joy garnett
Since the beginning
Works in United States of America

ARTBASE (1)
BIO
Joy Garnett is a painter based in New York. She appropriates news images from the Internet and re-invents them as paintings. Her subject is the apocalyptic-sublime landscape, as well as the digital image itself as cultural artifact in an increasingly technologized world. Her image research has resulted in online documentation projects, most notably The Bomb Project.

Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.

extended network >

homepage:
http://joygarnett.com

The Bomb Project
http://www.thebombproject.org

First Pulse Projects
http://firstpulseprojects.net

NEWSgrist - where spin is art
http://newsgrist.typepad.com/

Discussions (685) Opportunities (5) Events (8) Jobs (0)
DISCUSSION

NEWSgrist erratum


the email for this ad got snaggled. should be:

> Please respond:
> ebeckfilm@earthlink.net

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*Classified*

Large artist studio/OFFICE (work only- 24/7) available for rent
in Tribeca - Artist Live/Work loft.
1000', open with three windows, plus separate office
$1000 per month. Available Feb 1st.

Please respond: [bad address typo!!]
============================
NEWSgrist - where spin is art
http://newsgrist.net
/////////////

DISCUSSION

DISCUSSION

NEWSgrist: *NOWN/Candyland* Vol.4, no.2 (Jan. 27, 2003)


NEWSgrist: *NOWN/Candyland* Vol.4, no.2 (Jan. 27, 2003)
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NEWSgrist
where spin is art
http://newsgrist.net
{bi-weekly news digest}
============================
Vol. 4, no.2 (Jan. 27, 2003)
============================
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CONTENTS:

- *Splash* NOWN: Michelle Handelman's "Candyland"
- *Quote/s* Virtual collectives
- *Url/s* CLUI, SCICULT + RUNME
- *Better Than Coke* closerthantherealthing @ THE THING
- *Power Points* Perry Hoberman talk @ jihui
- *Crackerjack* announcing the Low-Level Allstars DVD!
- *General Idea of Group Material* Making art together...
- *Playing the Field* The C5 Landscape Projects
- *Southern Comfort* Black Towns.org: Arts Online
- *Book Grist - 1* ARTFAN launches at Printed Matter
- *Book Grist - 2* Bruce Sterling's Tommorrow Now
- *Open Call* Eyebeam's Artist in Residence program
- *Classified* Large artist studio in Tribeca

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*Splash* http://newsgrist.net

"NOWN" - a group exhibition curated by Michele Thursz
at the Wood Street Galleries, Pittsburgh PA
http://www.pgharts.org/art/current.cfm

This issue's Splash features a still from "Candyland" by
Michelle Handelman. Artists participating in NOWN are:
Karl Ackermann + Kinya Hanada, Michelle Handelman
Robert Lazzarini, Cory Arcangel, Tobias Bernstrup
Craig Kalpakjian, Yael Kanarek, Miltos Manetas
Michael Rees, Willy Le Maitre + Erik Rozenzveig

"NOWN accesses the space between fantasy and the
fragmented nature of reality implied when viewed through
or by an animated object, person or place.

splash archived at:
http://www.newsgrist.net/Splash_Nown.html
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*Quote/s*

Many of the new art collectives are virtual: they reside on the
Internet, that intrinsically collective medium. They are fluid in
size, and members may not even know the identity of other
members. The kinds of art they produce vary widely, but when it
is political it tends to be actively so. To much of the art world,
these collectives barely exist. Their work is difficult to market;
it's available to everyone free; traditional criteria of judgment,
the kind that make critics so comfortable with, say, painting,
don't apply.

(Holland Cotter - see * * below)
============================
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*Url/s*

The Center For Land Use Interpretation (CLUI)
http://www.clui.org/

SCICULT
http://www.scicult.com

RUNME.org Software Art Repository
is now open for upload / download
http://runme.org
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*Better Than Coke*

"closerthantherealthing"

an exhibition featuring 8 microinstallations with video work
curated by Caspar Stracke
opens at The Thing's New York office
January 31 - Feb 7
on view in office + continued online: http://bbs.thing.net

THE THING
601 West 26th Street 4th flr., NYC
212 937 0444
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*Power Points*

jihui - Digital Salon
presents
Perry Hoberman

Friday, January 31, 2003 7 PM
@ Parsons Center for New Design
55 West 13th Street, 9th Fl.
New York, NY 10011
Live Webcast @ http://agent.netart-init.org starts 7pm EST.

Perry Hoberman will be discussing his current exhibition at
Postmasters Gallery. In this exhibition, Hoberman tackles one
of our current dilemmas: in a world of ever-increasingly
"powerful" media technologies, our own power to creatively
make use these technologies is under constant threat on a
variety of fronts. Restrictions and surveillance are being hard-
coded into the hardware, software and networks we use daily in
a process that seems determined to make us little more than
fodder for an ever-more-profitable army of passive and fearful
consumers.

Several works satirize the endless attempts to price and profit
from what has become known as "intellectual property" - a term
that emphasizes ownership above all. A series of prints is based
on the ubiquitous dialog boxes that appear whenever we open,
save, close, delete, or do anything at all with the files on our
computers. Another series of prints consist of superimposed
images of every spam email message that Hoberman received
over a given period of time, in an attempt to visualize the
increasing onslaught of unsolicited advertising and to transform
an utterly debased form of communication into something
beautiful. Several works deal with iconography of the All-Seeing
Eye, recently repurposed as the symbol of John Poindexter's
"Total Information Awareness System," thus shifting its meaning
from a suggestion of divine omniscience to a more earthbound
ideal of total surveillance.

Perry Hoberman is one of the pioneers of new media art, having
addressed the form, content and social implications of media
technology for over twenty years. During that time, he has
exhibited internationally, with major shows throughout the USA
and Europe. His work is currently on view in the "Future Cinema"
exhibition at the ZKM Center for New Media in Karlsruhe.
Hoberman has been the recipient of numerous grants and
awards, and is both a 2002 Guggenheim Foundation Fellow and
a 2002 Rockefeller Foundation Media Art Fellow.

jihui (the meeting point), a self-regulated digital salon, invites all
interested people to send ideas for discussion/performance/etc.
jihui is where your voice is heard and your vision shared.
jihui is sponsored by Digital Design Department and Center for
New Design @ Parsons School of Design

jihui is organized by agent.netart (http://agent.netart-init.org),
a joint public program by NETART INITIATIVE and
INTELLIGENT AGENT
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*Crackerjack*

Radical Software Group (RSG) & Beige announce a new
DVD documenting the Commodore 64 intro scene...

LOW LEVEL ALL-STARS
video graffiti from the Commodore 64 computer
+ DVD (NTSC)
+ 21 minutes
+ edition of 150
+ $20 (post paid)
The DVD contains video documentation of our favorite intros
from:
Avantgarde, Crackforce Omega, Eagle Soft Inc., Fairlight,
Genesis Project, Legend, Nato, Rowdy American Distributors,
Teesside Cracking Service, Triad, West Coast Crackers

We are selling this DVD as a tribute to the intro scene.
The price covers our costs of production.
Order information at HTTP://RHIZOME.ORG/RSG
Video clips and other information at HTTP://RHIZOME.ORG/LLAS

VIDEO GAME CULTURE HAS LONG RELIED ON "CRACKERS,"
THE FEARLESS GEEKS WHO REMOVE A GAME'S COPY
PROTECTION THROUGH BRUTE FORCE. CRACKERS OFTEN
LEAVE BEHIND MODIFIED START-UP SCREENS AS
EVIDENCE OF THEIR TRADE. THIS SPECIAL CRACKER
GRAFFITI BOTH DOCUMENTS THE INTRUSION AND
PROVIDES A PLATFORM TO SHOWCASE THE CRACKER'S
SKILLS.

