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!! 1999 ---- {br}{br} '''May 1999''' {html} <TABLE BORDER="0" width="100%"> <TR><TD width="100%"> <hr style="height: 10px; margin: -0.5em 0; padding: 0; color: #F00; background-color: #F00; border: 0;"> </TD></TR></TABLE> {/html} * '__Web casting of ''' “Five29Ninety9”''' a one-day art symposium with 24 lectures, an exhibition, and a SoundLab performance; at St. Ann’s Church, Brooklyn,NY, May 29, 1999.__'{br}{br}{small}Five29Ninety9 - a one-day symposium and exhibition{br}...................................................................{br}^http://www.thing.net/~Five29Nintey9{br}...................................................................{br}Five29Ninety9, to be held May 29th, 1999 at St. Ann's Church, 157 Montague St., Brooklyn Heights, brings international artists, writers, and other cultural producers together for a one-day symposium composed of 24 lectures, a self-curated exhibition, and a SoundLab event.{br}Rather than imposing a prescribed theme, Five29Ninety9 will create a surface, a quorum with no predetermined conclusion. Participants will reflect the present moment through discussions of their work and related concerns, opening a dialogue and creating a network among people interested in contemporary/political/intellectual issues in the context of cultural production. Five29Ninety9 is organized by a group of New York-based artists and curators, which include: Matthew Buckingham, Rike Frank, Andrea Geyer, Sharon Hayes, Kristin Lucas, Joe McKay, and Andrea Ray. {br}Beginning at 10am and concluding at 11pm, the symposium will be a marathon of sorts, consisting of 24 thirty-minute lectures. The short-lecture format allows a maximum number of participants to present a great quantity of ideas. Rather than a one-way communication between speaker and audience, the event's environment allows for discussions initiated at the podium to continue informally throughout the day. {br}The speakers encompass a wide range of interests exceeding traditional borders between different disciplines. Each speaker will discuss a project or idea that is of immediate special interest to them: their own or another's artwork, a political condition, a phenomena.... The symposium alters the form of the traditional artist's talk, replacing it with an opportunity to speak from one's position without necessarily becoming the subject of discussion. Speakers include Beth Coleman, Martin Conrads, Ania Corcilius, Dyke Action Machine (DAM!), Yolande Daniels, Katja Eydel, Ciara Finnegan, Leah Gilliam, Howard Goldkrand, Brian Hand, Christan Haye, Lana Lin, May Day Productions,Tim Maul/Fred Szynanski, Sally McKay, Donna Minkowitz, Nils Norman, Walid Raad, Anna Rainer, Orla Ryan, Manuel Schilcher, Reginald Cortez Woolery, and Florian Wüst.{br}The exhibition, occurring simultaneously with the symposium, will be active and open for use from 9AM to 11PM offering all participantsÐthe speakers as well as the audience space and a VCR/monitor to show artwork, documentation and other projects. The exhibition will continually change, reflecting the audience as it comes and goes an exhibition self-curated through public presence. {br}At 11pm, as a conclusion to Five29Ninety9, SoundLab will create a social environment for all participants a cross-platform multi-media event, an example of what they call 3experiments for the electrotechtural now.2 Cultural Alchemy, the producers of the SoundLab event, have also produced such happenings as Abstrakt Future Lounge, Bandwidth, and Temporal Dissonance, a reading project. Howard Goldkrand and Beth Coleman are the co-directors of Cultural Alchemy, with additional members, including Akin Atoms, Enrique Candioti, Paul D. Miller, and Craig Willingham. {br}The entire Five29Ninety9 event will appear on the internet in a live webcast originating at the site of the symposium. {br}For further information contact (phone & fax) 212.674.5408{br}''Source : http://www.nettime.org/Lists-Archives/nettime-l-9905/msg00182.html ''{br}{br}---- ''Source : http://maeveconnolly.net/texts/MConnolly_AConstructiveLackofAgenda_CIRCA_1999.pdf ''{/small}{br}{br}[../files/articles/TheThing/1999/Five29Ninety9_2p.jpg\|../files/articles/TheThing/1999/Five29Ninety9_2.jpg] [../files/articles/TheThing/1999/Five29Ninety9_1p.jpg\|../files/articles/TheThing/1999/Five29Ninety9_1.jpg] {br}{br} '''May 1999''' {html} <TABLE BORDER="0" width="100%"> <TR><TD width="100%"> <hr style="height: 10px; margin: -0.5em 0; padding: 0; color: #F00; background-color: #F00; border: 0;"> </TD></TR></TABLE> {/html} * '__ '''Bindi''', web project by Prema Murthy for The Thing ^[project^] section.