e4e4; font-color: black"><B>From:</B> <A
title=oliveirapereira1@sapo.pt href="mailto:oliveirapereira1@sapo.pt">J=
oao
Pedro</A> </DIV>
<DIV><B>To:</B> <A title=list@rhizome.org
href="mailto:list@rhizome.org">list@rhizome.org</A> </DIV>
<DIV><B>Cc:</B> <A title=oliveirapereira1@sapo.pt
href="mailto:oliveirapereira1@sapo.pt">Oliveira Pereira</A> </DIV>
<DIV><B>Sent:</B> Wednesday, September 11, 2002 2:09 PM</DIV>
<DIV><B>Subject:</B> Re: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley M=
onday
7:30pm</DIV></DIV>
<DIV><BR></DIV>
<DIV><FONT face=Arial size=2> Dionysus like to =
dance
and Paul D. Miller plays great dance music! My favourite album is=
"Songs of a Dead Dreamer" and in this work, by de words of her alter-ego, D=
j
Spooky, That Subliminal kid, he wrote in the booklet of CD: "The link-ages=
between memory, time, and place, are all externalized and made accessiblc t=
o the
listner from the wiewpoint of the Dj who makes de mix (...). The mix, in th=
is
picture, allows the invocation of different languages, texts and sound to=
converge, meld and create a new medium that transcends its original compone=
nts".
A good exemple of that, is what Paul D. Miller did with a sampler of t=
he
David Lynch instrumental tune, "In heaven, everything is perfect," from the=
ir
debut movie, "Eraserhead". This particular trake is the number seven of the=
album and have for title, "Juba". The organ of the David Lynch tune, i=
n the
Dj Spooky context, invoke me a american stadium full of people, =
in a
day of a baseball game.That's a reminiscence of the fairwell state of USA, =
the
happy state bulding in a massive repression of the black culture,=
represented in "Juba" by tribal percussions and a flute and, in the en=
d
of the track, the organ sound get out of tune and switch
off.</FONT></DIV>
<DIV><FONT face=Arial size=2> Another excellent=
work of
Paul D. Miller, is "Necropolis, the Dialogic Project," a compilation w=
ith
Dj SoulSlinger, Outtro, We, Naut Humon, Joe Nation and Dj Spooky mixed=
this experimental album of ambient dub and Jungle: "The anomalies=
in
this mix are coordinate points marking an invisible terrain (...) distortio=
n and
feedback, strange silences that pop up from nowhere, scratchy record noises=
,
etc, are all sgnifiers of a construction zone of sound seeking sensibility.=
Teach your eyes to hear and your ears to see and you will understand what w=
e
call reality," wrote Paul Miller.</FONT></DIV>
<DIV><FONT face=Arial size=2> Listen to him...&=
nbsp;I
have no words!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> Joao
Pedro</FONT></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="mailto:oliveirapereira1@sapo.pt"><FONT face=Arial
size=2>oliveirapereira1@sapo.pt</FONT></A></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="http://oliveirapereira1.no.sapo.pt">http://oliveirapereira1.no.sapo=
.pt</A></DIV>
<DIV><FONT face=Arial size=2> </FONT></DIV>
<DIV><FONT face=Arial size=2>----- Original Message ----- </FONT>
<DIV><FONT face=Arial size=2>From: <</FONT><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>To: "Announce ATC @ UCBerkeley" <</FONT=
><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>Sent: Tuesday, September 10, 2002 6:59
PM</FONT></DIV>
<DIV><FONT face=Arial size=2>Subject: RHIZOME_RAW: Paul Miller aka DJ S=
pooky,
Berkeley Monday 7:30pm</FONT></DIV></DIV>
<DIV><FONT face=Arial><BR><FONT size=2></FONT></FONT></DIV><FONT face=
=Arial
size=2>> </FONT><A href="mailto:ATC@UCB"><FONT face=Arial
size=2>ATC@UCB</FONT></A><FONT face=Arial size=2>: <BR>> <BR>> =
Sound
Unbound: Strategies for Reconstructing Media<BR>> Paul Miller aka DJ Spo=
oky,
with 47<BR>> <BR>> The Art, Technology, and Culture Colloquium<BR>>=
;
Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,<BR>> Location: 160 Kroeber
Hall<BR>> All ATC Lectures are free and open to the public.<BR>> <BR>=
>
Miller's Sound Unbound will be a "live" multi-media audio and visual<BR>>=
;
presentation of the history of digital art and media from the<BR>> viewp=
oint
of an artist who remixes "found" audio and video using<BR>> turntables a=
nd
digital projectors. History itself will be the<BR>> material for t=
he
mix, and the lecture presentation will focus on how<BR>> dj culture has=
evolved out of the same technologies that are used for<BR>> digital medi=
a and
art.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
In the second half of the presentation, Paul will be joined by the new<BR>&=
gt;
media art collective 47 for a panel on reconstructing media and<BR>> dig=
ital
graffiti. The panel will explore strategies for increasing<BR>> media
literacy and responses to a world increasing saturated by<BR>> imagery a=
nd
dominated by corporate propaganda.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
Paul will be introduced by David Wessel, Professor of Music.<BR>> <BR>&g=
t;
**********************************************************************<BR>&=
gt;
Paul D. Miller is a conceptual artist, writer, and musician working in<BR>&=
gt;
NYC. His written work has appeared in The Village Voice, The Source,<BR>>=
;
Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other<BR>>
periodicals. He is a co-Publisher, along with the African American<BR>>=
downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"<BR>&=
gt; -
a periodical dedicated to new works by writers from a multi-cultural<BR>>=
;
context. He is currently Editor of the media journal 21C. See:<BR>>=
;
21cmagazine.com<BR>> <BR>> Miller's work as an artist has appeared in=
a
wide variety of contexts<BR>> such as the Whitney Biennial, The Venice=
Biennial for Architecture<BR>> (year 2000), the prestigious Ludwig Museu=
m in
Cologne, Germany,<BR>> Kunsthalle, Vienna and The Andy Warhol Museum in=
Pittsburgh, among<BR>> others. Miller has given presentations at Harvard=
Law
School,<BR>> Princeton, the Museum of Contemporary Art (L.A.), Columbia=
University<BR>> School of Architecture, and MIDEM. He is a faculty membe=
r at
the<BR>> European Graduate School.<BR>> <BR>> Miller is best known=
under the moniker of his "constructed persona":<BR>> "DJ Spooky that
Subliminal Kid" a character from his upcoming novel<BR>> "Flow My Blood =
the
Dj Said," that uses a wide variety of digitally<BR>> created music as a =
form
of post-modern sculpture. Miller has recorded<BR>> many CDs and has
collaborated with a wide variety of musicians and<BR>> composers such as=
Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool<BR>> Keith a.k.a. D=
octor
Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,<BR>> and Thurston Moo=
re
from Sonic Youth. His two latest releases "Under<BR>> the Influence" and=
"Modern Mantra" are dj mix records that include<BR>> tracks from artists=
including Moby, Future Sound of London, Ryuichi<BR>> Sakamoto, Talvin Si=
ngh,
Saul Williams, Anti-Pop Constortium, DJ Krush,<BR>> Aesop Rock, Jack Dan=
gers,
and others. In his live performances DJ<BR>> Spooky weaves a unique soni=
c
texture using vinyl records, CDs,<BR>> electronic effects, an amplified=
kalimba and an upright electric bass,<BR>> mixing video footage live fro=
m his
laptop computer. More at<BR>> </FONT><A
href="http://www.djspooky.com"><FONT face=Arial
size=2>www.djspooky.com</FONT></A><BR><FONT face=Arial size=2>> <B=
R>>
**********************************************************************<BR>&=
gt;
The group 47 creates digital art and performances using innovative new<BR>&=
gt;
media production techniques. Their primary tools are animation, video<BR>&g=
t;
programming, sound and digital light projection. As digital graffiti<BR>>=
;
artists, avatars of information culture and architects of media, 47<BR>>=
builds narratives within the modern media flux. As live performers and<BR>&=
gt;
activists, 47 celebrate life while pushing art and politics to the<BR>>=
edge. At the present 47 consists of Ethan Eismann, Abe Burmeister
and<BR>> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom.&nbs=
p;
More at<BR>> </FONT><A href="http://www.four7.com"><FONT face=Arial=
size=2>www.four7.com</FONT></A><BR><FONT face=Arial size=2>> <BR>&=
gt;
**********************************************************************<BR>&=
gt;
Culture Cache Gallery will parallel the themes and artists of this<BR>>=
presentation in an exhibit called Metataggers : Digital Graffiti, on<BR>>=
;
view September 13-22 with a reception Sept. 13, 7-11pm. The
primary<BR>> medium for the show is digital projection, both video and=
still.<BR>> Miranda Gill started Culture Cache Gallery as a website devo=
ted
to<BR>> emerging local artists in 1999. Merging from the digital=
highway onto<BR>> the concrete frontier, Culture Cache emphasizes the
'Mission' School,<BR>> the 'low brow' aesthetic, and other local movemen=
ts
now gaining wide<BR>> recognition. 1800 Bryant St. @ corner of 17t=
h
415.626.7776. More at:<BR>> </FONT><A
href="http://www.culturecache.com"><FONT face=Arial
size=2>www.culturecache.com</FONT></A><BR><FONT face=Arial size=2>>=
; <BR>>
**********************************************************************<BR>&=
gt;
The ATC Colloquium will continue our partnership with the Berkeley Art<BR>&=
gt;
Museum and the Walker Art Center to present online video of ATC talks,<BR>&=
gt;
available both in QuickTime (highlights) or MP3 audio. For links