"LOW LEVEL ALL-STARS" SHOWCASES THE BEST CRACKER
TAGS SELECTED FROM OVER 1000 GAMES AVAILABLE FOR
THE COMMODORE 64 COMPUTER. ALL CRACKER TAGS
HAVE BEEN RE-CRACKED BY BEIGE AND RSG AND
EXTRACTED AS STAND-ALONE COMMODORE ANIMA-
TIONS. YOU MAY WATCH A VIDEO CLIP DOCUMENTING
EACH PIECE, OR VIEW STILL IMAGES. ROMS WILL BE
AVAILABLE SOON FROM THIS SITE. ALL DOCUMENTATION
WAS MADE DIRECTLY FROM THE C64 WITH NO COMPUTER
EMULATION.
============================
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*General Idea of Group Material*

Doing Their Own Thing, Making Art Together
By HOLLAND COTTER
NYTimes, Jan. 19, 2003
http://www.nytimes.com/2003/01/19/arts/design/19COTT.html?todaysheadlines

To many Americans, the world feels more threatened and
threatening today than at any time since the 1960's. Terrorism,
nuclear proliferation, the prospect of war on Iraq and ever
tightening security measures at home have sent a hum of
tension through daily life.

In the 1960's, comparable tension, excruciatingly amplified,
produced a big response: the spread of a counterculture, one
that began with political protest movements and became an
alternative way of life. Among other things, it delivered a
sustained, collective "no" to certain values (imperialism,
moralism, technological destruction), and a collective "yes"
to others: peace, liberation, a return-to-childhood innocence.

The collective itself, as a social unit, was an important element
in the 60's utopian equation. Whatever form the concept took -
the commune, the band, the cult - its implications of shared
resources, dynamic interchange and egos put on hold made it a
model for change.

Even the art world, built on a foundation of hierarchies and
exclusions, produced its own versions. Activist groups like the
Artworkers Coalition and the Black Emergency Cultural Coalition
made concerted attempts to pry open institutional doors and let
in a multicultural world. Simultaneously, nonmilitant movements
like the Dada-inspired Fluxus produced an ephemeral, give-
away, anyone-can-do-it art that amounted to a kind of passive
resistance to the existing market economy. Both approaches -
one forceful, one gentle - changed the way art was thought
about, and the way it looked.

The collective impulse has never died out in American art; and
now it is surfacing again, for the most part outside New York. In
cities like Milwaukee, Providence, R. I., St. Louis and
Philadelphia, as well as several in Canada, an old countercultural
model, often much changed, is being revived, in some cases by
artists barely out of their teens.

Many of the new art collectives are virtual: they reside on the
Internet, that intrinsically collective medium. They are fluid in
size, and members may not even know the identity of other
members. The kinds of art they produce vary widely, but when it
is political it tends to be actively so. To much of the art world,
these collectives barely exist. Their work is difficult to market;
it's available to everyone free; traditional criteria of judgment,
the kind that make critics so comfortable with, say, painting,
don't apply.

Other, even newer collectives, while computer-savvy, are studio
-based and are starting to gain attention. They are housed in
apartments, storefronts, art schools and minivans. Their
members - who often support themselves with day jobs as
designers, programmers, teachers or temps - are identified by
a group name, like rock bands. And their art is often a multi-
tasking mix of painting, sculpture, printmaking, design, digital
art, video, zine production and musical performances.

In general, the collaborative arrangements are superrelaxed. A
few groups, like Temporary Services in Chicago, have a Fluxus-
like conceptual agenda: an aesthetic of sharing sites, ideas and
objects with outsiders that extends the collaboration beyond the
group itself. Others, like Slanguage in Los Angeles, have
established self-sustaining, artist-run workshops and exhibition
spaces. Still other groups are formed, at least initially, as more
or less closed social circles of friends getting together with
friends and brothers and sisters, to make art, a description that
fits, for example, the Royal Art Lodge from Winnipeg, Manitoba,
whose work is on view at the Drawing Center in SoHo.

Most of these young artists (many in their 20's) would probably
ot identify themselves as political, never mind use the word
counterculture, with its uncool, mind-settish, even institutional
ring. They just do what they do. But what they do, or rather the
ay they do it, outside the centralized, market-determining power
structures of the mainstream art world, could turn out to have
political consequences for the way art develops.

Forcefield, a collective founded in 1997 in Providence, where it
is part of the art-school and music scene, has already made a
splash in New York with a fantastic appearance in last year's
Whitney Biennial. For the occasion, the group assembled dozens
of Op Art-patterned knit costumes - form-fitting, face-
concealing, topped by bright vinyl wigs - of the kind they wear
in their maniacally edited films, which are like tribal rites
crossed with fashion shows. They supplemented the installation
with a deafening noise-band soundtrack and a pulsating
abstract video piece, both of which they produced.

The results, hilarious and slightly scary, brought all kinds of
associations to mind: Rudi Gernreich, Sesame Street, Jack
Smith, cheesy sci-fi, 60's psychedelia and church rummage
ales. This was a zany art made out of seriously worked things
and materials, as became evident when a selection of Forcefield
material was exhibited at Daniel Reich, a gallery that operates
out of a Chelsea studio apartment and has been instrumental in
introducing collectives to New York.

Forcefield's vividly low-tech approach to art-making has
inspired other, newer East Coast collectives. The members of
one, called Paper Rad, individually make photocopied cartoon
zines, combining a grade-school doodle style with wise-cracking
New Age quest narratives. They also combine their styles in
animated Web-based Gumby music videos that are like tripped-
out children's television.

Another group, Dearraindrop, has four artists, the youngest of
whom is 18. Erudite about history, they acknowledge the
influence of past collectives like Chicago's Hairy Who from the
1960's and Destroy All Monsters from the 1970's. At the same
time, they prefer a casual just-friends designation for them-
selves. Their collaborations - which include exquisite collages
of cartoons, product labels and texts - are often executed long
distance: one member is in high school in Virginia; others live in
Providence. Their group name is as recycled as their materials.
Two of the artists discovered it written on a scrap of paper as
they were foraging through neighborhood trash while on LSD.

Dearraindrop's idiot-savant-type aesthetic becomes even more
complex in the work of Milhaus, a Milwaukee collective that
claims the modernist Bauhaus merging of function and art as one
of its ideals. The group is largely the creation of Scott and Tyson
Reeder, painters, designers and brothers who, like the artist Jim
Drain of Forcefield, also have solo careers. Both brothers lived
for a while in Los Angeles, but found the formalized, competitive
atmosphere of the art scene dispiriting and returned to
Milwaukee.

There, with a filmmaker, they produced a smart, slacker Web
elevision show (www.zerotv.com) and turned their attention in
nondigital directions. For a show in Chicago, they built bunk
beds and lived in the gallery, turning it into a video theater one
night, a dance club the next. For the opening, they held an all-
night drawing party and invited gallerygoers. For the closing,
they turned the bunk beds into a raft and floated down the
Chicago River, like Generation-whatever Huck Finns.

The self-scheduled workshop, as raucous as a band rehearsal or
as sedate as a quilting bee, is the basic form of several
collectives. The members of the Royal Art Lodge meet in weekly,
collaborative drawing sessions. Slanguage, begun last summer
by Mario Ybarra Jr. and Juan Capistran, M.F.A. graduates from
the University of California at Irvine, uses half of its space in
Wilmington, a working-class city near Los Angeles, for
experimenting with media and ideas, the other half for public
performances and exhibitions, which may also be works in
progress.

Such exhibition spaces, which have neither academic nor
commercial support, are becoming ever more important. Not
only do they offer places for types of work uncongenial to an
increasingly conservative art establishment; they also provide
a forum for the work of students being churned out of art schools
every year in numbers the commercial gallery system cannot
begin to absorb.

Slanguage is by no means alone in its thinking. In Philadelphia,
an older, larger and by now semiprofessionalized collective
called Space 1026 has renovated an old downtown jewelry store
to include not only studios, a computer lab and a skate ramp, but
also a street-level gallery and an artist-run shop. Similarly, a
Manhattan group called Alife runs a store at 178 Ludlow Street,
on the Lower East Side, to promote and sell work by young
artists, using a corporate paradigm of exchange and distribution.
(An installation of Alife products is on view at Deitch Projects in
SoHo through Feb. 15.)

Some collectives blend art and lifestyle in more personal ways.
The 13 members of Flux Factory, which recently showed at the
Queens Museum, live together in a loft in Long Island City, in
Queens. The members of Instant Coffee in Toronto use much of
their collective energy to organize large-scale artistic and social
events that bring artists, writers and musicians together in
combinations rarely encountered elsewhere.

