Marisa Olson
Since the beginning
Works in Brooklyn, New York United States of America

ARTBASE (7)
PORTFOLIO (3)
BIO
Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work has been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, PERFORMA Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Liberation, Folha de Sao Paolo, the Village Voice, and elsewhere.

Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.

Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.

Collectible After All: Christiane Paul on net art at the Whitney Museum


The Whitney Museum artport has been an important institutional presence in net art and new media since its launch in 2002. Created and curated by Christiane Paul, artport features online commissions as well as documentation of new media artworks from the museum's exhibitions and collections. This year, artport as a whole was made an official part of the Whitney Museum collection; to mark this occasion, participating artist Marisa Olson interviewed Paul about the program's history and evolution over thirteen years.

 Douglas Davis, image from The World's First Collaborative Sentence (1994).

Collections like artport are a rare and valuable window onto a field of practice that, in some senses, was borne out of not being taken seriously. From mid-80s Eastern European game crackers to late-90s net artists, the first people working online were often isolated, by default or design, and were certainly marginalized by the art world, where few curators knew of their existence and fewer took them seriously, advocated for them, or worked to theorize and articulate the art historical precedents and currents flowing through the work. Help me fast-forward to the beginning of this century at one of the most important international art museums. Many of the US museums that funded new media projects did so with dot-com infusions that dried-up after 2000. Artport officially launched in 2001; the same year, you curated a section devoted to net art in the Whitney Biennial. What was the behind-the-scenes sequence of events that led to artport's founding?

I think artport's inception was emblematic of a wave of interest in net art in the US around the turn of the century and in the early 2000s. This more committed involvement with the art form interestingly coincided with or came shortly after the dot com bubble, which inflated from 1997–2000, had its climax on March 10, 2000 when NASDAQ peaked, and burst pretty much the next day. Net art, however, remained a very active practice and started appearing on the radar of more US art institutions. To some extent, their interest may have been sparked by European exhibitions that had begun to respond to the effects of the web on artistic practice earlier on. In 1997, Documenta X had already included web projects (that year the Documenta website was also famously "stolen"—that is, copied and archived—by Vuk Cosic in the project Documenta: done) and Net Condition, which took place at ZKM in 1999/2000, further acknowledged the importance of art on the web.

US museums increasingly began to take notice. Steve Dietz, who had started the Walker Art Center's New Media Initiatives early on, in 1996, was curating the online art Gallery 9 and digital art study collection. Jon Ippolito, in his role as Associate Curator of Media Arts at the Guggenheim, was commissioning net art in the early 2000s and in 2002, Benjamin Weil, with Joseph Rosa, unveiled a new version of SFMOMA's E-space, which had been created in 2000. This was the institutional netscape in which I created artport in 2001, since I felt that the Whitney, which had for the first time included net art in its 2000 Biennial, also needed a portal to online art. The original artport was much more of a satellite site and less integrated into whitney.org than it is now. Artist Yael Kanarek redesigned the site not too long after its initial launch and created version 1.1. Artport in its early days was sponsored by a backend storage company in New Jersey, which was then bought by HP, so HP appeared as the official sponsor. I think it is notable that sponsorship at that point did not come from a new tech company but a brand name that presumably wanted to appear more cutting edge.


booomerrranganggboobooomerranrang: Nancy Holt's networked video


Nancy Holt, Boomerang (1974), still from video.

In her time on this planet, Nancy Holt came to be known as a great American Land Artist, and certainly her brilliant installations, like Utah's Sun Tunnels and collaborations with her partner Robert Smithson and their peers, are profoundly significant, but it was her work in film & video that has had the greatest personal impact on me.

I somehow didn't see Boomerang, her 1974 video performance usually credited to her collaborator Richard Serra, until I was a Ph.D. student in Linda Williams's Phenomenology of Film seminar at UC Berkeley's Rhetoric program, but the time delay was more than made up for by the work's formative resonance. In the video, made during Serra's residency at a Texas television station, a young Holt is seen sitting in an anchor's chair before a staid blue background. Despite brief station ID graphic overlays and one minute of silence in the midst of the ten-minute piece (announced as audio trouble and reminding viewers of the work's live TV origin), the work is in many ways sound-centric.