and<BR>> the full 2002-2003 series schedule, please see:<BR>> </FONT>=
<A
href="http://www.ieor.berkeley.edu/~goldberg/lecs/"><FONT face=Arial
size=2>www.ieor.berkeley.edu/~goldberg/lecs/</FONT></A><BR><FONT face=A=
rial
size=2>> <BR>>
**********************************************************************<BR>&=
gt;
<BR>> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30<BR>=
>
and we'll need some music after all that atoning... -ken]<BR>> <BR=
>>
<BR>> + If the reader will keep me company I shall be glad.<BR>> ->=
;
post: </FONT><A href="mailto:list@rhizome.org"><FONT face=Arial
size=2>list@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
questions: </FONT><A href="mailto:info@rhizome.org"><FONT face=Arial
size=2>info@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
subscribe/unsubscribe: </FONT><A
href="http://rhizome.org/preferences/subscribe.rhiz"><FONT face=Arial=
size=2>http://rhizome.org/preferences/subscribe.rhiz</FONT></A><BR><FONT=
face=Arial size=2>> -> give: </FONT><A
href="http://rhizome.org/support"><FONT face=Arial
size=2>http://rhizome.org/support</FONT></A><BR><FONT face=Arial size=
=2>>
+<BR>> Subscribers to Rhizome are subject to the terms set out in the<BR=
>>
Membership Agreement available online at </FONT><A
href="http://rhizome.org/info/29.php"><FONT face=Arial
size=2>http://rhizome.org/info/29.php</FONT></A><BR><FONT face=Arial si=
ze=2>>
</FONT></BODY></HTML>
------=_NextPart_001_0009_01C2599D.6AE53920--
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
----- Original Message -----
From: Joao Pedro
To: list@rhizome.org
Cc: Oliveira Pereira
Sent: Wednesday, September 11, 2002 2:09 PM
Subject: Re: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
Dionysus like to dance and Paul D. Miller plays great dance music! My =
favourite album is "Songs of a Dead Dreamer" and in this work, by de words =
of her alter-ego, Dj Spooky, That Subliminal kid, he wrote in the booklet o=
f CD: "The link-ages between memory, time, and place, are all externalized =
and made accessiblc to the listner from the wiewpoint of the Dj who makes d=
e mix (...). The mix, in this picture, allows the invocation of different l=
anguages, texts and sound to converge, meld and create a new medium that tr=
anscends its original components". A good exemple of that, is what Paul D. =
Miller did with a sampler of the David Lynch instrumental tune, "In heaven,=
everything is perfect," from their debut movie, "Eraserhead". This particu=
lar trake is the number seven of the album and have for title, "Juba". The =
organ of the David Lynch tune, in the Dj Spooky context, invoke me a ameri=
can stadium full of people, in a day of a baseball game.That's a reminiscen=
ce of the fairwell state of USA, the happy state bulding in a massive repre=
ssion of the black culture, represented in "Juba" by tribal percussions and=
a flute and, in the end of the track, the organ sound get out of tune and =
switch off.
Another excellent work of Paul D. Miller, is "Necropolis, the Dialogic=
Project," a compilation with Dj SoulSlinger, Outtro, We, Naut Humon, Joe N=
ation and Dj Spooky mixed this experimental album of ambient dub and Jungle=
: "The anomalies in this mix are coordinate points marking an invisible ter=
rain (...) distortion and feedback, strange silences that pop up from nowhe=
re, scratchy record noises, etc, are all sgnifiers of a construction zone o=
f sound seeking sensibility. Teach your eyes to hear and your ears to see a=
nd you will understand what we call reality," wrote Paul Miller.
Listen to him... I have no words!
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
----- Original Message -----
From: <goldberg@ieor.berkeley.edu>
To: "Announce ATC @ UCBerkeley" <goldberg@ieor.berkeley.edu>
Sent: Tuesday, September 10, 2002 6:59 PM
Subject: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
> ATC@UCB:
>
> Sound Unbound: Strategies for Reconstructing Media
> Paul Miller aka DJ Spooky, with 47
>
> The Art, Technology, and Culture Colloquium
> Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,
> Location: 160 Kroeber Hall
> All ATC Lectures are free and open to the public.
>
> Miller's Sound Unbound will be a "live" multi-media audio and visual
> presentation of the history of digital art and media from the
> viewpoint of an artist who remixes "found" audio and video using
> turntables and digital projectors. History itself will be the
> material for the mix, and the lecture presentation will focus on how
> dj culture has evolved out of the same technologies that are used for
> digital media and art.
>
> **********************************************************************
> In the second half of the presentation, Paul will be joined by the new
> media art collective 47 for a panel on reconstructing media and
> digital graffiti. The panel will explore strategies for increasing
> media literacy and responses to a world increasing saturated by
> imagery and dominated by corporate propaganda.
>
> **********************************************************************
> Paul will be introduced by David Wessel, Professor of Music.
>
> **********************************************************************
> Paul D. Miller is a conceptual artist, writer, and musician working in
> NYC. His written work has appeared in The Village Voice, The Source,
> Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other
> periodicals. He is a co-Publisher, along with the African American
> downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"
> - a periodical dedicated to new works by writers from a multi-cultural
> context. He is currently Editor of the media journal 21C. See:
> 21cmagazine.com
>
> Miller's work as an artist has appeared in a wide variety of contexts
> such as the Whitney Biennial, The Venice Biennial for Architecture
> (year 2000), the prestigious Ludwig Museum in Cologne, Germany,
> Kunsthalle, Vienna and The Andy Warhol Museum in Pittsburgh, among
> others. Miller has given presentations at Harvard Law School,
> Princeton, the Museum of Contemporary Art (L.A.), Columbia University
> School of Architecture, and MIDEM. He is a faculty member at the
> European Graduate School.
>
> Miller is best known under the moniker of his "constructed persona":
> "DJ Spooky that Subliminal Kid" a character from his upcoming novel
> "Flow My Blood the Dj Said," that uses a wide variety of digitally
> created music as a form of post-modern sculpture. Miller has recorded
> many CDs and has collaborated with a wide variety of musicians and
> composers such as Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool
> Keith a.k.a. Doctor Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,
> and Thurston Moore from Sonic Youth. His two latest releases "Under
> the Influence" and "Modern Mantra" are dj mix records that include
> tracks from artists including Moby, Future Sound of London, Ryuichi
> Sakamoto, Talvin Singh, Saul Williams, Anti-Pop Constortium, DJ Krush,
> Aesop Rock, Jack Dangers, and others. In his live performances DJ
> Spooky weaves a unique sonic texture using vinyl records, CDs,
> electronic effects, an amplified kalimba and an upright electric bass,
> mixing video footage live from his laptop computer. More at
> www.djspooky.com
>
> **********************************************************************
> The group 47 creates digital art and performances using innovative new
> media production techniques. Their primary tools are animation, video
> programming, sound and digital light projection. As digital graffiti
> artists, avatars of information culture and architects of media, 47
> builds narratives within the modern media flux. As live performers and
> activists, 47 celebrate life while pushing art and politics to the
> edge. At the present 47 consists of Ethan Eismann, Abe Burmeister and
> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom. More at
> www.four7.com
>
> **********************************************************************
> Culture Cache Gallery will parallel the themes and artists of this
> presentation in an exhibit called Metataggers : Digital Graffiti, on
> view September 13-22 with a reception Sept. 13, 7-11pm. The primary
> medium for the show is digital projection, both video and still.
> Miranda Gill started Culture Cache Gallery as a website devoted to
> emerging local artists in 1999. Merging from the digital highway onto
> the concrete frontier, Culture Cache emphasizes the 'Mission' School,
> the 'low brow' aesthetic, and other local movements now gaining wide
> recognition. 1800 Bryant St. @ corner of 17th 415.626.7776. More at:
> www.culturecache.com
>
> **********************************************************************
> The ATC Colloquium will continue our partnership with the Berkeley Art
> Museum and the Walker Art Center to present online video of ATC talks,
> available both in QuickTime (highlights) or MP3 audio. For links and
> the full 2002-2003 series schedule, please see:
> www.ieor.berkeley.edu/~goldberg/lecs/
>
> **********************************************************************
>
> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30
> and we'll need some music after all that atoning... -ken]
>
>
> + If the reader will keep me company I shall be glad.