Instant Coffee functions on a principle of service-work -
generosity as an art medium - an ethic that is also an
aesthetic. So, in a more focused way, does Temporary Services.
Members of both groups collaborate with other artists, organize
projects that insert ephemeral work into public spaces or bring
otherwise invisible art into public view.

For one project, Temporary Services helped place artists' books
surreptitiously in public library collections. For another, they
used existing curbside newspaper vending machines to distribute
art objects. As part of a group show this spring at the
Massachusetts Museum of Contemporary Art, in North Adams,
Mass., they will present drawings by a federal prisoner named
Angelo of ingenious mechanical devices created by his fellow
inmates.

The group's play with conventional ideas of aesthetic value is
shared, to some degree, by Beige, a young collective that takes
obsolete computer technology as its medium. It is probably best
known for its hacked versions of dumpster-salvaged Nintendo
games, which they broke open and manipulated to create new
images. As Beige Records, they have released a 12-inch vinyl
disk of sound samples of video games from the 1980's.

In its geek-positive way, the Beige artists deliver subversive
messages. They undercut the notion of technological progress
and demonstrate ways in which popular forms and aesthetics can
be taken out of the control of the corporate game industry. And
they hint at the power inherent even in cheap technology and
low-level expertise, which are by now ubiquitous and are
sufficient to infiltrate a database or make a bomb.

As if to confirm a crypto-activist agenda, Beige recently
collaborated on a DVD with the Radical Software Group, an
Internet-based collective that is stretching the definitions of art,
politics and collectivity itself. Consisting of an ever-changing
group of international programmers and artists, the group claims
that its main goal is not to make art but to provide software for
artists. But one of their programs, titled Carnivore, which turns
individual computers into F.B.I-style data surveillance tools, is
conceptually sharp, visually compelling and completely attuned
to the political moment.

As innovative as it is, Radical Software Group belongs to a whole
alternative universe of activist artists' collectives that exists
partly or entirely in the public realm called cyberspace. Other
groups include RTMark, Critical Art Ensemble, Ultra-Red,
Reclaim the Streets, Electronic Disturbance Theater (also called
Electronic Civil Disobedience), Institute for Applied Autonomy
and the Center for Land Use Interpretation. The list is long and
varied and will surely continue grow in direct proportion to
increased government monitoring of the Internet.

Such Net-centric collectives are electronic descendants of
earlier American groups that cohered and dissolved from the
1960's through the 1990's: PAD/D (Political Art Documentation
and Distribution), Colab, Group Material, Guerrilla Girls,
REPOhistory, Act Up and General Idea, which originated in
Canada, to name but a few. The full history of this phenomenon
has yet to be written, though a few art historians - Alan Moore,
Gregory Sholette and Blake Stimson - have books in the works.

And what about American art now? It exists in a world where
much indeed has changed, not just since Sept. 11, 2001, but
since the end of the cold war. It is a dangerous place, in need
of radical change. Not that a return to the 60's is the answer.
Forget retro. Yes, it's reassuring and it sells, but contemporary
culture - including a lot of New York art at the moment - is
about what's reassuring and what sells, and it feels parochial,
small, out of touch.

Thus a counterculture. I have no idea what it will, or does, or
should look like. An eye-popping hacktivist Web site that
carries transformative information across the globe? A
collective of young artists having fun making books that only
they and their friends will see? Or something totally other.
But if contemporary art, marginal and minute as its influence is,
doesn't get it together to offer new models for a future some of
s still hope to have, chances are at this point nobody will, and
that's more than a shame.
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============================
*Playing the Field*

The C5 Landscape Projects Field Mediation January 12th, 2003
Rhizome 1/9/03
http://rhizome.org/object.rhiz?13989

UTM
10 S 0589631
4145735

DMS
N 37 deg., 27' 24.1"
W 121 deg., 59' 33.5"

C5
http://www.c5corp.com/index.html
http://www.c5corp.com/projects/landscape/index.shtml

In 2001, C5 initiated a series of projects involving mapping,
navigation and search of the landscape using GIS (Global
Information Systems). The projects are designed to take place
over the next 3 years and are an extension of C5s research of
database visualization, networks and cooperative systems. The
Landscape Projects examine the changing conception of the
Landscape as we move from the aesthetics of representation to
those of database and interface.

On January 12th 2003, C5 conducts the first in a series of on-
site field mediations for presentation of research and theoretical
agendas informing the Landscape Projects.

Over the past decade the instrumentation necessary for creating
a detailed mapping of the earths surface from space has become
a reality. The USGS (United States Geological Survey) together
with NASA, the Jet Propulsion Laboratory and a host of
international governmental and non-governmental partners are
moving towards a complete indexing of the earths surface
destined to better than one meter of resolution. Location,
navigation, tracking, mapping and timing within the landscape
points to a re-conceptualization of the environment and our
interaction with it. Like the human genome, the scope and
implication this endeavor points to tremendous social, political
and economic considerations. Technology transfer from GIS
research activities incorporates new data products such as
those in environmental studies including strategic management
of resources and hazards and disaster analysis. New discourses
and disciplines have emerged around topics such as interactive
mapping and archeological geophysics. Combined with Spatial
Data Systems and GPS (Global Positioning System) postures an
entirely new relationship with the Landscape that takes form in
applications for simulation, surveillance, resource allocation and
management of cooperative networks. It is in this context that
the C5 Landscape Projects are conceived.

The first in the project series, Analogous Landscapes, was
exhibited at the 2002 II International Art Biennial-Buenos Aires
Museo Nacional de Bellas.

Joel Slayton, Brett Stalbaum, Geri Wittig, Steve Durie,
Jan Ekenberg, Jack Toolin, Lisa Jevbratt, Anne-Marie Schleiner,
Bruce Gardner
============================
============================
*Southern Comfort*

Photographer Captures Towns Where Blacks Found Peace
By MATTHEW MIRAPAUL
NYTimes ARTS ONLINE, Jan 20, 2003
http://www.nytimes.com/2003/01/20/arts/design/20ARTS.html?pagewanted=all&position=top

In the photograph the church appears almost like an animal shot
with a tranquilizer dart. The structure sags, as if on sun-soaked
haunches, unable to move from the asphalt veldt. Were it not for
the presence of a white van in the foreground, the image might
have been captured by a Farm Security Administration photo-
grapher roaming the Deep South in the 1930's.

Appearances deceive. The photograph of Mount Moriah Primitive
Baptist Church was taken just last year. And although Elsmere,
the town in which the church stands, once bore the biscuits-and-
gravy name of Eighty Acres, it is in New Jersey and lies not
much farther south than Philadelphia. Yet one almost expects to
see cotton growing nearby.

The languid image is part of a revealing online exhibition, "Small
Towns, Black Lives," created by the New Jersey photographer
Wendel A. White. Over the past 13 years Mr. White has been
toting his camera through the state's southern reaches, docu-
menting the existence of a handful of small all-black commun-
ities that still survive there. In his back road travels, he has
also unearthed the rich African-American history of several
towns that are now largely populated by whites.

Mr. White's online photographs depict little-known aspects of
the nation's past: communities formed by blacks in the 19th and
early 20th centuries as havens from racism. Many of these
enclaves, where African-Americans could raise families and
build careers, were in New Jersey. For Mr. White there has been
some urgency to document these insular towns before they
change even further or disappear completely. "Even if they don't
physically go away, the nature of the communities is disappear-
ing," Mr. White said. "What we're seeing is the last bit of the
19th century."

On Saturday Mr. White, 46, put a newly expanded version of his
Web site online at http://www.blacktowns.org The timing
coincides with the opening of his photography exhibition, also
called "Small Towns, Black Lives," at the Noyes Museum of Art
in Oceanville, N.J. The exhibition runs through April 27.

In the museum's galleries of course the black-and-white images
are larger and more detailed than when viewed on a computer
screen. But it is on the Internet that Mr. White's project leaps to
life. He has augmented its 50 images with digital reproductions
of historical materials like a real estate map from 1872, and he
has bolstered the site with evocative audio and video clips and
360-degree panoramic photographs.