__'{br}{br}{small} Bindigirl is a character or Murthy´s avatar. She is a construct of fe/male desire, created out of what is deemed ´exotic´ and ´erotic´. Murthy takes Bindigirl pictures of herself and juxtaposes them with ancient Indian texts excerpted from Hindu Deity mythologies and The Kama Sutra as translated by Sir Richard F. Burton. Master Card, Visa, and American Express cards accepted for merchandise and special live video performances.{br}{br}According to Prema Murthy, Bindi is a girl born out of the "exotic" and "erotic." She is the embodiment of desire for and of the "other"-the desire of wanting to be known, or to know on an intimate level, and at the same time finding safety, even power, in distance, in being mysterious. Liberation in not being easily categorized. Bindigirl is the product of a colonialist mentality. She is aware that she is being watched, and asks for something in return for being looked at, to mimic the symbiotic relationship that exists in the "real" world between the colonized and the colonizer. Not only does a desire to conquer the Other exist in colonialism, but a longing by the Other for the conqueror and his or her (capitalist) ideals exists as well. This pattern of desire and longing must be re-evaluated before we can move on into a post-colonial territory. {br}Bindi is Murthy's avatar. Not only is she her alias in the virtual world, but a play on the word, which in India means an incarnation of a Hindu deity, the embodiment of an archetype. In this case she is the embodiment of the "goddess/whore" archetype which has historically been used to simplify the identity of women and their roles of power in society. Bindi is neither here nor there but exists in screenal space. She is somewhere between a question and an answer. {br}{br}There is sometimes a fine line between pornography and art. With Bindigirl, Prema Murthy explores that line. With the site she creates a fictional character Bindigirl, who is an online cam girl. Through this character she explores the concepts of voyeurism versus participation, ownership of sexuality, and how we use the technology we develop. She says "bindi is meant to poke fun at how we have used these tools so far to achieve a so-called "higher existence" and "greater cultural understanding." She also uses the Bindi dot as censorship as commentary of how out religious icons have lost their meaning as we've "progressed."{br}"The idea of the bindi originated to symbolize the sacred third eye. It also came to signify women's marital status in India. But even now the idea of the bindi for Indian girls has become totally decorative. Back in the day it was made with red powder. Now they're made from disposable stickers you can stick on. So, even in India the meaning has been distorted. There's been another layer of distortion added through its co-opting by pop media and pop culture. Now the bindi has become this trendy fad but women in Queens who wear bindis still get harassed. There's this whole gang of people who call themselves "dot busters" and they harass these women and commit violent crimes against them. In Bindigirl, the round circles I placed over body parts was to play with this idea of what is the sacred and what can be bought. For example, in an art gallery, a red dot by a piece of art it means its been sold. "{br}{br}---- ''Source : http://www.thing.net/~bindigrl/ ''{br}''Source : http://web.mit.edu/cms/Events/race/gallery.html ''{br}''Source : http://perc3618.blogspot.fr/2009/10/bindigirl-prema-murthy-1999-there-is.html ''{br}''Source : http://likeawhisper.wordpress.com/2010/08/31/advertising-for-traffickers/ ''{/small}{br}{br}[../files/articles/TheThing/1999/bindi0.jpg\|../files/articles/TheThing/1999/bindi0b.jpg] [../files/articles/TheThing/1999/bindi5.jpg\|../files/articles/TheThing/1999/bindi5.jpg] [../files/articles/TheThing/1999/bindi1.jpg\|../files/articles/TheThing/1999/bindi1b.jpg] [../files/articles/TheThing/1999/bindi2.jpg\|../files/articles/TheThing/1999/bindi2b.jpg] [../files/articles/TheThing/1999/bindi3.jpg\|../files/articles/TheThing/1999/bindi3b.jpg] [../files/articles/TheThing/1999/bindi4.jpg\|../files/articles/TheThing/1999/bindi4b.jpg] {br}{br} '''March 1999''' {html} <TABLE BORDER="0" width="100%"> <TR><TD width="100%"> <hr style="height: 10px; margin: -0.5em 0; padding: 0; color: #F00; background-color: #F00; border: 0;"> </TD></TR></TABLE> {/html} * '__'''“CyberArt99”''' — How to make money with net art! Absolutely legal! — mailing list hosted by and, exclusively, web-archived on The Thing web site.