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
------=_NextPart_001_0009_01C2599D.6AE53920
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
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<META content="MSHTML 6.00.2716.2200" name=GENERATOR>
<STYLE>BODY {
MARGIN-TOP: 25px; FONT-SIZE: 10pt; MARGIN-LEFT: 15px; COLOR: #993300; FONT=
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<DIV> </DIV>
<DIV style="FONT: 10pt arial">----- Original Message -----
<DIV style="BACKGROUND: #e4e4e4; font-color: black"><B>From:</B> <A
title=oliveirapereira1@sapo.pt href="mailto:oliveirapereira1@sapo.pt">J=
oao
Pedro</A> </DIV>
<DIV><B>To:</B> <A title=list@rhizome.org
href="mailto:list@rhizome.org">list@rhizome.org</A> </DIV>
<DIV><B>Cc:</B> <A title=oliveirapereira1@sapo.pt
href="mailto:oliveirapereira1@sapo.pt">Oliveira Pereira</A> </DIV>
<DIV><B>Sent:</B> Wednesday, September 11, 2002 2:09 PM</DIV>
<DIV><B>Subject:</B> Re: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley M=
onday
7:30pm</DIV></DIV>
<DIV><BR></DIV>
<DIV><FONT face=Arial size=2> Dionysus like to =
dance
and Paul D. Miller plays great dance music! My favourite album is=
"Songs of a Dead Dreamer" and in this work, by de words of her alter-ego, D=
j
Spooky, That Subliminal kid, he wrote in the booklet of CD: "The link-ages=
between memory, time, and place, are all externalized and made accessiblc t=
o the
listner from the wiewpoint of the Dj who makes de mix (...). The mix, in th=
is
picture, allows the invocation of different languages, texts and sound to=
converge, meld and create a new medium that transcends its original compone=
nts".
A good exemple of that, is what Paul D. Miller did with a sampler of t=
he
David Lynch instrumental tune, "In heaven, everything is perfect," from the=
ir
debut movie, "Eraserhead". This particular trake is the number seven of the=
album and have for title, "Juba". The organ of the David Lynch tune, i=
n the
Dj Spooky context, invoke me a american stadium full of people, =
in a
day of a baseball game.That's a reminiscence of the fairwell state of USA, =
the
happy state bulding in a massive repression of the black culture,=
represented in "Juba" by tribal percussions and a flute and, in the en=
d
of the track, the organ sound get out of tune and switch
off.</FONT></DIV>
<DIV><FONT face=Arial size=2> Another excellent=
work of
Paul D. Miller, is "Necropolis, the Dialogic Project," a compilation w=
ith
Dj SoulSlinger, Outtro, We, Naut Humon, Joe Nation and Dj Spooky mixed=
this experimental album of ambient dub and Jungle: "The anomalies=
in
this mix are coordinate points marking an invisible terrain (...) distortio=
n and
feedback, strange silences that pop up from nowhere, scratchy record noises=
,
etc, are all sgnifiers of a construction zone of sound seeking sensibility.=
Teach your eyes to hear and your ears to see and you will understand what w=
e
call reality," wrote Paul Miller.</FONT></DIV>
<DIV><FONT face=Arial size=2> Listen to him...&=
nbsp;I
have no words!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> Joao
Pedro</FONT></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="mailto:oliveirapereira1@sapo.pt"><FONT face=Arial
size=2>oliveirapereira1@sapo.pt</FONT></A></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="http://oliveirapereira1.no.sapo.pt">http://oliveirapereira1.no.sapo=
.pt</A></DIV>
<DIV><FONT face=Arial size=2> </FONT></DIV>
<DIV><FONT face=Arial size=2>----- Original Message ----- </FONT>
<DIV><FONT face=Arial size=2>From: <</FONT><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>To: "Announce ATC @ UCBerkeley" <</FONT=
><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>Sent: Tuesday, September 10, 2002 6:59
PM</FONT></DIV>
<DIV><FONT face=Arial size=2>Subject: RHIZOME_RAW: Paul Miller aka DJ S=
pooky,
Berkeley Monday 7:30pm</FONT></DIV></DIV>
<DIV><FONT face=Arial><BR><FONT size=2></FONT></FONT></DIV><FONT face=
=Arial
size=2>> </FONT><A href="mailto:ATC@UCB"><FONT face=Arial
size=2>ATC@UCB</FONT></A><FONT face=Arial size=2>: <BR>> <BR>> =
Sound
Unbound: Strategies for Reconstructing Media<BR>> Paul Miller aka DJ Spo=
oky,
with 47<BR>> <BR>> The Art, Technology, and Culture Colloquium<BR>>=
;
Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,<BR>> Location: 160 Kroeber
Hall<BR>> All ATC Lectures are free and open to the public.<BR>> <BR>=
>
Miller's Sound Unbound will be a "live" multi-media audio and visual<BR>>=
;
presentation of the history of digital art and media from the<BR>> viewp=
oint
of an artist who remixes "found" audio and video using<BR>> turntables a=
nd
digital projectors. History itself will be the<BR>> material for t=
he
mix, and the lecture presentation will focus on how<BR>> dj culture has=
evolved out of the same technologies that are used for<BR>> digital medi=
a and
art.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
In the second half of the presentation, Paul will be joined by the new<BR>&=
gt;
media art collective 47 for a panel on reconstructing media and<BR>> dig=
ital
graffiti. The panel will explore strategies for increasing<BR>> media
literacy and responses to a world increasing saturated by<BR>> imagery a=
nd
dominated by corporate propaganda.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
Paul will be introduced by David Wessel, Professor of Music.<BR>> <BR>&g=
t;
**********************************************************************<BR>&=
gt;
Paul D. Miller is a conceptual artist, writer, and musician working in<BR>&=
gt;
NYC. His written work has appeared in The Village Voice, The Source,<BR>>=
;
Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other<BR>>
periodicals. He is a co-Publisher, along with the African American<BR>>=
downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"<BR>&=
gt; -
a periodical dedicated to new works by writers from a multi-cultural<BR>>=
;
context. He is currently Editor of the media journal 21C. See:<BR>>=
;
21cmagazine.com<BR>> <BR>> Miller's work as an artist has appeared in=
a
wide variety of contexts<BR>> such as the Whitney Biennial, The Venice=
Biennial for Architecture<BR>> (year 2000), the prestigious Ludwig Museu=
m in
Cologne, Germany,<BR>> Kunsthalle, Vienna and The Andy Warhol Museum in=
Pittsburgh, among<BR>> others. Miller has given presentations at Harvard=
Law
School,<BR>> Princeton, the Museum of Contemporary Art (L.A.), Columbia=
University<BR>> School of Architecture, and MIDEM. He is a faculty membe=
r at
the<BR>> European Graduate School.<BR>> <BR>> Miller is best known=
under the moniker of his "constructed persona":<BR>> "DJ Spooky that
Subliminal Kid" a character from his upcoming novel<BR>> "Flow My Blood =
the
Dj Said," that uses a wide variety of digitally<BR>> created music as a =
form
of post-modern sculpture. Miller has recorded<BR>> many CDs and has
collaborated with a wide variety of musicians and<BR>> composers such as=
Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool<BR>> Keith a.k.a. D=
octor
Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,<BR>> and Thurston Moo=
re
from Sonic Youth. His two latest releases "Under<BR>> the Influence" and=
"Modern Mantra" are dj mix records that include<BR>> tracks from artists=
including Moby, Future Sound of London, Ryuichi<BR>> Sakamoto, Talvin Si=
ngh,
Saul Williams, Anti-Pop Constortium, DJ Krush,<BR>> Aesop Rock, Jack Dan=
gers,
and others. In his live performances DJ<BR>> Spooky weaves a unique soni=
c
texture using vinyl records, CDs,<BR>> electronic effects, an amplified=
kalimba and an upright electric bass,<BR>> mixing video footage live fro=
m his
laptop computer. More at<BR>> </FONT><A
href="http://www.djspooky.com"><FONT face=Arial
size=2>www.djspooky.com</FONT></A><BR><FONT face=Arial size=2>> <B=
R>>
**********************************************************************<BR>&=
gt;
The group 47 creates digital art and performances using innovative new<BR>&=
gt;
media production techniques. Their primary tools are animation, video<BR>&g=
t;
programming, sound and digital light projection. As digital graffiti<BR>>=
;
artists, avatars of information culture and architects of media, 47<BR>>=
builds narratives within the modern media flux. As live performers and<BR>&=
gt;
activists, 47 celebrate life while pushing art and politics to the<BR>>=
edge. At the present 47 consists of Ethan Eismann, Abe Burmeister
and<BR>> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom.&nbs=
p;
More at<BR>> </FONT><A href="http://www.four7.com"><FONT face=Arial=
size=2>www.four7.com</FONT></A><BR><FONT face=Arial size=2>> <BR>&=
gt;
**********************************************************************<BR>&=
gt;
Culture Cache Gallery will parallel the themes and artists of this<BR>>=
presentation in an exhibit called Metataggers : Digital Graffiti, on<BR>>=
;
view September 13-22 with a reception Sept. 13, 7-11pm. The
primary<BR>> medium for the show is digital projection, both video and=
still.<BR>> Miranda Gill started Culture Cache Gallery as a website devo=
ted
to<BR>> emerging local artists in 1999. Merging from the digital=
highway onto<BR>> the concrete frontier, Culture Cache emphasizes the
'Mission' School,<BR>> the 'low brow' aesthetic, and other local movemen=
ts
now gaining wide<BR>> recognition. 1800 Bryant St. @ corner of 17t=
h
415.626.7776. More at:<BR>> </FONT><A
href="http://www.culturecache.com"><FONT face=Arial
size=2>www.culturecache.com</FONT></A><BR><FONT face=Arial size=2>>=
; <BR>>