For instance, one video, filmed in 2000 during the rededication
ceremony for a Civil War veterans cemetery, shows black men in
Union uniforms marching through a town. The collision of past
and present is startling. Elsewhere a photographic portrait of the
storyteller Michelle Washington Wilson, sitting amid the ruins of
her childhood home, is accompanied by an amusing audio clip
that softens the sad scene. In a delighted voice, she recalls how
a Halloween visit to a mean neighbor's house quickly became a
disaster. Exit, pursued by a hog.

The panoramic photographs, which let a viewer make a complete
circular turn within an online image, are most effective in
conveying a sense of place. One taken in the former African-
American resort community of Morris Beach, N.J., focuses on a
desolate intersection where the only traffic is a lone chicken.

For Mr. White incorporating these multimedia elements into his
site was a natural step. He began to visit the towns in the late
80's. The residents would often share their stories and family
artifacts with him. Just as he was seeking ways to illuminate his
images with their mementos, the Web arrived. He created a site
for the Civil War cemetery in 1995, followed by an early version
of the Black Towns site in 1999.

Mr. White said he was unconcerned that he might be forsaking
his commitment to photography: "I didn't feel that I was going
into another discipline as I started to use different materials
and, in a sense, create a collage." It was the mix of information
that mattered, not the materials. "It's not that the photographs
are inadequate," he said. "It's that there were other things going
on."

But few photographers have embraced the Web to the extent
that Mr. White has. Many sites are devoted to documentary
photography, but they rarely amount to more than a slide show.
It's like going to the movies and finding the projectionist making
bunny silhouettes on the screen. With its mix of media, the new
Black Towns site is an impressionistic experience. Those seek-
ing an academic account of the black-settlement movement
should look elsewhere. Mr. White said: "I don't feel that I'm
writing history here. I encounter it, and I want to bring it into
what I'm doing as an artist.`

What Mr. White is doing as an artist is rooted in what Walker
Evans, Dorothea Lange and other Farm Security Administration
photographers were doing from 1935 to 1945: turning docu-
mentary photography into a fine art. And his starkly lighted
landscapes, building exteriors and workers remind one of those
taken in the rural South by those earlier photographers. The
Library of Congress has put those images online at
http://memory.loc.gov/ammem/fsowhome.html

Mr. White said the resemblance was not accidental. Emancipat-
ed slaves and black Civil War veterans flocked to southern New
Jersey precisely because its landscape and climate were similar
to their hometowns. He said, "As you drive through these towns,
you can't help feeling whether you're in a white community or a
black community that it's very Southern.`

Perhaps this Southern sensibility also explains the formal
elegance of Mr. White's work. His images are restrained rather
than theatrical. Charles Stainback, the director of the Tang
Museum at Skidmore College in Saratoga Springs, N.Y., who is
the curator of Mr. White's museum exhibition, said: "So much of
photojournalism today is about the dynamic, gritty, shocking
picture. These aren't that. He's taken the time to look at these
lives.`

For instance, for a recent portrait of Laura Aldridge, Mr. White
posed her in the middle of a church in Springtown, N.J. At first
glance the image appears ordinary. Eventually, though, it
becomes obvious that all the lines in the photograph are at odd
angles. In the center sits Ms. Aldridge, defiantly upright in a
world gone askew.

Web Site: Wendel A. White's Site: 'Small Towns, Black Lives'
http://www.blacktowns.org/
Web Site: The Library of Congress: 'Documenting America'
http://memory.loc.gov/ammem/fsowhome.html
============================
============================
*Book Grist - 1*

A Constructed World: Publication Launch

ARTFAN: Audience as Artist
56-page full-colour publication
Designed by Rina Cheung, Pixelsurgeon

NEW YORK LAUNCH
Saturday 1 February 2003 5 - 7 pm
Printed Matter Inc.,
535 West 22nd Street
New York NY 10011, USA

The Serpentine Gallery is pleased to announce the launch of
Artfan: Audience as Artist. Artists Geoff Lowe and Jacqueline
Riva have been working together as A Constructed World (ACW)
since 1993, when they founded Artfan magazine. This special
edition is the product of their residency at the Serpentine
Gallery during the summer of 2002.

During the residency they made a number of interventions and
organised regular public gallery discussions which involved 17
speakers and a five-day long workshop which brought together
11 individuals aged between 16 and 74, this culminated in an
exhibition in the Sackler Centre of Arts Education at the
Serpentine Gallery.

Artfan includes transcripts of the gallery discussions,
documentation from the workshop and specially commissioned
artists' pages and texts.

Artfan is launched in collaboration with Walther Koenig books
Ltd. and Printed Matter in New York.

Press enquiries:
Annabel Friedlein Tel: 020 7298 1520 or annabelf@serpentinegallery.org
Public Information: Tel: 020 7298 1515 or visit
http://www.serpentinegallery.org
============================
============================
*Book Grist -2*

Tomorrow Now: Envisioning the Next Fifty Years
by Bruce Sterling
Random House; ; 1st edition (December 17, 2002)
ISBN: 0679463224
http://www.amazon.com/exec/obidos/ASIN/0679463224/qid42661323/sr=2-1/ref=sr_2_1/103-1387147-7923831

A conversation with Bruce Sterling
Bruce Sterling returns to Inkwell.vue for his annual state-of-
the-world discussion, which coincides this year with the
publication of his latest nonfiction work, Tomorrow Now. The
book is a consideration of the near-term 21st century future,
the next 50 years, framed by Shakespeare's "seven ages of
man," -- the infant, the student, the lover, the soldier, the
justice, the pantaloon and "mere oblivion." Bruce's expansive
view of the edges of tomorrow's world covers genetic
engineering, ubiquitous computing, information networks,
postindustrial design, new world (dis)order, media, politics, etc.
Check out the discussion, led by Inkwell host Jon Lebkowsky,
for a stimulating exploration of the world today ... and tomorrow.

archived here:
http://engaged.well.com/engaged/engaged.cgi?c=inkwell.vue&f=0&ta
[formerly at : http://www.well.com/conf/inkwell.vue/ ]
============================
============================
*Open Call*

Eyebeam is pleased to announce an open call to apply for the
Spring 2003 cycle of its Artists in Residence Program, a
multidisciplinary initiative that supports the development,
creation and presentation of outstanding new works of art made
with digital tools. The AIR Program offers five-month residencies
to exceptional artists in three different areas: Education,
Emerging Fields and Moving Image. Residents receive a
stipend, access to cutting-edge tools, expert technical support
from Eyebeam staff, production help from apprentices, and the
option to participate in an annual group exhibition.

The wide-ranging annual AIR exhibitions mirror the inter-
disciplinary studio environment by presenting a constellation of
other events, including open studios, demonstrations of research
in progress, panel discussions, on-line projects, and multimedia
performances. The twelve artists who participated in the
program's '02 pilot year were featured in Beta Launch: Artist's
in Residence 2002: http://www.eyebeam.org/artists/air02.html

Applications are due February 10th. For more detail about the
different residency programs, deadlines, applications and
instructions, please refer to the information on Eyebeam web
site: http://www.eyebeam.org/artists/index.html
============================
============================
*Classified*

Large artist studio/OFFICE (work only- 24/7) available for rent
in Tribeca - Artist Live/Work loft.
1000', open with three windows, plus separate office
$1000 per month. Available Feb 1st.
Please respond:
ebeckfilm@easrlink.net

============================
NEWSgrist - where spin is art
http://newsgrist.net
free e-subscriptions:
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++++++++++++++++++++++++++++++

DISCUSSION

THE BOMB PROJECT: NEWSFEED (Jan 2003)


THE BOMB PROJECT NEWSFEED (Jan 2003)

Welcome to The Bomb Project's News Feed. Please follow page links
below to full articles. Instructions for subscribing/unsubscribing
are at the bottom of this email.