Sound and Image in Electronic Harmony


semiconductor_nanowebbers.jpg
Image: Semiconductor: Ruth Jarman and Joseph Gerhardt, 200 Nanowebbers, 2005

On Saturday, April 11th, New York's School of Visual Arts will co-present the 2009 Visual Music Marathon with the New York Digital Salon and Northeastern University. Promising genre-bending work from fifteen countries, the lineup crams 120 works by new media artists and digital composers into 12 hours. If it's true, as is often said, that MTV killed the attention spans of Generations X and Y, this six-minute-per-piece average ought to suit most festivalgoers' minds, and the resultant shuffling on and off stage will surely be a spectacle in its own rite. In all seriousness, this annual event is a highlight of New York's already thriving electronic music scene and promises many a treat for your eyes and ears. The illustrious organizers behind the marathon know their visual music history and want to remind readers that, "The roots of the genre date back more than two hundred years to the ocular harpsichords and color-music scales of the 18th century," and "the current art form came to fruition following the emergence of film and video in the 20th century." The remarkable ten dozen artists participating in this one-day event will bring us work incorporating such diverse materials as hand-processed film, algorithmically-generated video, visual interpretations of music, and some good old fashioned music-music. From luminaries like Oskar Fischinger, Hans Richter, and Steina Vasulka to emerging artists Joe Tekippe and Chiaki Watanabe, the program will be another star on the map that claims NYC as fertile territory for sonic exploration. - Marisa Olson

READ ON »


Tagalicious


Picture-1.jpg

The National Museum of Contemporary Art (EMST) in Athens, Greece, has committed itself to curating a number of recent exhibitions of internet art. Their current show, "Tag Ties and Affective Spies," features contributions from both net vets and emerging surfers, including Christophe Bruno, Gregory Chatonsky, Paolo Cirio, JODI, Jonathan Harris and Sep Kamvar, Les Liens Invisibles, Personal Cinema and The Erasers, Ramsay Stirling, and Wayne Clements. The online exhibition takes an antagonistic approach to Web 2.0, citing a constant balance "between order and chaos, democracy and adhocracy." Curator Daphne Dragona raises the question of whether the social web is a preexisting platform on which people connect, or whether it is indeed constructed in the act of uploading, tagging, and disclosing previously private information about ourselves on sites like Flickr, YouTube, and Facebook. Dragona asks whether we are truly connecting and interacting, or merely broadcasting. While her curatorial statement doesn't address the issue directly, the show's title hints at the level of self-surveillance in play on these sites. Accordingly, many of the selected works take a critical, if not DIY, approach to the internet. The collective Les Liens Invisibles tends to create works that make an ironic mash-up of the often divergent mantras of tactical media, culture jamming, surrealism, and situationism. In their Subvertr, they encourage Flickr users to "subverTag" their posted images, creating an intentional disassociation between an image's content and its interpretion, with the aim of "breaking the strict rules of significance that characterize the mainstream collective imaginary..." JODI's work, Del.icio.us/ winning information (2008) exploits the limited stylistic parameters of the social bookmarking site. Using ASCII and Unicode page titles to form visual marks, a cryptic tag vocabulary, and a recursive taxonomy, their fun-to-follow site critiques the broader content of the web ...

READ ON »