**********************************************************************<BR>&=
gt;
The ATC Colloquium will continue our partnership with the Berkeley Art<BR>&=
gt;
Museum and the Walker Art Center to present online video of ATC talks,<BR>&=
gt;
available both in QuickTime (highlights) or MP3 audio. For links
and<BR>> the full 2002-2003 series schedule, please see:<BR>> </FONT>=
<A
href="http://www.ieor.berkeley.edu/~goldberg/lecs/"><FONT face=Arial
size=2>www.ieor.berkeley.edu/~goldberg/lecs/</FONT></A><BR><FONT face=A=
rial
size=2>> <BR>>
**********************************************************************<BR>&=
gt;
<BR>> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30<BR>=
>
and we'll need some music after all that atoning... -ken]<BR>> <BR=
>>
<BR>> + If the reader will keep me company I shall be glad.<BR>> ->=
;
post: </FONT><A href="mailto:list@rhizome.org"><FONT face=Arial
size=2>list@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
questions: </FONT><A href="mailto:info@rhizome.org"><FONT face=Arial
size=2>info@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
subscribe/unsubscribe: </FONT><A
href="http://rhizome.org/preferences/subscribe.rhiz"><FONT face=Arial=
size=2>http://rhizome.org/preferences/subscribe.rhiz</FONT></A><BR><FONT=
face=Arial size=2>> -> give: </FONT><A
href="http://rhizome.org/support"><FONT face=Arial
size=2>http://rhizome.org/support</FONT></A><BR><FONT face=Arial size=
=2>>
+<BR>> Subscribers to Rhizome are subject to the terms set out in the<BR=
>>
Membership Agreement available online at </FONT><A
href="http://rhizome.org/info/29.php"><FONT face=Arial
size=2>http://rhizome.org/info/29.php</FONT></A><BR><FONT face=Arial si=
ze=2>>
</FONT></BODY></HTML>
------=_NextPart_001_0009_01C2599D.6AE53920--
Re: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
------=_NextPart_001_0008_01C2599C.E7BCDE40
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Dionysus like to dance and Paul D. Miller plays great dance music! My =
favourite album is "Songs of a Dead Dreamer" and in this work, by de words =
of her alter-ego, Dj Spooky, That Subliminal kid, he wrote in the booklet o=
f CD: "The link-ages between memory, time, and place, are all externalized =
and made accessiblc to the listner from the wiewpoint of the Dj who makes d=
e mix (...). The mix, in this picture, allows the invocation of different l=
anguages, texts and sound to converge, meld and create a new medium that tr=
anscends its original components". A good exemple of that, is what Paul D. =
Miller did with a sampler of the David Lynch instrumental tune, "In heaven,=
everything is perfect," from their debut movie, "Eraserhead". This particu=
lar trake is the number seven of the album and have for title, "Juba". The =
organ of the David Lynch tune, in the Dj Spooky context, invoke me a ameri=
can stadium full of people, in a day of a baseball game.That's a reminiscen=
ce of the fairwell state of USA, the happy state bulding in a massive repre=
ssion of the black culture, represented in "Juba" by tribal percussions and=
a flute and, in the end of the track, the organ sound get out of tune and =
switch off.
Another excellent work of Paul D. Miller, is "Necropolis, the Dialogic=
Project," a compilation with Dj SoulSlinger, Outtro, We, Naut Humon, Joe N=
ation and Dj Spooky mixed this experimental album of ambient dub and Jungle=
: "The anomalies in this mix are coordinate points marking an invisible ter=
rain (...) distortion and feedback, strange silences that pop up from nowhe=
re, scratchy record noises, etc, are all sgnifiers of a construction zone o=
f sound seeking sensibility. Teach your eyes to hear and your ears to see a=
nd you will understand what we call reality," wrote Paul Miller.
Listen to him... I have no words!
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
----- Original Message -----
From: <goldberg@ieor.berkeley.edu>
To: "Announce ATC @ UCBerkeley" <goldberg@ieor.berkeley.edu>
Sent: Tuesday, September 10, 2002 6:59 PM
Subject: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
> ATC@UCB:
>
> Sound Unbound: Strategies for Reconstructing Media
> Paul Miller aka DJ Spooky, with 47
>
> The Art, Technology, and Culture Colloquium
> Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,
> Location: 160 Kroeber Hall
> All ATC Lectures are free and open to the public.
>
> Miller's Sound Unbound will be a "live" multi-media audio and visual
> presentation of the history of digital art and media from the
> viewpoint of an artist who remixes "found" audio and video using
> turntables and digital projectors. History itself will be the
> material for the mix, and the lecture presentation will focus on how
> dj culture has evolved out of the same technologies that are used for
> digital media and art.
>
> **********************************************************************
> In the second half of the presentation, Paul will be joined by the new
> media art collective 47 for a panel on reconstructing media and
> digital graffiti. The panel will explore strategies for increasing
> media literacy and responses to a world increasing saturated by
> imagery and dominated by corporate propaganda.
>
> **********************************************************************
> Paul will be introduced by David Wessel, Professor of Music.
>
> **********************************************************************
> Paul D. Miller is a conceptual artist, writer, and musician working in
> NYC. His written work has appeared in The Village Voice, The Source,
> Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other
> periodicals. He is a co-Publisher, along with the African American
> downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"
> - a periodical dedicated to new works by writers from a multi-cultural
> context. He is currently Editor of the media journal 21C. See:
> 21cmagazine.com
>
> Miller's work as an artist has appeared in a wide variety of contexts
> such as the Whitney Biennial, The Venice Biennial for Architecture
> (year 2000), the prestigious Ludwig Museum in Cologne, Germany,
> Kunsthalle, Vienna and The Andy Warhol Museum in Pittsburgh, among
> others. Miller has given presentations at Harvard Law School,
> Princeton, the Museum of Contemporary Art (L.A.), Columbia University
> School of Architecture, and MIDEM. He is a faculty member at the
> European Graduate School.
>
> Miller is best known under the moniker of his "constructed persona":
> "DJ Spooky that Subliminal Kid" a character from his upcoming novel
> "Flow My Blood the Dj Said," that uses a wide variety of digitally
> created music as a form of post-modern sculpture. Miller has recorded
> many CDs and has collaborated with a wide variety of musicians and
> composers such as Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool
> Keith a.k.a. Doctor Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,
> and Thurston Moore from Sonic Youth. His two latest releases "Under
> the Influence" and "Modern Mantra" are dj mix records that include
> tracks from artists including Moby, Future Sound of London, Ryuichi
> Sakamoto, Talvin Singh, Saul Williams, Anti-Pop Constortium, DJ Krush,
> Aesop Rock, Jack Dangers, and others. In his live performances DJ
> Spooky weaves a unique sonic texture using vinyl records, CDs,
> electronic effects, an amplified kalimba and an upright electric bass,
> mixing video footage live from his laptop computer. More at
> www.djspooky.com
>
> **********************************************************************
> The group 47 creates digital art and performances using innovative new
> media production techniques. Their primary tools are animation, video
> programming, sound and digital light projection. As digital graffiti
> artists, avatars of information culture and architects of media, 47
> builds narratives within the modern media flux. As live performers and
> activists, 47 celebrate life while pushing art and politics to the
> edge. At the present 47 consists of Ethan Eismann, Abe Burmeister and
> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom. More at
> www.four7.com
>
> **********************************************************************
> Culture Cache Gallery will parallel the themes and artists of this
> presentation in an exhibit called Metataggers : Digital Graffiti, on
> view September 13-22 with a reception Sept. 13, 7-11pm. The primary
> medium for the show is digital projection, both video and still.
> Miranda Gill started Culture Cache Gallery as a website devoted to
> emerging local artists in 1999. Merging from the digital highway onto
> the concrete frontier, Culture Cache emphasizes the 'Mission' School,
> the 'low brow' aesthetic, and other local movements now gaining wide
> recognition. 1800 Bryant St. @ corner of 17th 415.626.7776. More at:
> www.culturecache.com
>
> **********************************************************************
> The ATC Colloquium will continue our partnership with the Berkeley Art
> Museum and the Walker Art Center to present online video of ATC talks,
> available both in QuickTime (highlights) or MP3 audio. For links and
> the full 2002-2003 series schedule, please see:
> www.ieor.berkeley.edu/~goldberg/lecs/
>
> **********************************************************************
>
> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30
> and we'll need some music after all that atoning... -ken]
>
>
> + If the reader will keep me company I shall be glad.