Thank you.
The Bomb Project
http://www.thebombproject.org
+++++++++++++++++++++

JANUARY 2003 NEWSFEED:
http://www.firstpulseprojects.net/bombproject/News_12-02.html

JANUARY NEWSFEED HEADLINES:
January Issue of The Sunflower (Nuclear Age Peace Foundation)

January 20, 2003
Russia submits nuclear deal to N Korea (Olympian)
January 19, 2003
US Expands Aid Offer, + N Korea Wants to Talk (NYTimes)
January 19, 2003
Russia Helped US on Nuclear Spying Inside N Korea (NYTimes)
January 18, 2003
Kemp Clears Path for N Waste Dump (The Australian)
January 17, 2003
Musharraf to Visit Moscow Amid Russian Fears al-Qaida could get Paki N
Weapons (AP)
January 17, 2003
Inspectors Find Weapons Cache (Wash Post)
January 17, 2003
Congressional Hearings on Indian Point Called For (Journal News)
January 17, 2003
Hanford tests tank cleanup ideas (Tricity Herald)
January 17, 2003
NASA Eyes Nuclear-Powered Rocket (Charlotte Observer)
January 17, 2003
Chernobyl Cleanup may be spreading contamination (Radio Free Europe)
January 17, 2003
Swedish Nuclear Reactors Shut Down for 3 Weeks (AP)
January 17, 2003
Korea Follies (Wash Post)
January 17, 2003
UN in no rush to take up N Korea - UN sources say (ABC)
January 17, 2003
Company that owns Indian Point defends emergency plan (NYTimes)
January 17, 2003
Ethics Cloud Hangs Over Los Alamos Laboratory (Salt Lake Tribune)
January 16, 2003
New Los Alamos leader says he will "drain the swamp" (San Mateo County
Times)
January 16, 2003
Judge Rips Gov't in "Dirty Bomb" Case (Newsday)
January 16, 2003
Commercial devices could fuel "dirty bombs" (Wash Post)
January 16, 2003
UN Inspectors find empty chemical warheads in Iraq (Reuters)
January 16, 2003
Bush looks for Yucca budget fix (Las Vegas Review-Journal)
January 16, 2003
US Fights Late March Report on Iraq Arms (Wash Post)
January 16, 2003
Seoul Braced for "Worst-Case" Korea Scenario (Reuters)
January 15, 2003
Local DOE security actions seen as 'knee-jerk' (Oak Ridger)
January 15, 2003
High Court won't hear SC plutonium suit (ABC)
January 15, 2003
UN Inspectors check Saddam's main palace (ABC)
January 15, 2003
Greenpeace moves to thwart BE bailout (Guardian)
January 15, 2003
Bush: Aid to Pyongyang depends on N Disarmament (VOA News)
January 15, 2003
Nuclear weapons plants breach safety targets (Independent)
January 15, 2003
China, US Discuss N Korea Nuclear Situation (Reuters)
January 15, 2003
Croatia to offer nuclear plant stake to Slovenia (Reuters)
January 14, 2003
Canada approves refueling Bruce nuclear reactors (Forbes)
January 14, 2003
No Signif. Environmental Impact from Operation of NPlants (NRC News)
January 14, 2003
DOE Lobbies to Send Nastiest Waste West (Oak Ridger)
January 8, 2003
UN Inspectors Extend Reach with Aircraft (Wash Post)
January 7, 2003
Think Tanks for Homeland Security (Wash Post)
January 7, 2003
Indian Point evacuation plans will get certified (Journal News)
January 7, 2003
Nuclear Chief: North Korea has 'stark choice' (CNN)
January 7, 2003
Iraq Inspectors Fly to Suspect Mine (CNN)
January 7, 2003
More reforms Expected at LANL (Santa Fe New Mexican)
January 6, 2003
Inadvertant Disclosures of Nuclear Weapons Info (Secrecy News)
January 6, 2003
NRC Excludes Terrorism as Licensing Consideration (NYTimes)
January 6, 2003
Goshutes who have opposed nuclear waste are out in cold (Salt Lake Tribune)
January 6, 2003
A nuclear bomb enters the port (National Post)
January 6, 2003
Brinkmanship, A Family Trait (Wash Post)
January 6, 2003
Iran cannot use plant to produce enriched uranium: expert (IRNA)
January 6, 2003
N Korea tests Bush's policy of pre-emption (Wash Post)
January 6, 2003
Arms Agency Tells N Korea to Comply or Face Council (NYTimes)
January 6, 2003
Pakistani Prime Minister Denies Nuclear Leaks (ABC)
January 6, 2003
Hussein slams UN inspectors as 'spies' (Wash Post)
January 6, 2003
Cotter to move forward with soil storage plans (Canon Daily record)
January 5, 2003
'Dirty Bomb' material seized in Asia (BBC)
January 5, 2003
How Dangerous is N Korea? (Time)
January 5, 2003
Russia Pledges Help over N Korea Nuclear Row (Reuters)
January 4, 2003
Attorney joins firm to fight Yucca cases (Las Vegas Review-Journal)
January 4, 2003
Indian Atomic Scientists Design Novel N-Reactor (India Express)
January 3, 2003
US questions UC's running of nuclear lab (San Francisco Chronicle)
January 3, 2003
NRC, Company to discuss decommissioning of Lakehurst, NJ site (NRC News)
January 3, 2003
UN Inspectors Ready to Step Up Pace (Wash Post)
January 3, 2003
Iraq: Questions to scientists unfair (CNN)
January 3, 2003
N Korea says willing to talk to US, IAEA (Reuters)
January 3, 2003
S Korea Eyes Mediator Role in Nuclear Row (Reuters)
January 3, 2003
Canada announces loan guarantee for Romanian nuclear plant (AP)
January 3, 2003
Nuclear rivals renew agreement not to attack (New Zealand Herald)
January 2, 2003
Complex web of nuclear, missile secrets entangle Pakistan, N Korea +
China (AP)
January 2, 2003
Inspectors Make Surprise Holiday Visits in Baghdad (Wash Post)
January 2, 2003
Only dialogue can resolve N Korean nuclear issue, says S Korea (VOA News)
January 2, 2003
Australia Calls on N Korea to Abandon Nuclear Program (VOA News)
January 2, 2003
Director of scandal-tainted Los Alamos Lab resigns (AP)
January 2, 2003
Uranium mill hit with more violations (AP)
January 2, 2003
No Support For Strikes Against N Korea (Wash Post)

++++++++++++++++++++++++++++++
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DISCUSSION

NEWSgrist: *Virtual Art From Illusion to Immersion* Vol.4, no.1


NEWSgrist: *Virtual Art From Illusion to Immersion* Vol.4, no.1 (Jan.
13, 2003)
============================
============================
NEWSgrist
where spin is art
http://newsgrist.net
{bi-weekly news digest}
============================
Vol. 4, no.1 (Jan. 12, 2003)
============================
============================
CONTENTS:

- *Splash* Oliver Grau's Virtual Art
- *Thing Shutdown* NYFA follow up
- *Url/s* Knit++ on turbulence
- *Quote/s* High dudgeon; Blazing star
- *Ada Boy* Eyebeam gets curator
- *FACT Is...* Liverpool's FACT Center launches
- *Green Machines* Jonah Brucker-Cohen on eco-tech
- *Rite Attitude* David Frankel on Art-Rite [excerpt]
- *Traffick* Matt Mirapaul on concert bootlegs
- *Classified* Sublets: Williamsburg + DUMBO

============================
============================
*Splash* http://newsgrist.net

VIRTUAL ART
From Illusion to Immersion
by Oliver Grau
A Leonardo Book published by MIT Press
January 2003, ISBN 0-262-07241-6

"Equally at home in art history, media history, and new media
art, Grau situates immersive image spaces of new media within
a rich historical landscape. A must-read for anyone interested
in new media, visual culture, art history, cinema, and all other
fields that use virtual images."
-- Lev Manovich, author of The Language of New Media

Going beyond technical and ahistorical views of media art,
Oliver Grau analyzes what is really new in media art by focusing
on recent work against the backdrop of historic developments.
Although many people view virtual and mixed realities - images
of art and science - as a totally new phenomenon, it has its
foundations in an unrecognized history of immersive images.
The search for illusionary visual space can be traced back to
antiquity. Oliver Grau shows how virtual art fits into the art
history of illusion and immersion and shows how each epoch
used the technical means available to produce maximum
illusion from Pompeii's Villa dei Misteri via baroque frescoes,
panoramas, immersive cinema to the CAVE.

this splash page is archived at:
http://www.newsgrist.net/Splash_Grau.html
============================
============================
*Thing Shutdown*

follow-up:
NYFA Current, January 8, 2003
http://www.nyfa.org
http://bbs.thing.net

NTT/Verio Terminates thing.net After Dow Chemical
Corporation Threatens Legal Action against Yes Men Parody
Shutting Down an Entire Artists Network over an Unresolved
Complaint about One Site Sets a Worrisome Precedent for
Corporate Control over the Work of Artists

NEW YORK CITY, NY -- In the contemporary Internet climate
of consolidation, it is increasingly difficult for artists and arts
organizations to find a safe harbor where they are free to create
and where what they create is protected from the limitations and
chilling effects of Internet filters, server content restrictions,
and corporate dominance.