Reappearance of the Undead


agatha_appears_lialina.gif

In 1997, internet art hall-of-famer Olia Lialina made a "net drama" called Agatha Appears that was written for Netscape 3 and 4 in HTML 3.2. One of the main features of the interactive narrative was the travel of the eponymous avatar across the internet. Let's just say the girl got around. But the magical illusion of the piece was that she appeared to stay still, even when links in the narrative were clicked and the viewer's address bar indicated movement to another server. But in time, both the browser and code in which the story was written became defunct and the piece unraveled as the sites previously hosting the links and files upon which Agatha was dependent disappeared or cleaned house. Such a scenario is common to early internet art (and will no doubt continue to plague the field), as ours is an upgrade culture constantly driving towards new tools, platforms, and codes. Many have debated whether to let older works whither or how it might be possible to update these works, making them compatible with new systems. For those who are interested, some of the best research on the subject has been performed by the folks affiliated with the Variable Media Initiative. Meanwhile, luddites and neophiles alike are now in luck because Agatha Appears has just undergone rejuvenation. Ela Wysocka, a restorer working at Budapest's Center for Culture & Communication Foundation has worked to overcome the sound problems, code incompatibilities, and file corruption and disappearance issues, and she's written a fascinating report about the process, here. And new collaborating hosts have jumped in line to bring the piece back to life, so that like a black and white boyfriend coming home from war, Agatha now offers us a shiny new webring as a token of ...

READ ON »



Discussions (281) Opportunities (10) Events (4) Jobs (0)
DISCUSSION

Fwd: The First Intergalactic Art Exposition


---------- Forwarded message ----------
From: Jonathon Keats <jonathon_keats@yahoo.com>

For Immediate Release

EXTRATERRESTRIAL ABSTRACT ART DETECTED BY RADIOTELESCOPE
Conceptual Artist Jonathon Keats to Curate First Intergalactic Art Exposition

SAN FRANCISCO, CA - Concluding centuries of speculation about
extraterrestrial intelligence,
conceptual artist Jonathon Keats has discovered that a radio signal
detected by the Arecibo Observatory in Puerto Rico contains artwork
broadcast from deep space. Initially dismissed by researchers as
meaningless, the transmission -- which originated between the
constellations Aries and Pisces thousands of years ago -- may be the most
significant addition to the artistic canon since the Mona Lisa, or even
the Venus of Willendorf.

Painstakingly decoded and converted into digital images by Mr. Keats, the
artwork will be displayed for the first time, later this month, on the
planet's most ubiquitous exhibition platform, currently in the hands of
one third of the world population: the cellphone. Distributed through a
special agreement with pioneering online art gallery StartMobile.net, the
images will be available in an unlimited edition for download as cellphone
wallpaper. "This is the ultimate outsider art," notes Mr. Keats.
"Historically our culture has ignored extraterrestrial artistic
expression. As curator of the First Intergalactic Art Exposition, my job
is to make it available to everyone."

The discovery of artwork from beyond the Milky Way did not come as a
surprise to Mr. Keats, who has written about outsider art often as the art
critic for San Francisco Magazine. "It's a familiar story," he says.
"Scientists expect intelligent life elsewhere in the universe to behave
just like them. Since scientists are mathematical, they expect
extraterrestrials to broadcast Boyle's Law or the Pythagorean theorem."

Mr. Keats began seriously to question the wisdom of these assumptions
while conducting independent research earlier this year. "If I were an
extraterrestrial trying to communicate with beings elsewhere in the
universe, I certainly wouldn't transmit something they already knew," he
argues. "I'd try to express something about myself, as profound as
possible, in the most universal language I could imagine: I'd send art."

From this novel perspective, Mr. Keats reviewed one of the most promising
candidate signals formerly dismissed by astronomers, SHGb02+14a. By using
radio frequency to determine color, and time signature to determine
orientation, he discovered that patterns incomprehensible scientifically
were in fact extraterrestrial abstract artwork.

Sources close to Mr. Keats indicate that the StartMobile project is only
the beginning for
intergalactic art, hinting that preliminary discussions about exhibiting
extraterrestrial abstract
artwork in major cultural institutions are already underway. "While it's
too soon to predict how this
work will change our understanding of intergalactic diversity, or the
commonality of intelligent life
everywhere, I believe that ongoing interplanetary exchange is crucial,"
Mr. Keats argues, urging people to purchase extraterrestrial abstract
artwork as cellphone wallpaper -- at a cost of $1.99 per download -- and
vowing that the money will be put to good use: One percent of all proceeds
will be set aside in a special fund to compensate extraterrestrial artists
for their contribution to world culture, and an additional one tenth of
one percent will be used to establish a satellite museum, orbiting Earth,
to broadcast terrestrial artwork throughout the cosmos.