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
------=_NextPart_001_0008_01C2599C.E7BCDE40
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=Content-Type content="text/html; charset=iso-8859-1">
<META content="MSHTML 6.00.2716.2200" name=GENERATOR>
<STYLE>BODY {
MARGIN-TOP: 25px; FONT-SIZE: 10pt; MARGIN-LEFT: 15px; COLOR: #993300; FONT=
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}
</STYLE>
</HEAD>
<BODY bgColor=#ffffff background=cid:000601c25994$85d49a90$0100007f@mec=
anismum>
<DIV><FONT face=Arial size=2> Dionysus like to =
dance
and Paul D. Miller plays great dance music! My favourite album is=
"Songs of a Dead Dreamer" and in this work, by de words of her alter-ego, D=
j
Spooky, That Subliminal kid, he wrote in the booklet of CD: "The link-ages=
between memory, time, and place, are all externalized and made accessiblc t=
o the
listner from the wiewpoint of the Dj who makes de mix (...). The mix, in th=
is
picture, allows the invocation of different languages, texts and sound to=
converge, meld and create a new medium that transcends its original compone=
nts".
A good exemple of that, is what Paul D. Miller did with a sampler of t=
he
David Lynch instrumental tune, "In heaven, everything is perfect," from the=
ir
debut movie, "Eraserhead". This particular trake is the number seven of the=
album and have for title, "Juba". The organ of the David Lynch tune, i=
n the
Dj Spooky context, invoke me a american stadium full of people, =
in a
day of a baseball game.That's a reminiscence of the fairwell state of USA, =
the
happy state bulding in a massive repression of the black culture,=
represented in "Juba" by tribal percussions and a flute and, in the en=
d
of the track, the organ sound get out of tune and switch
off.</FONT></DIV>
<DIV><FONT face=Arial size=2> Another excellent=
work of
Paul D. Miller, is "Necropolis, the Dialogic Project," a compilation w=
ith
Dj SoulSlinger, Outtro, We, Naut Humon, Joe Nation and Dj Spooky mixed=
this experimental album of ambient dub and Jungle: "The anomalies=
in
this mix are coordinate points marking an invisible terrain (...) distortio=
n and
feedback, strange silences that pop up from nowhere, scratchy record noises=
,
etc, are all sgnifiers of a construction zone of sound seeking sensibility.=
Teach your eyes to hear and your ears to see and you will understand what w=
e
call reality," wrote Paul Miller.</FONT></DIV>
<DIV><FONT face=Arial size=2> Listen to him...&=
nbsp;I
have no words!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> Joao
Pedro</FONT></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="mailto:oliveirapereira1@sapo.pt"><FONT face=Arial
size=2>oliveirapereira1@sapo.pt</FONT></A></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="http://oliveirapereira1.no.sapo.pt">http://oliveirapereira1.no.sapo=
.pt</A></DIV>
<DIV><FONT face=Arial size=2> </FONT></DIV>
<DIV><FONT face=Arial size=2>----- Original Message ----- </FONT>
<DIV><FONT face=Arial size=2>From: <</FONT><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>To: "Announce ATC @ UCBerkeley" <</FONT=
><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>Sent: Tuesday, September 10, 2002 6:59
PM</FONT></DIV>
<DIV><FONT face=Arial size=2>Subject: RHIZOME_RAW: Paul Miller aka DJ S=
pooky,
Berkeley Monday 7:30pm</FONT></DIV></DIV>
<DIV><FONT face=Arial><BR><FONT size=2></FONT></FONT></DIV><FONT face=
=Arial
size=2>> </FONT><A href="mailto:ATC@UCB"><FONT face=Arial
size=2>ATC@UCB</FONT></A><FONT face=Arial size=2>: <BR>> <BR>> =
Sound
Unbound: Strategies for Reconstructing Media<BR>> Paul Miller aka DJ Spo=
oky,
with 47<BR>> <BR>> The Art, Technology, and Culture Colloquium<BR>>=
;
Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,<BR>> Location: 160 Kroeber
Hall<BR>> All ATC Lectures are free and open to the public.<BR>> <BR>=
>
Miller's Sound Unbound will be a "live" multi-media audio and visual<BR>>=
;
presentation of the history of digital art and media from the<BR>> viewp=
oint
of an artist who remixes "found" audio and video using<BR>> turntables a=
nd
digital projectors. History itself will be the<BR>> material for t=
he
mix, and the lecture presentation will focus on how<BR>> dj culture has=
evolved out of the same technologies that are used for<BR>> digital medi=
a and
art.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
In the second half of the presentation, Paul will be joined by the new<BR>&=
gt;
media art collective 47 for a panel on reconstructing media and<BR>> dig=
ital
graffiti. The panel will explore strategies for increasing<BR>> media
literacy and responses to a world increasing saturated by<BR>> imagery a=
nd
dominated by corporate propaganda.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
Paul will be introduced by David Wessel, Professor of Music.<BR>> <BR>&g=
t;
**********************************************************************<BR>&=
gt;
Paul D. Miller is a conceptual artist, writer, and musician working in<BR>&=
gt;
NYC. His written work has appeared in The Village Voice, The Source,<BR>>=
;
Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other<BR>>
periodicals. He is a co-Publisher, along with the African American<BR>>=
downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"<BR>&=
gt; -
a periodical dedicated to new works by writers from a multi-cultural<BR>>=
;
context. He is currently Editor of the media journal 21C. See:<BR>>=
;
21cmagazine.com<BR>> <BR>> Miller's work as an artist has appeared in=
a
wide variety of contexts<BR>> such as the Whitney Biennial, The Venice=
Biennial for Architecture<BR>> (year 2000), the prestigious Ludwig Museu=
m in
Cologne, Germany,<BR>> Kunsthalle, Vienna and The Andy Warhol Museum in=
Pittsburgh, among<BR>> others. Miller has given presentations at Harvard=
Law
School,<BR>> Princeton, the Museum of Contemporary Art (L.A.), Columbia=
University<BR>> School of Architecture, and MIDEM. He is a faculty membe=
r at
the<BR>> European Graduate School.<BR>> <BR>> Miller is best known=
under the moniker of his "constructed persona":<BR>> "DJ Spooky that
Subliminal Kid" a character from his upcoming novel<BR>> "Flow My Blood =
the
Dj Said," that uses a wide variety of digitally<BR>> created music as a =
form
of post-modern sculpture. Miller has recorded<BR>> many CDs and has
collaborated with a wide variety of musicians and<BR>> composers such as=
Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool<BR>> Keith a.k.a. D=
octor
Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,<BR>> and Thurston Moo=
re
from Sonic Youth. His two latest releases "Under<BR>> the Influence" and=
"Modern Mantra" are dj mix records that include<BR>> tracks from artists=
including Moby, Future Sound of London, Ryuichi<BR>> Sakamoto, Talvin Si=
ngh,
Saul Williams, Anti-Pop Constortium, DJ Krush,<BR>> Aesop Rock, Jack Dan=
gers,
and others. In his live performances DJ<BR>> Spooky weaves a unique soni=
c
texture using vinyl records, CDs,<BR>> electronic effects, an amplified=
kalimba and an upright electric bass,<BR>> mixing video footage live fro=
m his
laptop computer. More at<BR>> </FONT><A
href="http://www.djspooky.com"><FONT face=Arial
size=2>www.djspooky.com</FONT></A><BR><FONT face=Arial size=2>> <B=
R>>
**********************************************************************<BR>&=
gt;
The group 47 creates digital art and performances using innovative new<BR>&=
gt;
media production techniques. Their primary tools are animation, video<BR>&g=
t;
programming, sound and digital light projection. As digital graffiti<BR>>=
;
artists, avatars of information culture and architects of media, 47<BR>>=
builds narratives within the modern media flux. As live performers and<BR>&=
gt;
activists, 47 celebrate life while pushing art and politics to the<BR>>=
edge. At the present 47 consists of Ethan Eismann, Abe Burmeister
and<BR>> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom.&nbs=
p;
More at<BR>> </FONT><A href="http://www.four7.com"><FONT face=Arial=
size=2>www.four7.com</FONT></A><BR><FONT face=Arial size=2>> <BR>&=
gt;
**********************************************************************<BR>&=
gt;
Culture Cache Gallery will parallel the themes and artists of this<BR>>=
presentation in an exhibit called Metataggers : Digital Graffiti, on<BR>>=
;
view September 13-22 with a reception Sept. 13, 7-11pm. The
primary<BR>> medium for the show is digital projection, both video and=
still.<BR>> Miranda Gill started Culture Cache Gallery as a website devo=
ted
to<BR>> emerging local artists in 1999. Merging from the digital=
highway onto<BR>> the concrete frontier, Culture Cache emphasizes the
'Mission' School,<BR>> the 'low brow' aesthetic, and other local movemen=
ts
now gaining wide<BR>> recognition. 1800 Bryant St. @ corner of 17t=
h
415.626.7776. More at:<BR>> </FONT><A
href="http://www.culturecache.com"><FONT face=Arial
size=2>www.culturecache.com</FONT></A><BR><FONT face=Arial size=2>>=
; <BR>>
**********************************************************************<BR>&=
gt;
The ATC Colloquium will continue our partnership with the Berkeley Art<BR>&=
gt;
Museum and the Walker Art Center to present online video of ATC talks,<BR>&=
gt;
available both in QuickTime (highlights) or MP3 audio. For links
and<BR>> the full 2002-2003 series schedule, please see:<BR>> </FONT>=
<A
href="http://www.ieor.berkeley.edu/~goldberg/lecs/"><FONT face=Arial
size=2>www.ieor.berkeley.edu/~goldberg/lecs/</FONT></A><BR><FONT face=A=
rial
size=2>> <BR>>
**********************************************************************<BR>&=
gt;