The legendary THE THING has been an Internet Presence
Provider for activist and arts organizations primarily in the New
York area for ten years. It hosts arts and activist groups and
publications including P.S.1 Contemporary Art Center;
ARTFORUM; Mabou Mines; Willoughby Sharp Gallery;
ZINGMAGAZINE; JOURNAL OF CONTEMPORARY ART; and
Tenant.net. Among many others, artists and projects associated
with thing.net have included Sawad Brooks, Heath Bunting, Vuk
Cosic, etoy, John Klima, Jenny Marketou, Mariko Mori, Prema
Murty, Mark Napier, Joseph Nechvatal, Phil Niblock, Daniel
Pflumm, Francesca da Rimini, Beat Streuli, and Beth Stryker. It
also offers dial-up access; authoring and design services; arts-
oriented newsletters, and online conversation spaces. Vistors
can log on as a guest and visit discussions such as
undercurrents: a forum about the interrelations of cyber-
feminism, new technologies and globalization, moderated by
Irina Aristahrkova, Maria Fernandez, Coco Fusco, and Faith
Wilding.

But in December, after receiving legal threats from the Dow
Chemical Corporation, thing.net's Internet access provider,
NTT/Verio, temporarily shut of all the sites which thing.net
hosts and subsequently gave notice that it will unilaterally
terminate thing.net's contract on February 28.

full article:
http://www.nyfa.org/nyfa_current.asp?id5&fid=6&sid#news2
============================
============================
*Url/s*

Knit++
http://www.turbulence.org/Works/Knit%2B%2B/index.htm
by xurban_collective
a new Turbulence commission
with funds from The Jerome Foundation

Knit++ is a collective_process_project based on the concept
of interlocking loops that form non-hierarchical distribution
patterns of people and places. The generic ideas of
sewing_knitting_ weaving become the artists' model for
'surveying territory' in opposition to colonization of domestic
/public sphere. [Explorer 5+ and Netscape 6+ only]
============================
============================
*Quote/s*

1)
HIGH DUDGEON (10):
"The Whitney Biennial stinted on painting, ignored the
New York establishment and concentrated on utopian
architecture, rock 'n' roll, the Internet, sound art, comics
and televangelism. Predictably, critical hissy fits followed.
But whatever its flaws the show, like the kids in it, was alright."
-- HOLLAND COTTER, 10 Moments in Art
http://www.nytimes.com/2002/12/29/arts/design/29COTT.html

"Edit provided a lot of the spark," Robinson says now, "and Josh
and I did a lot of the carrying. Edit was our blazing star. She was
an immigrant, she knew no boundaries. . . . She could make
something out of nothing." That may seem like a double-edged
compliment, but I don't think he means it that way: Making
something out of nothing, after all, is what artists do
themselves. "
--Walter Robinson on Edit DeAk, Artforum (see *Rite Attitude*)
============================
============================
*Ada Boy*

EYEBEAM GETS CURATOR
Artnet Mag, 1/7/03
http://www.artnet.com/magazine/news/artnetnews2/artnetnews1-7-03.asp?C=1
Eyebeam, the digital arts center headquartered in New York's
Chelsea art district, has announced the appointment of
Benjamin Weil as its curatorial chair. Weil, cofounder of the
now-defunct ada 'web art website, [sic] has been curator of
media arts at the San Francisco Museum of Modern Art since
2000 (a post he'll continue to hold through June 2003).

[NG note: go to ada 'web]: http://adaweb.walkerart.org/home.shtml
info: http://adaweb.walkerart.org/nota/messages/read_ada.html
============================
============================
*FACT Is...*

FACT launches
http://www.fact.co.uk/

1/9/03
http://www.rhizome.org/object.rhiz?13983

The 10 million centre for film, art and creative technology will
present an international programme of film, video and new
media work in a variety of state-of-the-art spaces, including
cinemas and galleries. Liverpool based FACT will also house
research, support and production facilities for artists working
with new media and emerging media technologies.

FACT
http://www.fact.co.uk/home/home.htm
The UK's newest centre for film, art and creative technology,
The FACT Centre: http://www.fact.co.uk/centre/centre1.htm
opens to the public on 22 February 2003. It's been seven years
in the making. It cost 10m to develop, build and equip. It's the
first purpose-built arts project in Liverpool for over 60 years
and it's opening in the New Year!

For more than a decade FACT has operated as a pioneering
agency in the exhibition, support and development of artists'
film and video and new media projects in the UK. From our
Liverpool base we have commissioned more than 100 projects
by British and international artists. Many of these projects have
been showcased within the biennial VIDEO POSITIVE
http://www.fact.co.uk/vp/vp1.htm event and other significant
exhibitions organised by FACT, introducing north-west and UK
audiences to high quality projects from across the globe.

But FACT is a lot more than a commissioning agency. Our
groundbreaking COLLABORATION PROGRAMME
http://www.fact.co.uk/collab/collab1.htm
has established creative partnerships between artists and
hundreds of individuals and groups throughout Liverpool and
the north-west. MITES [The Moving Image Touring & Exhibition
Service] http://www.fact.co.uk/www.mites.org.uk/index.htm,
established by FACT in 1992, provides specialist resources
and support to artists and exhibitors working with the moving
image and new media technologies. The training programme
offers expert tuition and professional development
opportunities to a wide range of artists and individuals working
in new media and visual culture. Our facility has enabled dozens
of UK galleries to present work to the highest possible standard
and upgrade the exhibition experience of their audiences.
============================
============================
*Green Machines*

New Media Meets the Environment
http://www.greenmuseum.org/c/new_media/#
by Jonah Brucker-Cohen
Research Fellow, Media Lab Europe, Dublin, Ireland
http://www.medialabeurope.org/people/j-brucker-cohen/index.htm

Introduction
The environment is a tricky subject when it comes to
technology. From trash eating genetically engineered
organisms to plastic bags that biodegrade, advances in
technology are curbing threats against our environment while
simultaneously making us wary of their impact. Within the art
world, environmental concerns have long been prevalent topics
for creative expression. As technological art practices gain
mainstream acceptance through the Internet and networked
society, artists are questioning how our physical and digital
lives interact. The natural world has become the perfect antidote
for false expectations of technological utopia.

From early eco-art such as Robert Smithson's "Spiral Jetty" or
Christo's wrapped islands, there has been a challenge to both
display the natural beauty of our environment while
simultaneously critiquing its use. Fusing technology with
ecological art unearths questions relating to how technology can
illuminate environmental issues. What is technology's role in
preserving nature? How does questioning reality - either virtual
or real - help us improve our relationship with the natural world?
How can technology enable communication about ecological
conservation between people over distance?

Digital = Dirty
As we become more digitally active in a networked society,
there is a tendency to think that digital equals clean. With
omputers we eliminate the need for paper, cataloging systems,
and our offices and homes become more streamlined. Subverting
this notion are artists who change our relationship to the digital
objects we consume and interact with everyday.

Looking at environmental pollutants in home computers and
distributed networks, Australian research scientist and techno-
artist, Natalie Jerimijenko's work challenges our assumptions
about the cleanliness of "digital lifestyles". Her project,
"Stump" http://cat.nyu.edu/natalie/projectdatabase/ infiltrates
your computer's printer queue keeping track of how many pages
you've printed. As time goes by, the software agent prints out a
tree ring representing how much of a tree you've consumed. In
her work, "Bang Bang", Jerimijenko set up webcams at specific
environmental sites where data collected from the site triggers
the camera to take video clips. For example, a camera resting
at New York's Fresh Kills landfill is activated by a radioactivity
threshold meter. Similarly, she attached a crude Co2 meter to
the serial port so that virtual trees on the desktop grow in
proportion to Co2 readings in the room.