Represented by Modernism Gallery in San Francisco, Jonathon Keats is known
for his pragmatic approach to art. Most recently, he personalized the
metric system. He has also previously attempted to genetically engineer
God in a petri dish, in collaboration with researchers at the University
of California, and petitioned Berkeley to pass a fundamental law of
logic-- A=A -- a work commissioned by the city's annual Arts Festival. For
more information, please see www.modernisminc.com/artists/jonathon_keats
or view sample media coverage at the following URLs:

http://www.kqed.org/spark/artists-orgs/jonathonke.jsp

http://www.sfweekly.com/issues/2004-08-18/news/feature.html

http://www.sfgate.com/cgi-bin/article.cgi?file=/gate/archive/2004/10/20/god.DTL

http://www.wired.com/news/culture/0,1284,65066,00.html

http://news.bbc.co.uk/2/hi/uk_news/magazine/3217423.stm

http://www.wired.com/news/culture/0,1284,60757,00.html

http://www.legalaffairs.org/issues/March-April-2003/scene_marapr03_slater.html

http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/08/13/BA200448.DTL

http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/04/16/DD58324.DTL

http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/10/31/DD25908.DTL

. . .
StartMobile Gallery can be accessed online at www.startmobile.net. Media
queries or requests for
images should be directed to Mr. Keats at jonathon_keats@yahoo.com

# # #

DISCUSSION

Fwd: [spectre] Open Call for Two-month Residencies in Prague for 2006


---------- Forwarded message ----------
From: eleven <ll@detritus.net>
Date: Nov 12, 2005 6:38 AM
Subject: [spectre] Open Call for Two-month Residencies in Prague for 2006
To: spectre list submissions <spectre@mikrolisten.de>

(?eska verze dole)

-=-=-=-=-=-=-

The DEAI Civic Association

announces

An Open Call for a two Two-month Residency at
Open Studios Prague Dolni Pocernice (Czech Republic)

http://openstudios.info/

The goal of the residency is to support the development of individual
work and the collaboration of international artists.

Both Czech and foreign artists are eligible to apply. Applicants
should propose a suitable project for the facilities available (see
http://openstudios.info/en/about.html) Work should be of a high
quality, ideally with an interest in communication with colleagues
who will be staying concurrently in the studios. Applicants should
have a good command of English.

For the selected artists the cost of the studio/living space will be
covered. The resident will also receive reimbursement for materials
used in the project of 8.000 CZK (minimum). There may also be an
opportunity, pending mutual agreement, to exhibit works at the
Skolska 28 Gallery (see http://skolska28.cz/). The artist is expected
to reside on the premises for the bulk of their residency. Artists
are responsible for their own insurance, travel and food during their
stay.

The application must include:

* Contact data, permanent place of stay
* Motivation letter no longer than two pages detailing what the
artist intends to work on during the residency
* CV of professional work
* Documentation of recent work
* Preferred dates for the residency

Project is to be mailed or be given in person to:

Dana Recmanova
Komunika?ni prostor Skolska 28
Skolska 28, 110 00 Praha 1, Czech Republic
dana@skolska28.cz

Deadline: 22 December 2005

* Applications received postmarked after the deadline will not be
accepted.
* Application materials will not be returned unless accompanied by
International postal return coupons.
* Residents will be selected by panel of art professionals.
* Applicants will be notified of the panel's decision not later than
16 January 2006.

The Open Studios Program was initiated by the Linhart Foundation in
1999 in cooperation with the municipal district Praha Dolni Pocernice
and with the support of the City of Prague. Since 2005, the program
is managed by the civic association DEAI, continuing the activities
of the Linhart Foundation.

-end-

-=-=-=-=-=-=-

Ob?anske sdruzeni DEAI/setkani

vypisuje

dva dvoum?si?ni tv?r?i pobyty v Otev?enych atelierech Praha
Dolni Po?ernice

http://openstudios.info/

Cilem programu je poskytnuti zazemi pro individualni tvorbu a
podpora mezinarodni um?lecke spoluprace.