<BR>> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30<BR>=
>
and we'll need some music after all that atoning... -ken]<BR>> <BR=
>>
<BR>> + If the reader will keep me company I shall be glad.<BR>> ->=
;
post: </FONT><A href="mailto:list@rhizome.org"><FONT face=Arial
size=2>list@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
questions: </FONT><A href="mailto:info@rhizome.org"><FONT face=Arial
size=2>info@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
subscribe/unsubscribe: </FONT><A
href="http://rhizome.org/preferences/subscribe.rhiz"><FONT face=Arial=
size=2>http://rhizome.org/preferences/subscribe.rhiz</FONT></A><BR><FONT=
face=Arial size=2>> -> give: </FONT><A
href="http://rhizome.org/support"><FONT face=Arial
size=2>http://rhizome.org/support</FONT></A><BR><FONT face=Arial size=
=2>>
+<BR>> Subscribers to Rhizome are subject to the terms set out in the<BR=
>>
Membership Agreement available online at </FONT><A
href="http://rhizome.org/info/29.php"><FONT face=Arial
size=2>http://rhizome.org/info/29.php</FONT></A><BR><FONT face=Arial si=
ze=2>>
</FONT></BODY></HTML>
------=_NextPart_001_0008_01C2599C.E7BCDE40--
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Dionysus like to dance and Paul D. Miller plays great dance music! My =
favourite album is "Songs of a Dead Dreamer" and in this work, by de words =
of her alter-ego, Dj Spooky, That Subliminal kid, he wrote in the booklet o=
f CD: "The link-ages between memory, time, and place, are all externalized =
and made accessiblc to the listner from the wiewpoint of the Dj who makes d=
e mix (...). The mix, in this picture, allows the invocation of different l=
anguages, texts and sound to converge, meld and create a new medium that tr=
anscends its original components". A good exemple of that, is what Paul D. =
Miller did with a sampler of the David Lynch instrumental tune, "In heaven,=
everything is perfect," from their debut movie, "Eraserhead". This particu=
lar trake is the number seven of the album and have for title, "Juba". The =
organ of the David Lynch tune, in the Dj Spooky context, invoke me a ameri=
can stadium full of people, in a day of a baseball game.That's a reminiscen=
ce of the fairwell state of USA, the happy state bulding in a massive repre=
ssion of the black culture, represented in "Juba" by tribal percussions and=
a flute and, in the end of the track, the organ sound get out of tune and =
switch off.
Another excellent work of Paul D. Miller, is "Necropolis, the Dialogic=
Project," a compilation with Dj SoulSlinger, Outtro, We, Naut Humon, Joe N=
ation and Dj Spooky mixed this experimental album of ambient dub and Jungle=
: "The anomalies in this mix are coordinate points marking an invisible ter=
rain (...) distortion and feedback, strange silences that pop up from nowhe=
re, scratchy record noises, etc, are all sgnifiers of a construction zone o=
f sound seeking sensibility. Teach your eyes to hear and your ears to see a=
nd you will understand what we call reality," wrote Paul Miller.
Listen to him... I have no words!
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
----- Original Message -----
From: <goldberg@ieor.berkeley.edu>
To: "Announce ATC @ UCBerkeley" <goldberg@ieor.berkeley.edu>
Sent: Tuesday, September 10, 2002 6:59 PM
Subject: RHIZOME_RAW: Paul Miller aka DJ Spooky, Berkeley Monday 7:30pm
> ATC@UCB:
>
> Sound Unbound: Strategies for Reconstructing Media
> Paul Miller aka DJ Spooky, with 47
>
> The Art, Technology, and Culture Colloquium
> Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,
> Location: 160 Kroeber Hall
> All ATC Lectures are free and open to the public.
>
> Miller's Sound Unbound will be a "live" multi-media audio and visual
> presentation of the history of digital art and media from the
> viewpoint of an artist who remixes "found" audio and video using
> turntables and digital projectors. History itself will be the
> material for the mix, and the lecture presentation will focus on how
> dj culture has evolved out of the same technologies that are used for
> digital media and art.
>
> **********************************************************************
> In the second half of the presentation, Paul will be joined by the new
> media art collective 47 for a panel on reconstructing media and
> digital graffiti. The panel will explore strategies for increasing
> media literacy and responses to a world increasing saturated by
> imagery and dominated by corporate propaganda.
>
> **********************************************************************
> Paul will be introduced by David Wessel, Professor of Music.
>
> **********************************************************************
> Paul D. Miller is a conceptual artist, writer, and musician working in
> NYC. His written work has appeared in The Village Voice, The Source,
> Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other
> periodicals. He is a co-Publisher, along with the African American
> downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"
> - a periodical dedicated to new works by writers from a multi-cultural
> context. He is currently Editor of the media journal 21C. See:
> 21cmagazine.com
>
> Miller's work as an artist has appeared in a wide variety of contexts
> such as the Whitney Biennial, The Venice Biennial for Architecture
> (year 2000), the prestigious Ludwig Museum in Cologne, Germany,
> Kunsthalle, Vienna and The Andy Warhol Museum in Pittsburgh, among
> others. Miller has given presentations at Harvard Law School,
> Princeton, the Museum of Contemporary Art (L.A.), Columbia University
> School of Architecture, and MIDEM. He is a faculty member at the
> European Graduate School.
>
> Miller is best known under the moniker of his "constructed persona":
> "DJ Spooky that Subliminal Kid" a character from his upcoming novel
> "Flow My Blood the Dj Said," that uses a wide variety of digitally
> created music as a form of post-modern sculpture. Miller has recorded
> many CDs and has collaborated with a wide variety of musicians and
> composers such as Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool
> Keith a.k.a. Doctor Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,
> and Thurston Moore from Sonic Youth. His two latest releases "Under
> the Influence" and "Modern Mantra" are dj mix records that include
> tracks from artists including Moby, Future Sound of London, Ryuichi
> Sakamoto, Talvin Singh, Saul Williams, Anti-Pop Constortium, DJ Krush,
> Aesop Rock, Jack Dangers, and others. In his live performances DJ
> Spooky weaves a unique sonic texture using vinyl records, CDs,
> electronic effects, an amplified kalimba and an upright electric bass,
> mixing video footage live from his laptop computer. More at
> www.djspooky.com
>
> **********************************************************************
> The group 47 creates digital art and performances using innovative new
> media production techniques. Their primary tools are animation, video
> programming, sound and digital light projection. As digital graffiti
> artists, avatars of information culture and architects of media, 47
> builds narratives within the modern media flux. As live performers and
> activists, 47 celebrate life while pushing art and politics to the
> edge. At the present 47 consists of Ethan Eismann, Abe Burmeister and
> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom. More at
> www.four7.com
>
> **********************************************************************
> Culture Cache Gallery will parallel the themes and artists of this
> presentation in an exhibit called Metataggers : Digital Graffiti, on
> view September 13-22 with a reception Sept. 13, 7-11pm. The primary
> medium for the show is digital projection, both video and still.
> Miranda Gill started Culture Cache Gallery as a website devoted to
> emerging local artists in 1999. Merging from the digital highway onto
> the concrete frontier, Culture Cache emphasizes the 'Mission' School,
> the 'low brow' aesthetic, and other local movements now gaining wide
> recognition. 1800 Bryant St. @ corner of 17th 415.626.7776. More at:
> www.culturecache.com
>
> **********************************************************************
> The ATC Colloquium will continue our partnership with the Berkeley Art
> Museum and the Walker Art Center to present online video of ATC talks,
> available both in QuickTime (highlights) or MP3 audio. For links and
> the full 2002-2003 series schedule, please see:
> www.ieor.berkeley.edu/~goldberg/lecs/
>
> **********************************************************************
>
> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30
> and we'll need some music after all that atoning... -ken]
>
>
> + If the reader will keep me company I shall be glad.
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
------=_NextPart_001_0008_01C2599C.E7BCDE40
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<DIV><FONT face=Arial size=2> Dionysus like to =
dance
and Paul D. Miller plays great dance music! My favourite album is=
"Songs of a Dead Dreamer" and in this work, by de words of her alter-ego, D=
j
Spooky, That Subliminal kid, he wrote in the booklet of CD: "The link-ages=
between memory, time, and place, are all externalized and made accessiblc t=
o the
listner from the wiewpoint of the Dj who makes de mix (...). The mix, in th=
is
picture, allows the invocation of different languages, texts and sound to=
converge, meld and create a new medium that transcends its original compone=
nts".