Also starting on the home front, Irish designer Philip Phelan's
Co2nvertweb http://www.co2nvert.com/ project features
working prototypes of innovative eco-conscious modifications
to existing home appliances. Focusing on the individual rather
than national responsibility, his work uses technology as an
empowering tool for social environmental protest. The "Snobby
Toaster" makes a fuss over the type of energy it consumes while
the "Weather Socket" allows us to see if the energy we are
lugging into is coming from wind, solar, or fossil fuel sources.
Co2nvert's main goal is to have a monthly "Emissions Bill",
breaking down each household's global pollutant contribution. By
changing our everyday power consumption habits through simple
interaction design, Phelan's work highlights the natural
resources we often take for granted.

Natural vs. Artificial
As technology gains ubiquity in our everyday lives, natural and
artificial begin to blur. Artists are looking at how we can create
hybrid spaces where digital and analog worlds can exist in
tandem within a sustainable architecture. Located in the hills of
Scotland, MAKROLAB http://makrolab.ljudmila.org/ functions
as a fully autonomous research, communications, housing and
creative unit. Its premise is built on the idea that sustainable
architecture can fuse with digital practice to provide a haven for
collaboration within a self-contained shell. Since our connected
ives require more infrastructure everyday, the MAKROLAB
project proves that our digital lives can exist in a resource-free
world where reliance on ourselves is the only option.

Building a sustainable ecosystem within the computer, The Bank
of Time http://www.thebankoftime.com/ is a screensaver that
uses idle time to grow virtual plants on the desktop. This simple
project gives nature a dependency on virtual activities where
only when we take a break from using computers will growth
occur. Despite the fact that the plants are "virtual", the project
illuminates the struggle for balance between interacting with
both natural and artificial worlds.

Reaction to Ecological Disasters
Technological art practices tend to be more accessible to a
mass audience since they often have a networked component.
As ecological disasters hit, artists respond by creating
environmentally conscious works that highlight and frame these
events as global phenomena. Reacting to a Russian tanker's
major oil spill of the coast of Japan, digital artist, Maki Ueda
created "Spilt Oil Project"
http://home.wanadoo.nl/makiueda/oil/index-e.html
Taking photos of the effected areas, Ueda then printed them on
large pieces of fabric and placed them in pattern formations on
beaches along the southern coast of Japan. The accompanying
website features a map of Japan with flags representing the
beaches where the fabric was displayed along with the effected
areas from the spill.

Similarly, reacting to the disposal of hazardous waste, "Ocean
Landmark" http://www.nyu.edu/classes/beaumont/collaboration/
by NYC based artist, Betty Beaumont is an interactive 3D
rendering of an ecological art project. In 1980, Beaumont
dumped 500 tons of processed coal-waste into the sea, 40
miles from the New York Harbor to create a new underwater
ecosystem that would create a "fish haven". The technological
realization of this project exists as a VRML world that recreates
the experience of the blocks falling onto the sea floor.

Digital Representations of Nature
As technological art practices shift from screen-based to
physical installations the potential for ecological art becomes
more varied. By both using natural landscapes and animals from
a particular environment, art can flourish by being not-only site-
specific but also ecologically sensitive. New York based artist,
John Klima's project, Terrain Machine
http://www.cityarts.com/langlois/teramachine.html
is an analog mechanical device interfaced to a computer that
creates a physical recreation of the Earth's surface. A
continuation of his "Earth" simulation, an interactive geo-
spatial visualization system that takes real-time satellite data
from the Internet and maps it onto a 3D model of the Earth's
surface, "Terrain Machine" looks at how we can represent
ecological data in physical form.

Instead of data visualization through networks, Celeste
Boursier-Mougenot and Alan Lockwood's installation "From Here
to Ear" http://www.spiral.org/oldsite/mougenot.html creates a
hybrid space between natural and artificial environments. The
project features 40 zebra finches which are let loose in a space
rigged with hanging harpsichord strings and coat hangers all
connected to an audio system. As the audience enters the
space, the birds move and perch on different structures which
trigger unique ambient sound patterns.

Conclusions
As we move closer to digital ubiquity, there is a fear of leaving
ehind the natural world. Before we attempt to preserve our
natural habitat, we must first be aware of how we are affecting it.
By creating work that illuminates how our technological
existence directly relates to environmental responsibilities,
artists are shifting the importance of eco-consciousness from a
global to a personal level. Technology aids not only the
dissemination of information and meaning across distance and
time, but also allows for insight into the hybridization of the
natural and artificial. These works are meant as a starting point
for understanding the increasing importance of exploring how
ecological practices and technological innovation must exist as
symbiotic entities to ensure a sustainable future.
============================
============================
*Rite Attitude*

The Rite Stuff - David Frankel on Art-Rite
[page 1, excerpted]
Art Forum - January Issue
http://www.artforum.com/inprint/id961

We were riding on the absurdity of the situation--that we were
three nobodies, had no money, had no fame, and didn't know
anybody in the art world. But it was perfect--we were totally free.
Edit deAk, 1974

EDIT DEAK AND WALTER ROBINSON may shudder to hear it,
but talking to them recently about Art-Rite I accidentally
thought of that old movie in which Judy Garland and Mickey
Rooney, teenaged and rural, stage a Broadway-type musical in a
barn: "Hey kids, let's put on a show!" But since the magazine
deAk and Robinson published and edited, and wrote and
designed and typeset and distributed, out of their downtown-
Manhattan lofts between 1973 and 1978 was so open,
emocratic, and fresh-faced, they may think the parallel fine, or
at least poetic justice: They and a third editor, Joshua Cohn,
staged an exhilarating deconstruction (if an exhilarating
deconstruction isn't a contradiction in terms) not only of art
but of art writing, so they must take what they get. In any case:
Judy Garland and Mickey Rooney could really dance.

"An important aspect of Art-Rite," says deAk today, "was a
whole new tone and attitude. It was unheard of to have a sense
of humor at the time, or not to be talking about the problem' of
art--the problem of this, the problem of that. A few years later
the punk magazines came along, and I realized that's what I'd
wanted--I loved those fanzines. That's not what we were, we
were much more formalist, but we were a very different sound
than what was around us."

The fanzine image carries, since Art-Rite had a loving relation-
ship with the art world and particularly with its own generation.
Distributed free, it was "given away," according to an undated
grant application, "in recognition of the community which
nurtures it." The application goes on to describe the
magazine's "close relationship with the art community" and its
reflection of "the younger generation's view. . . For its collective
audience, Art-Rite represents a restless but friendly, constantly
evolving entity." In a statement deAk and Robinson wrote for
Studio Internationalin 1976, the editors admitted to "some
nasty comments about a few major artists," but those artists
"were famous and successful and because they were safe we
couldn't hurt them and since we spent the rest of our life
defending babies we had to attack someplace." Even when the
magazine went negative it did it amicably.

DEAK, ROBINSON, AND COHN MET in 1972, when they were
all in their early twenties and the three of them took an art-
criticism class taught by Brian O'Doherty at Barnard College in
New York. Under another hat O'Doherty was the editor of Art in
America, which he wanted to make new, and he liked to ask his
strongest students to write for it. He extended this invitation to
Cohn, Robinson, and finally deAk, whom, however, it puzzled: "I
thought, Aestheticism must be in trouble if they want baby
blood--I mean, what do we know? We were in the last year of
undergraduate work. I had come from Budapest, didn't even
speak English when I started school. We started giggling; there
must be some weird void--what's wrong with the system that
they want us?" She and the pair she still calls "the boys" did
write for O'Doherty, but they also began to fantasize about
producing a magazine of their own, perhaps as a newsprint insert
in Art in America--"piggybacking on the establishment, having
the establishment distribute the enemy, our voice. This was the
period when people talked about things like that." The insert
idea died but the larger idea stuck, and to make it happen they
enrolled in the Whitney Museum's Independent Study Program,
for which they proposed to publish a magazine as their class
project. Robinson meanwhile had gotten a job as a typesetter
and designer for a Jewish weekly newspaper, and, he says, "We
stole all the type from there until they caught me and I got
fired." And that's how Art-Rite began.