O pobyt mohou zadat domaci i zahrani?ni um?lci. P?edpokladem
je vhodny projekt pro program v OA (http://openstudios.info/en/
about.html), vysoka um?lecka urove?, zajem o komunikaci s
kolegy, kte?i budou ve stejnou dobu pobyvat v atelierech, a dobra
znalost mluvene angli?tiny.

Vybranym um?lc?m budou hrazeny naklady na atelier (zarove?
slouzi jako ubytovani) a naklady
na material (v zavislosti na projektu a vysi o?ekavanych
grant?, minimaln? vsak ve vysi 8.000 K?). Prace vznikle v
pr?b?hu pobytu je mozne po dohod?
prezentovat v Galerii Skolska 28 (http://skolska28.cz/). Od
vybranych um?lc? se o?e kava, ze v mist? stravi celou dobu
sveho pobytu.

Zadost o ud?leni tv?r?iho pobytu musi obsahovat:

* Kontaktni udaje, trvale misto pobytu
* Motiva?ni dopis (jak sv?j pobyt vyuziji pro svou profesionalni
praci a tvorbu) v rozsahu max. dvou stran
* Profesni zivotopis zadatele a p?ehled dosavadnich
realizovanych projekt?
* Obrazovou dokumentaci tvorby z poslednich let
* Uvedeni preferovaneho terminu p?ipadneho pobytu

Projekt zpracovany podle uvedenych podminek musi byt zaslan
postou nebo osobn? doru?en na adresu:

Dana Recmanova
Komunika?ni prostor Skolska 28
Skolska 28, 110 00 Praha 1
dana@skolska28.cz

Uzav?rka p?ihlasek: 22. prosinec 2005

* Po terminu p?edlozene zadosti (rozhoduje razitko posty)
nebudou do vyb?roveho ?izeni za?azeny.
* Zaslane zadosti se nevraci.
* Zadosti posoudi odborna rada.
* O vysledku konkurzu budou p?edkladatele vyrozum?ni nejpozd?ji
do poloviny ledna 2006.

Program Otev?ene Ateliery Praha Dolni Po?ernice zahajila
Linhartova nadace v roce 1999 ve spolupraci s obecnim u?adem Praha
Dolni Po?ernice a za podpory hl. m?sta Prahy. Od roku 2005 jsou
Otev?ene Ateliery Praha Dolni Po?ernice a Komunika?ni prostor
Skolska 28 spravovany ob?anskym sdruzenim DEAI, ktere
navazalo na aktivity Linhartovy nadace.

-konec-

-=-=-=-=-=-=-

\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_
SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre

DISCUSSION

Telephonic Art @ Pacific Film Archive


Hi. This is a very cool two-night series organized by Steve Seid of the
PFA/ Berkeley Art Museum. I'll be performing a monologue of sorts, called
"What My Telephones New About Me," on the first night (Weds 11/16) and
there are many other great artists (Andy Warhopl, Christian Marclay, Lee
Walton, Jon Brumit, Golan Levin, Chris Sollars, and others) throughout the
two nights...

---------- Forwarded message ----------
From: Steve Seid <seidtrak@berkeley.edu>
Date: Nov 10, 2005 5:54 PM
Subject: Answer that phone...

Pacific Film Archive presents:
BUSY SIGNALS: TELEPHONIC ART IN MOTION
A two-part series: Wed Nov 16 & Wed Nov 30

Bring Your Camera Phones!

Though classified as a communications device, the telephone really is an
instrument of culture. The phone has always shaped the way people relate
by collapsing distance, reinventing conversation, even questioning the
notion of privacy. But in recent years, especially with the advent of the
cell phone, this device has been at the hub of a lively and inventive
commerce in data delivery, fashion, recreation, intercourse, and even art.
Now we have miniaturized movies dropped into waiting receivers; camera
phones uploading stills to Web storage; ringtones merchandised as personal
branding; text messaging coming on like a poetry slam. As usual, artists
have answered the call, wringing minimalist melody from polyphonics,
disrupting the everyday with creative pranks, or simply investigating the
meaning of messages from nowhere. Join us for two evenings of Busy
Signals: toney performance, cellular trickery, and films about phones. We
promise, not a single wrong number.

Wed Nov 16
7:30 Rotary
Live Performance by Marisa Olson.

Andy Warhol's riotous 1973 quasi-TV show Phoney stars his Factory
luminaries, while Christian Marclay's Telephones stars just about everyone
famous as he pillages Hollywood films for a montage about the anxiety of
human intercourse. Also, works from the British Pocket Shorts, and a live
telephonic performance by Marisa Olson. Plus many surprises!

***
On both evenings, Benjamin Hill and Carrie Burgener from UC Berkeley's
School of Information Management and Systems will involve us in a
projected mosaic using your camera phone images as raw material.
***

Second week:
Wed Nov 30
7:30 Touchtone
Live Performance by Jon Brumit.

Some filmmakers are closet phonephreaks, and tonight's program brings them
out of the phone booth: works by Eric Saks, Chris Sollars, Golan Levin,
Lee Walton, and others. Composer Jon Brumit will conduct live telephonic
musical auditions. Once again, bring your camera phones for a projected
mosaic using your images.

The Pacific Film Archive theater is located at 2575 Bancroft Way, one
block east of Telegraph Avenue, in Berkeley. for more info: 510.642.1412.

--

Steve Seid
Video Curator
Pacific Film Archive
2625 Durant Avenue
Berkeley, CA 94720-2250
510/642-5253
www.bampfa.berkeley.edu/pfa_programs/index.html

DISCUSSION

Fwd: GPSdiary.org


---------- Forwarded message ----------
From: Thorsten <mail@gpsdiary.org>
Date: Nov 10, 2005 8:55 AM
Subject: Press Release - GPSdiary.org

Launch of GPSdiary.org

Online from today - 10 November 2005

website: http://www.gpsdiary.org

GPSdiary.org is an online archive of an art project, in which artist
Thorsten Knaub recorded his daily movements over the course of a year by
carrying a Global Positioning System (GPS).

For further information on GPSdiary.org please contact:

+44(0)7956 830 157 or email: info@gpsdiary.org

DISCUSSION

Fwd: Announcing: "Explorer Destroyer" and "Kill Bill's Browser"


This will be of interest to those following browser battles and/or
interested in how the popularity of certain browsers effects the usability
of certain web-based art projects. It also outlines a way to "get Google's
money."

---

Subject: Announcing: "Explorer Destroyer" and "Kill Bill's Browser"
From:"Downhill Battle - Action Lists" <action@downhillbattle.org>
Date: Wed, 09 Nov 2005 10:06:05 -0500

Hey everyone,

Today we're starting a Downhill Battle-style campaign to switch users from
Microsoft Internet Explorer (boo!) to Firefox (yeah!). Many have worked
on this noble cause, but we think now's the time to step it up a
notch--and get people paid in the process.

Check it out, and pass it on to friends (especially anybody with a website):

http://www.explorerdestroyer.com

and

http://www.killbillsbrowser.com

Google is offering $1 for every referral to Firefox with Google toolbar.
So, we made a free script that you can install on your website to detect
IE and encourage people to switch. For every user you encourage to
switch, you get a $1.

For some time now, some of us who work on Downhill Battle have been been
thinking about trying to get more aggressive about switching people from
Internet Explorer to the better, open source browser, Firefox. When
Google announced the bait, we figured the time was right to help
sites get their readers to switch. It's very possible to get Internet
Explorer down to under 50% of all web browsers. This is the best chance
we've ever had.

Today we have two new sites for that campaign. You can go to our first
more serious site to get the script to install on your website and get
Google's money. Check it out:

http://www.explorerdestroyer.com

The second is a parody site. It also tells you why Firefox is worth
switching to. You know how we do. Send it to friends, maybe it'll help
convince them to switch.

http://www.killbillsbrowser.com

So, let's give Internet Explorer that death blow it's been begging for.
Get the script or tell your friends who run websites to get the script.

Let us know how you like it, and please, spread it around.

Enjoy and destroy,

Nicholas, Holmes, Nick, Tiffiniy

----
downhillbattle.org