A good exemple of that, is what Paul D. Miller did with a sampler of t=
he
David Lynch instrumental tune, "In heaven, everything is perfect," from the=
ir
debut movie, "Eraserhead". This particular trake is the number seven of the=
album and have for title, "Juba". The organ of the David Lynch tune, i=
n the
Dj Spooky context, invoke me a american stadium full of people, =
in a
day of a baseball game.That's a reminiscence of the fairwell state of USA, =
the
happy state bulding in a massive repression of the black culture,=
represented in "Juba" by tribal percussions and a flute and, in the en=
d
of the track, the organ sound get out of tune and switch
off.</FONT></DIV>
<DIV><FONT face=Arial size=2> Another excellent=
work of
Paul D. Miller, is "Necropolis, the Dialogic Project," a compilation w=
ith
Dj SoulSlinger, Outtro, We, Naut Humon, Joe Nation and Dj Spooky mixed=
this experimental album of ambient dub and Jungle: "The anomalies=
in
this mix are coordinate points marking an invisible terrain (...) distortio=
n and
feedback, strange silences that pop up from nowhere, scratchy record noises=
,
etc, are all sgnifiers of a construction zone of sound seeking sensibility.=
Teach your eyes to hear and your ears to see and you will understand what w=
e
call reality," wrote Paul Miller.</FONT></DIV>
<DIV><FONT face=Arial size=2> Listen to him...&=
nbsp;I
have no words!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> Joao
Pedro</FONT></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="mailto:oliveirapereira1@sapo.pt"><FONT face=Arial
size=2>oliveirapereira1@sapo.pt</FONT></A></DIV>
<DIV><FONT face=Arial size=2> </FONT><A
href="http://oliveirapereira1.no.sapo.pt">http://oliveirapereira1.no.sapo=
.pt</A></DIV>
<DIV><FONT face=Arial size=2> </FONT></DIV>
<DIV><FONT face=Arial size=2>----- Original Message ----- </FONT>
<DIV><FONT face=Arial size=2>From: <</FONT><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>To: "Announce ATC @ UCBerkeley" <</FONT=
><A
href="mailto:goldberg@ieor.berkeley.edu"><FONT face=Arial
size=2>goldberg@ieor.berkeley.edu</FONT></A><FONT face=Arial
size=2>></FONT></DIV>
<DIV><FONT face=Arial size=2>Sent: Tuesday, September 10, 2002 6:59
PM</FONT></DIV>
<DIV><FONT face=Arial size=2>Subject: RHIZOME_RAW: Paul Miller aka DJ S=
pooky,
Berkeley Monday 7:30pm</FONT></DIV></DIV>
<DIV><FONT face=Arial><BR><FONT size=2></FONT></FONT></DIV><FONT face=
=Arial
size=2>> </FONT><A href="mailto:ATC@UCB"><FONT face=Arial
size=2>ATC@UCB</FONT></A><FONT face=Arial size=2>: <BR>> <BR>> =
Sound
Unbound: Strategies for Reconstructing Media<BR>> Paul Miller aka DJ Spo=
oky,
with 47<BR>> <BR>> The Art, Technology, and Culture Colloquium<BR>>=
;
Mon, 16 Sept, 7:30-9:30pm: UC Berkeley,<BR>> Location: 160 Kroeber
Hall<BR>> All ATC Lectures are free and open to the public.<BR>> <BR>=
>
Miller's Sound Unbound will be a "live" multi-media audio and visual<BR>>=
;
presentation of the history of digital art and media from the<BR>> viewp=
oint
of an artist who remixes "found" audio and video using<BR>> turntables a=
nd
digital projectors. History itself will be the<BR>> material for t=
he
mix, and the lecture presentation will focus on how<BR>> dj culture has=
evolved out of the same technologies that are used for<BR>> digital medi=
a and
art.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
In the second half of the presentation, Paul will be joined by the new<BR>&=
gt;
media art collective 47 for a panel on reconstructing media and<BR>> dig=
ital
graffiti. The panel will explore strategies for increasing<BR>> media
literacy and responses to a world increasing saturated by<BR>> imagery a=
nd
dominated by corporate propaganda.<BR>> <BR>>
**********************************************************************<BR>&=
gt;
Paul will be introduced by David Wessel, Professor of Music.<BR>> <BR>&g=
t;
**********************************************************************<BR>&=
gt;
Paul D. Miller is a conceptual artist, writer, and musician working in<BR>&=
gt;
NYC. His written work has appeared in The Village Voice, The Source,<BR>>=
;
Artforum, Raygun, Rap Pages, Paper Magazine, and a host of other<BR>>
periodicals. He is a co-Publisher, along with the African American<BR>>=
downtown poet Steve Canon, of the magazine "A Gathering of the Tribes"<BR>&=
gt; -
a periodical dedicated to new works by writers from a multi-cultural<BR>>=
;
context. He is currently Editor of the media journal 21C. See:<BR>>=
;
21cmagazine.com<BR>> <BR>> Miller's work as an artist has appeared in=
a
wide variety of contexts<BR>> such as the Whitney Biennial, The Venice=
Biennial for Architecture<BR>> (year 2000), the prestigious Ludwig Museu=
m in
Cologne, Germany,<BR>> Kunsthalle, Vienna and The Andy Warhol Museum in=
Pittsburgh, among<BR>> others. Miller has given presentations at Harvard=
Law
School,<BR>> Princeton, the Museum of Contemporary Art (L.A.), Columbia=
University<BR>> School of Architecture, and MIDEM. He is a faculty membe=
r at
the<BR>> European Graduate School.<BR>> <BR>> Miller is best known=
under the moniker of his "constructed persona":<BR>> "DJ Spooky that
Subliminal Kid" a character from his upcoming novel<BR>> "Flow My Blood =
the
Dj Said," that uses a wide variety of digitally<BR>> created music as a =
form
of post-modern sculpture. Miller has recorded<BR>> many CDs and has
collaborated with a wide variety of musicians and<BR>> composers such as=
Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool<BR>> Keith a.k.a. D=
octor
Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono,<BR>> and Thurston Moo=
re
from Sonic Youth. His two latest releases "Under<BR>> the Influence" and=
"Modern Mantra" are dj mix records that include<BR>> tracks from artists=
including Moby, Future Sound of London, Ryuichi<BR>> Sakamoto, Talvin Si=
ngh,
Saul Williams, Anti-Pop Constortium, DJ Krush,<BR>> Aesop Rock, Jack Dan=
gers,
and others. In his live performances DJ<BR>> Spooky weaves a unique soni=
c
texture using vinyl records, CDs,<BR>> electronic effects, an amplified=
kalimba and an upright electric bass,<BR>> mixing video footage live fro=
m his
laptop computer. More at<BR>> </FONT><A
href="http://www.djspooky.com"><FONT face=Arial
size=2>www.djspooky.com</FONT></A><BR><FONT face=Arial size=2>> <B=
R>>
**********************************************************************<BR>&=
gt;
The group 47 creates digital art and performances using innovative new<BR>&=
gt;
media production techniques. Their primary tools are animation, video<BR>&g=
t;
programming, sound and digital light projection. As digital graffiti<BR>>=
;
artists, avatars of information culture and architects of media, 47<BR>>=
builds narratives within the modern media flux. As live performers and<BR>&=
gt;
activists, 47 celebrate life while pushing art and politics to the<BR>>=
edge. At the present 47 consists of Ethan Eismann, Abe Burmeister
and<BR>> Seth Fershko, aka the Generalizer, Billy Blaze, and Phenom.&nbs=
p;
More at<BR>> </FONT><A href="http://www.four7.com"><FONT face=Arial=
size=2>www.four7.com</FONT></A><BR><FONT face=Arial size=2>> <BR>&=
gt;
**********************************************************************<BR>&=
gt;
Culture Cache Gallery will parallel the themes and artists of this<BR>>=
presentation in an exhibit called Metataggers : Digital Graffiti, on<BR>>=
;
view September 13-22 with a reception Sept. 13, 7-11pm. The
primary<BR>> medium for the show is digital projection, both video and=
still.<BR>> Miranda Gill started Culture Cache Gallery as a website devo=
ted
to<BR>> emerging local artists in 1999. Merging from the digital=
highway onto<BR>> the concrete frontier, Culture Cache emphasizes the
'Mission' School,<BR>> the 'low brow' aesthetic, and other local movemen=
ts
now gaining wide<BR>> recognition. 1800 Bryant St. @ corner of 17t=
h
415.626.7776. More at:<BR>> </FONT><A
href="http://www.culturecache.com"><FONT face=Arial
size=2>www.culturecache.com</FONT></A><BR><FONT face=Arial size=2>>=
; <BR>>
**********************************************************************<BR>&=
gt;
The ATC Colloquium will continue our partnership with the Berkeley Art<BR>&=
gt;
Museum and the Walker Art Center to present online video of ATC talks,<BR>&=
gt;
available both in QuickTime (highlights) or MP3 audio. For links
and<BR>> the full 2002-2003 series schedule, please see:<BR>> </FONT>=
<A
href="http://www.ieor.berkeley.edu/~goldberg/lecs/"><FONT face=Arial
size=2>www.ieor.berkeley.edu/~goldberg/lecs/</FONT></A><BR><FONT face=A=
rial
size=2>> <BR>>
**********************************************************************<BR>&=
gt;
<BR>> [ps. I realize it's Yom Kippur, but it will be sundown by 7:30<BR>=
>
and we'll need some music after all that atoning... -ken]<BR>> <BR=
>>
<BR>> + If the reader will keep me company I shall be glad.<BR>> ->=
;
post: </FONT><A href="mailto:list@rhizome.org"><FONT face=Arial
size=2>list@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
questions: </FONT><A href="mailto:info@rhizome.org"><FONT face=Arial
size=2>info@rhizome.org</FONT></A><BR><FONT face=Arial size=2>> -&=
gt;
subscribe/unsubscribe: </FONT><A
href="http://rhizome.org/preferences/subscribe.rhiz"><FONT face=Arial=
size=2>http://rhizome.org/preferences/subscribe.rhiz</FONT></A><BR><FONT=
face=Arial size=2>> -> give: </FONT><A
href="http://rhizome.org/support"><FONT face=Arial
size=2>http://rhizome.org/support</FONT></A><BR><FONT face=Arial size=
=2>>
+<BR>> Subscribers to Rhizome are subject to the terms set out in the<BR=
>>
Membership Agreement available online at </FONT><A
href="http://rhizome.org/info/29.php"><FONT face=Arial
size=2>http://rhizome.org/info/29.php</FONT></A><BR><FONT face=Arial si=
ze=2>>
</FONT></BODY></HTML>
------=_NextPart_001_0008_01C2599C.E7BCDE40--
RHIZOME RAW: revolutionary strategys
Hi, Lee!