O'Doherty is distinguished and worldly, but he gets a little
mushy about the Art-Rite editors: "They were three extra-
ordinarily gifted people. I never quite saw them as students
because they were pretty well grown up-the personalities were
very rich. Josh had the makings of a very gifted writer, and he
was a delight. Mike [Robinson] was multitalented: He had
eloquence, brilliant descriptive gifts, he was a fine critic, and he
was going to be a really fine artist. Edit was a genius of sorts.
She had something I was very sympathetic to: the enigmas of
Eastern Europe, which at times mirror and superimpose on our
own Irish enigmas. The terms of mind you're familiar with as an
Irishman established a sympathy between me and Edit. She was
the most extraordinary student I ever had."

Read through Art-Rite, though, and I doubt you'll find an essay
that you'll think has the depth or ambition of O'Doherty's "Inside
the White Cube." The magazine had a different purpose, sociable,
sharp, in touch; its strengths were collective and magpie, not the
magisterial grand recit but the agglomerative ground-level view.
Asked to name a highlight of Art-Rite's run, deAk and Robinson
independently choose the same issue: no. 14, dated winter
'76/'77. One of several focusing on a single art form (per-
formance, video, painting), no. 14 examines the artist's book.
[cont'd...] http://www.artforum.com/inprint/id961
============================
============================
*Traffick*

They Buy all the Albums, but Trade Concert Bootlegs
By MATTHEW MIRAPAUL
ARTS ONLINE, NYTimes 1/6/03
http://www.nytimes.com/2003/01/06/arts/music/06ARTS.html?pagewanted=all&position=top

Marc Daniel added 1,400 albums to his compact disc collection
last year. But he is not waging a campaign to reverse the music
industry's declining sales. Almost all the titles he acquired, by
groups like the Grateful Dead and U2, were live concert
recordings that were never officially released. Nor did he buy
them in record shops. Instead, he used the Internet to trade for
them, swapping copies of his discs for recordings he desired.
He said his CD trading with its questionable legality and
exhilarating musical payoff was like "a coke run without any
drugs."

Mr. Daniel, 51, a property manager in Mount Vernon, Wash., is
addicted to music trading, and he is hardly alone. With a
minimum of online searching, fans of virtually any band from
arena-filling superstars to cult-worshiped club acts, can find a
Web site or electronic mailing list to feed a habit for live CD's.
Bob Dylan or Bruce Springsteen? No problem. Illicit recordings,
or bootlegs, of their concerts circulate soon after the last car
leaves the parking lot. But a show by the singer-songwriter Dirk
Hamilton or the electronica musician Luke Vibert? Also no
sweat. In the music world, you're nobody until somebody loves
you enough to want your bootlegs.

While the Grateful Dead, Pearl Jam and other bands allow their
shows to be recorded and freely exchanged, many do not.
Trafficking in unauthorized sound recordings is a violation of
federal copyright law as well as a felony in more than 30 states.
Yet online traders don't seem troubled. Mr. Daniel said he copies
about 90 discs a day to fulfill trades he has arranged. It's all
about bliss. "I don't feel like a criminal," he said. "What I'm
doing is bringing joy to people and bringing joy to me."

Bootlegs are unauthorized recordings, mostly of live per-
formances, that were never meant to be released by musicians
and their labels. Bootleg CD's are different from counterfeit
CD's, which are illegitimate copies of official releases. There are
markets for both.

Just as online song-file sharing has challenged how the music
industry sells its tunes, so too is digital technology altering the
way fans get their hands on bootleg CD's. Although bootlegs,
usually costing $20 to $30 a disc, can still be found in record
stores, it is cheaper and simpler to get them online. Many new
computers have built-in CD recording devices burners and
some blank discs cost less than 50 cents apiece. Because the
Internet enables a band's fans to congregate in one virtual spot,
traders connect easily and make exchanges with a few e-mail
messages and a couple of stamps.

Bootleg trading is not as widespread as Internet file sharing,
however, and it does not provoke as much concern from the
music industry, which worries more about piracy, as when
counterfeit CD's and song-file downloads cut into the sales of
official releases.

Cary Sherman, president of the Recording Industry Association
of America, said the association cannot determine how much
bootlegging occurs. But, he said, "the piracy problem is
obviously a lot larger in scope, both in the physical world and
online, because more people are trading and pirating best-
selling discs than bootlegs of live concerts."

This explains why the association has not been especially
aggressive in clamping down on bootleg trading. There are
practical considerations, too. Musicians must object to specific
live recordings before the association will step in. While some
artists might grouse about retailers who profit from selling their
bootlegs, online trades rarely involve money. Artists who
prosecute individual fans for merely indulging in music beyond
their official CD's would be about as cool as a Guy Lombardo
record.

Traders argue that they are performing a public service by
undercutting commercial bootlegs. A Philadelphia trader said he
used to buy bootleg CD's in stores but started an online mailing
list for Rolling Stones concerts that now has 1,700 subscribers.
"Once you see that you can trade for the thing for 10 cents a
disc," he said, "why waste your money?"

Even in cases where bands do not sanction live recordings,
traders rationalize their actions. First and foremost, they say,
they do not cost the musicians any sales because they already
own all their favorite band's official albums. More important, they
argue that they are documenting musical history.

The Philadelphia trader, who has 733 Stones concerts in his
collection, said, "Just preserving that legacy, that 40 years of
music, that's the most important thing to us." For instance, he
said that "L.A. Friday," a bootleg of a 1975 Stones concert, was
more vivid than "Love You Live," the band's official concert album
of that time.

Clear sound and glitch-free recordings are just as important to
bootleg traders as performance quality. Shows are traded by
mail rather than over the Internet as MP3 files to assure the
highest possible fidelity. Online traders shun poorly recorded
discs and passionately debate the merits of recordings of the
same show made by different people. To come up with the best
possible version of a concert, some traders blend recordings
from more than one source, using software to cover rough spots,
then distribute it to their group. Because the copies are digital
duplicates, they do not accrue layers of hiss like recordings on
audio cassettes.

Online traders are not hard to find. For instance, a search of the
Groups section of yahoo.com yields more than 400 clubs
devoted to music trading, authorized and unauthorized. And
some collectors list the concerts they own and the ones they
are seeking on their own Web sites.

Initiating a trade usually requires no more effort than sending a
request to another trader with a list of what's in one's own
collection. Beginners with nothing to swap can offer to send
blank discs with return postage.

Some groups set up trading "trees": a source sends copies of a
concert to two or three traders, who in turn send them to two or
three others, and so on. Variations of this system include a
"vine" whereby a disc passes from trader to trader, being copied
at each stage. Some traders also create Web sites from which
cover graphics and track listings can be downloaded and printed.

The Internet has quickened the trading process. In the days
before e-mail, traders would respond by mail to classified ads in
music magazines. A trader outside Philadelphia who founded an
electronic mailing list for Pearl Jam shows said, "Before, it took
weeks if not months," but now it's so fast that recordings of four
December shows by Pearl Jam have already been distributed to
hundreds of collectors.

Mr. Daniel admits that he has yet to listen to every minute of
every CD in his collection. But he continues to trade at a
feverish rate. Last week, he gained a new rationale for his
obsession. A musician told him he had stopped drinking on
stage when he realized that all his performances were being
circulated. Mr. Daniel said, "It causes them to play better
knowing that every note is going to be heard by somebody in
Australia."
============================
============================
*Classified*

1)
Sublet available:
>From Jan 23 - Feb 15 2003
East Williamsburg Loft, 130 m2/1400 Sqft, big windows on two
sides, wooden floor, 15-20 min by subway from Union Square
(L-train, 5th stop in Brooklyn).

contact Christoph at: 718 628 1129
or: draegerusa@thing.net
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
2)
$435 for 400 sq. ft in Dumbo Brooklyn
I'm looking for a professional artist to share a studio space
with. The studio has light and high ceilings and it easy to
get to via the F and A/C train lines. There will be a wall
dividing the space for privacy.

Many artists in the building and galleries in the area.
Please e-mail: pstjacques@nyc.rr.com
For serious inquiries only.
============================
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