__'{br}{br} \|t [../files/articles/TheThing/1999/cyberart-logo.jpg]{br}[../files/articles/TheThing/1999/asci-logo.jpg]\|t {small}Moderated by Cynthia Pannucci/ASCI with invited participants, including Max Anderson, Director of the Whitney Museum; John Ippolito, Guggenheim Museum; Martha Wilson, Franklin Furnace; Steve Dietz, Dir./New Media Initiatives, Walker Art Center; Bill Jones, Editor/Artbyte Magazine; Randall Packer, UC Berkeley; Robert Atkins, art critic; Kevin Teixeira, Intel Corp.; Doree Duncan Seligman, BellLabs Comm. Software Research Dept.; Mark Napier, artist; Wolfgang Staehle, artist/Dir.The Thing, and others. {br}CYBERART99: seeking solutions, May 9: New York City, — ^http://www.asci.org/cyberart99/ — a symposium designed not only to analyze the current state-of-the-art of online digital arts but to propose different models for financial support of this work in the future. Contact: ASCI, 718.816.9796{/small}\| {br}{br}{small}It's been four years since ASCI produced what was probably the world's first CyberFair at Cooper Union, NYC. Michael Govan, Director of the DIA Center in New York and internationally renowned performance artist, Laurie Anderson were keynotes. The field of cyberart has evolved and changed dramatically since those early days. The issues at the end of the twentieth century are no longer how to get access, how to create your own homepage, or how to use the Internet to make art. Artists have pushed this globally interactive medium in all kinds of creative ways: hypertext poetry, multimedia works, and even live performances. Categories have been created at prestigious international competitions to recognize and reward the best and most innovative work in this newest of digital art media. However, there are pressing questions that need resolution if this young artform is to survive and flourish.{br}At CYBERART'99, you will see and hear how artists and museums are dealing with the unique challenges of this rapidly developing "virtual" art. As a medium that cannot be sustained by the traditional commercial gallery model, webart requires new solutions regarding its production, presentation, and maintenance. This all-day event brings together some of the world's most creative digital minds in a unified effort to invent concrete and viable '''new models''' of support.{br}The event format is designed to first provide an important historical context· history being a relative term in this field. Highly recognized webart projects that exemplify many innovative U.S. and European support models will be presented in the first half of the program. Then, proposals for four '''new models''' of support will be shared for public critique and feedback. These proposals will have been created during a month-long online discussion of the panelists prior to the event.{br}We invite our audience members to learn about this vital new artform spawned from recent tele-communications technologies, and to join us in building a viable, formal structure for supporting it.{br}{br}CYBERART99 is a co-production of Art & Science Collaborations, Inc.(ASCI) and Cooper Union Adult Education, with equipment and technical support from: Theatrical Services & Supplies/PROXIMA, and video documentation provided by: A's Wave... (212) 431-9464 or atel(at)panix.com{br}This project is sponsored by: The AT&T Foundation and "The Intel/Whitney American Century Internet Collaboration Project" {br}{br}---- ''Source : http://www.asci.org/cyberart99/index.html ''{br}''Source : http://www.nettime.org/Lists-Archives/nettime-l-9903/msg00094.html '' {/small} {br}{br} '''March 1999''' {html} <TABLE BORDER="0" width="100%"> <TR><TD width="100%"> <hr style="height: 10px; margin: -0.5em 0; padding: 0; color: #F00; background-color: #F00; border: 0;"> </TD></TR></TABLE> {/html} * '__ New features in The Thing ^[video^]:__' '''“Collider #19”''' live TV webcast show moderated by GH Hovagimyan: Interview with artist Prema Murthy, who’s new web project for The Thing site will be launched in May.{br}{small}''Source : http://www.walkerart.org/gallery9/dasc/artdirt/interview.html ''{/small} '''“Hood Ornament”''' video by artist Skip Arnold.{br}{small}Video : http://vimeo.com/32238810 {br}Testing boundaries and pushing buttons is central to Arnold’s work, as is testing endurance and rejoicing in the absurd. In one video taped performance, he perched like a gargoyle on a building edge, parodying architectural sculpture. Another, titled “Hood Ornament” saw him tied naked to the hood of a semi trailer which motored through the streets of Sun Valley in California.{br}1992 — "HOOD ORNAMENT," activity as the hood ornament of a Kenworth eighteen-wheel truck, March 14, Sun Valley, CA {br}''Source : http://www.skiparnold.com/ ''{br}''Source : http://performanceartist.com/performance-artists/skip-arnold/ '' {/small}{br}{br}[../files/articles/TheThing/1999/arnold.jpg\|../files/articles/TheThing/1999/arnoldb.jpg] ** '''“Circle’s Short Circuit”''' film by artist Caspar Stracke.{br}{small}«Circle's Short Circuit» is 1998 Fantasy film directed and written by Caspar Stracke . Anne Iobst and Richard Move are starring, alongside Avital Ronell, Anastasia Sharp, Kyle De Camp and John Kelly.{br}''Source : http://www.videokasbah.net/NYSCAwork_samples.html ''{br}''Source (video) : http://www.videokasbah.net/cscvideo/trailer.mov ''{/small}{br}{br}[../files/articles/TheThing/1999/stracke.jpg\|../files/articles/TheThing/1999/strackeb.jpg] {br}{br} '''February 1999''' {html} <TABLE BORDER="0" width="100%"> <TR><TD width="100%"> <hr style="height: 10px; margin: -0.5em 0; padding: 0; color: #F00; background-color: #F00; border: 0;"> </TD></TR></TABLE> {/html} * '__The Thing is one of 13 large (web) communities selected for presentation at '''ArcoElectronico''' (electronic media arts festival in Madrid, Spain, entitled “the post-media era” at ^http://aleph-arts.org/epm/eng)__'{br} “Hosted by aleph, and organized for ArcoElectronico99, "the post-media era" introduces itself as a system that tries to facilitate a critical approach to the contemporary transformations of the public sphere—those induced by the emergence of new media, especially the internet--focussing the analysis on the role that concerns all cultural and artistic practices in that context.” '''^[The post-media era^]-- A constellation of (web) communities of media producers''' : {br}The constellation of selected webs are: ^[ alt-X ^], ^[ betacast ^], ^[ blast ^], ^[ convex tv ^], ::eco::, ^[ gallery 9 / Walker art center ^], ^[ nettime ^], ^[ nirvanet ^], ^[ P.A.R.K. 4DTV ^], ^[ raveface radio ^], ^[ rhizome ^], ^[ The Thing ^], ^[ Xchange ^]. {br}{br} * '__Musée d’Art Contemporain, “Musique en Scene,” exhibition participation of The Thing (represented by Wolfgang Staehle), with a presentation of '''“office radio”'''. __'{br} The show is focussed on electronic sound projects by selected internationally known artists and arts organizations prominent for their work in this field. In ^[audio^]: '''officeradio ^[the mix^]'''. The story of the cut T1-line. An audio collage by The Thing crew produced for “Musique en Scene.” {br}{br} * '__'''GraphicJam''', a web artwork by digital artists Andy Deck and Mark Napier, connects visitors into a live, online collaborative drawing.__'{br} A collage of creative impulses, GraphicJam is a live mix of doodles, drawings and color created entirely by those who visit the web site.(http://bbs.thing.net ^[projects^]) {br}{br} '''January 1999''' {html} <TABLE BORDER="0" width="100%"> <TR><TD width="100%"> <hr style="height: 10px; margin: -0.5em 0; padding: 0; color: #F00; background-color: #F00; border: 0;"> </TD></TR></TABLE> {/html} * In ^[video^]: Momoyo Torimitsu’s '''”Miyata Jiro”'''. Three videos, taking the format of "commercials," featuring her Japanese businessman robot Miyata Jiro. * '__'''“Web Performer”''' by Ursula Endlicher, produced for and published by The Thing ^[projects^].__'{br} "Web Performer" is a web project that introduces six different characters. The characters are based on some of her video/live performances. As the piece develops new images are downloaded directly from the web based on a search-engine result for each character. {br}{br} * '__'''Opening reception''' (January 22) for artist Ursula Endlicher on the occasion of the inauguration of “Web Performer” online The Thing. __' {br}{br} * '__ In ^[audio^]: '''The Electronic Disturbance Theater''' interviews '''Manuel De Landa'''. __' {br}This section opens with his view of strategies vs. tactics under the flows of neo-materialism and the Left. {br}{br} * '__ '''“Collider”''' a weekly live web broadcast. online The Thing. Live streaming audio/video program moderated by Gerard Hovagimyan (GH): __' In Collider #14 GH features an interview with Rainer Ganahl, conceptual artist and photographer of academic superstars. In Collider #13 GH and writer/media theorist Peter “Blackhawk” von Brandenburg discuss socio-culture and media theory. {br}{br} {html} <TABLE BORDER="0" width="100%"> <TR><TD bgcolor="yellow" width="100%">    </TD></TR></TABLE> {/html}
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