Why a 1.000.000 person march over Washington? For what? The crow yelling=
some slogans, two or three order words, maybe to have some confronts with =
the police and in the end, all this people return to their homes, watching =
television and see images of this giant manifestation on a 1.000.000 screen=
s! Sorry to disappoint you, but the tactics of the May of 68 are obsolete a=
nd, unfortunately, in the anti-globalization movements, i don't see the eme=
rgence of a new mode of collective action, but this movements, continue to =
follow the patterns that don't work anymore! And Max Herman was right, when=
he wrote: "Seems to me a case of too much conversation and no action!" In=
fact, the art or the philosophy, in my way of think, only have sense in th=
e "praxis". "In the beginning there was the action", Toni Negri said in the=
book, "Les Nouveaux espaces de liberte", by Felix Guattari. Even so, t=
his email i send to you, is not to talk about books, but is to define some =
concrete strategies of fighting and i would like to hear your opinion, of s=
ome ideas to concern of political action.
You know, in this actual state of things, only matter the identity, th=
e supervalue. So, the strategy is to annul this supervalue from the bodies =
and corrupt the identity, accepted by the generality of the society, simple=
as that! Change the trade marks of the objects and replace them for one na=
me, invented by you. Scraping the logtype of everything, in order to erasur=
e for complete all the lebels. Imagine a particular mark of cars, without h=
er star! What you think it would happen? It simply would exist anymore!
Try spread the message: jeans, computers, videos, televisions, takin=
g off their signs of supervalue! It would be the caos, if most of the peopl=
e would act that way!
Now, imagine a hundred guys, in front of a store, dressing from the fe=
et to the top of the head, clothes of this mark and with scissors, cutting-=
up all the lebels! Destroying a lebel in a particular object, that you paid=
for it, could be a crime? I'm not jurist, but i don't thing so and any mar=
k of the world, pay to you to advertise her products in your body! But, ima=
gine the scene, day by day, in the televisions all over the world, you see =
people setting free of labels and after, you have publicity of the same tra=
de marks in the break time of the TV shows! That was a untenable paradox fo=
r the capitalism system...
Think of that!
Best regards:
Joao Pedro
P.S. Sorry by the writing errors of my last message. I was very tired =
and is hard to me, work all day in portuguese language and after this, writ=
e in english.
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
Why a 1.000.000 person march over Washington? For what? The crow yelling=
some slogans, two or three order words, maybe to have some confronts with =
the police and in the end, all this people return to their homes, watching =
television and see images of this giant manifestation on a 1.000.000 screen=
s! Sorry to disappoint you, but the tactics of the May of 68 are obsolete a=
nd, unfortunately, in the anti-globalization movements, i don't see the eme=
rgence of a new mode of collective action, but this movements, continue to =
follow the patterns that don't work anymore! And Max Herman was right, when=
he wrote: "Seems to me a case of too much conversation and no action!" In=
fact, the art or the philosophy, in my way of think, only have sense in th=
e "praxis". "In the beginning there was the action", Toni Negri said in the=
book, "Les Nouveaux espaces de liberte", by Felix Guattari. Even so, t=
his email i send to you, is not to talk about books, but is to define some =
concrete strategies of fighting and i would like to hear your opinion, of s=
ome ideas to concern of political action.
You know, in this actual state of things, only matter the identity, th=
e supervalue. So, the strategy is to annul this supervalue from the bodies =
and corrupt the identity, accepted by the generality of the society, simple=
as that! Change the trade marks of the objects and replace them for one na=
me, invented by you. Scraping the logtype of everything, in order to erasur=
e for complete all the lebels. Imagine a particular mark of cars, without h=
er star! What you think it would happen? It simply would exist anymore!
Try spread the message: jeans, computers, videos, televisions, takin=
g off their signs of supervalue! It would be the caos, if most of the peopl=
e would act that way!
Now, imagine a hundred guys, in front of a store, dressing from the fe=
et to the top of the head, clothes of this mark and with scissors, cutting-=
up all the lebels! Destroying a lebel in a particular object, that you paid=
for it, could be a crime? I'm not jurist, but i don't thing so and any mar=
k of the world, pay to you to advertise her products in your body! But, ima=
gine the scene, day by day, in the televisions all over the world, you see =
people setting free of labels and after, you have publicity of the same tra=
de marks in the break time of the TV shows! That was a untenable paradox fo=
r the capitalism system...
Think of that!
Best regards:
Joao Pedro
P.S. Sorry by the writing errors of my last message. I was very tired =
and is hard to me, work all day in portuguese language and after this, writ=
e in english.
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
RHIZOME RAW: A word of warning-don't believe in genius
An amazing thing in our times, is the supervaluation of half-mads,
fanatics or self-entitled genius. They saw things that the others can't
see-of course! That's not to be wondered, but is a advise to us, to act wit=
h prudence and do not trust in them."
Friedrich Nietzsche, in "Morgenrothe", 66-Aptness to the Visions.
First, thanks to Lee Wells and Manik for their support!
Affirmation is not to be perfect or sublime... In fact, the sublime =
man is the fascist, the only one that pretending to conduct the human race =
to the truth! The sublime man, he knows above all, he's a expert about ever=
ything, he will answer to each man, until give reason to her and all the ot=
hers be resembled like him.
Affirmation do not prove anything, will not grow heavy in the shoulder=
s of the neighbour like a burden, the burden of life that i refuse to carry=
! On the contrary, affirmation is to relieve, to make easy the live of the=
next, not arguing with a dogmatic persuation, edit a roll of emails to att=
ack like all the others was the enemy! This is stupid! But what can we do? =
The sublime man don't laugh, don't dance, is a bad player! He lays a wager =
and he plays to win, betted to defy all and everyone of us!
Denying the charge of the sublime man, is to set free our minds, free fr=
om this facist power, the paranoia transformed in potential, void of determ=
inations. We play a revolutionary game: to became what we cannot be, in the=
standardizing language of the power, by her imperative and angry tone that=
we never respected! Sentences from a courthouse? Sorry, but i live very we=
ll without a vision of salvation! And i don't yield up to any pattern, beca=
use i love to be free, free
to think and think is to have power to... I know that's a dangerous thought!
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
fanatics or self-entitled genius. They saw things that the others can't
see-of course! That's not to be wondered, but is a advise to us, to act wit=
h prudence and do not trust in them."
Friedrich Nietzsche, in "Morgenrothe", 66-Aptness to the Visions.
First, thanks to Lee Wells and Manik for their support!
Affirmation is not to be perfect or sublime... In fact, the sublime =
man is the fascist, the only one that pretending to conduct the human race =
to the truth! The sublime man, he knows above all, he's a expert about ever=
ything, he will answer to each man, until give reason to her and all the ot=
hers be resembled like him.
Affirmation do not prove anything, will not grow heavy in the shoulder=
s of the neighbour like a burden, the burden of life that i refuse to carry=
! On the contrary, affirmation is to relieve, to make easy the live of the=
next, not arguing with a dogmatic persuation, edit a roll of emails to att=
ack like all the others was the enemy! This is stupid! But what can we do? =
The sublime man don't laugh, don't dance, is a bad player! He lays a wager =
and he plays to win, betted to defy all and everyone of us!
Denying the charge of the sublime man, is to set free our minds, free fr=
om this facist power, the paranoia transformed in potential, void of determ=
inations. We play a revolutionary game: to became what we cannot be, in the=
standardizing language of the power, by her imperative and angry tone that=
we never respected! Sentences from a courthouse? Sorry, but i live very we=
ll without a vision of salvation! And i don't yield up to any pattern, beca=
use i love to be free, free
to think and think is to have power to... I know that's a dangerous thought!
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt