nettime banning access to a yahoo grp.
hi everybody i have been greatly disturbed by this discrimination by nation taking pride in calling itself the largest democracy in the world. indian government has asked all isp's in the country to ban access to the yahoo grp called Khyhum. it is an grp. with anti india sentiments and talks about creating a separate state in the north east not a new concept is it. i m from meghalaya though lure of greener pasture has kept me in the power capital. we all know such bacha efforts against voices in the net can only slow down the process. never uproot it. neither does it seems to bring any attention towards this part of india called north east. i support the cause as i saw it with my own eyes the discrimination held against, never was north east allowed any entry into the mainstream india. now again what is india? a much sophisticated version of mother russia and china. no matter how much media directed inflation of patriotism occurs fact remains the same we all want to be separate until theres a definite spinal cord commoness. i just wanted you guys to know this thanks for time. saugat peace n respect _ Access Hotmail from your mobile now. http://server1.msn.co.in/sp03/mobilesms/ Click here. # distributed via nettime: no commercial use without permission # nettime is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and info nettime-l in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
nettime N5M4
Next5Minutes4 An International Festival of Tactical Media September 11 - 14, 2003, Amsterdam a report by Snafu - 09/27/2003 http://bbs.thing.net As the curtain fell on the conclusive meeting of Next5Minutes4 - http://www.n5m.org - the feeling was widespread that tactical media (tm) are in the midst of fording a swift river. It is hard to say what tm will find on the other bank of the river because riding the currents of these precarious times already seems quite an engaging exercise. By definition, tactical media are unstable, in permanent crisis, malleable, and adaptable to mutating circumstances. Nevertheless, the previous edition of the festival which gave birth to tm and followed its early steps was held more than four years ago when two major global events were still to occur: 9-11 and the outbreak of the Seattle movement. Between these two, the collapse of the new economy undermined not only a business model but also a way of building sustainable networks and techno-social infrastructures. As a start - symbolically coinciding with the second anniversary of 9-11 - N5M dealt with this deeply changed panorama by giving voice to Witnesses and Testimonies from the hot spots of the Middle East. NGOs like Rawa, the Revolutionary Association of Women of Afghanistan (http://www.rawa.org) and groups like Big Noise Films, Voices in the Wilderness and Witness expose to the public eye what mainstream media tends to forget, and train local practitioners to make their own media. The festival began with a synthesis of the three key concepts that inspired it: the reappearance of The Public; the struggle to appropriate tactics and languages; and the deployment of these struggles in deep local contexts -- issues that suggest a drive to return to the real and a shrinking of the space dedicated to aesthetic research over technological. In short, reflection on tm focused mainly on how to exchange and deliver information effectively in times of extensive privatization and restrictive regulation of the public sphere. It was no accident that the only playground addressed nationally was the Italian one. In a state characterized by an incredible concentration of media and political power (media mogul Silvio Berlusconi being the Prime Minister), in the last two years the birth and growth of a rhizome of community television stations connected to social movements represents a case study and laboratory for the international community. These telestreets (the name given to the microstations like Orfeo TV, Candida, and Urban TV), cover a range of a few hundred square meters in neighborhoods in cities like Rome and Bologna by exploiting the shadow cones of other stations and exchanging their productions through a national video database (see http://www.ngvision.org). Based entirely on volunteer labor, these entities have to face the endemic scarcity of financial resources and the complete privatization of the airwaves by bigger players. The Airwaves belong to the People and now the People want them back The Laboratory Italy found a non-explicit relationship with the panel Radio Space: Wireless in Your Psyche. Starting with reflections on the experience of Klubradio, the Berliner Pit Schultz recalled that being successful with streaming media means gaining more audience, but this increases the consumption of bandwidth and results in linear growth of the transmission costs. If this model was still viable in the days of the dotcom mania, it now looks completely outdated. This is why, Schultz said, The long waves of radio always return while the peaks of other media go up and down at a faster pace. Once again the airwaves will become the real battleground for reaching end users while the internet is seen more as an infrastructure to exchange content remotely. This battleground was also invoked by Arun Metha, President of the Society for Telecommunications Empowerment, an NGO committed to the diffusion of low-cost technology in the poorest and most remote areas of India. Metha presented a project organized with the women of an Indian village to build a low power community FM radio transmitter. The power of the homemade transmitter was so low (15 milliwatts) that under Indian law it did not require any authorization. Nevertheless, the government sent the village a cease-and-desist injunction. Metha replied that Since the same power is used for cordless microphones, is the government to be considered breaking the law any time it holds a conference? And should all karaoke bars in the country also be banned? This story touches on an issue central to many of the conference's panels and workshops: true deregulation in favor of public, non-exclusive use of the airwaves. This notion of a digital commons is also embraced by Eric Kluitenberg, one of the N5M organizers. As the Dutch critic writes in the festival's Readme text: The commons refers to a resource, to common land, to
nettime Re: markets, states, associations (was: reverse engineered freedom...)
hi Brian, The theoretical point of looking at human organization in terms of those three poles thanks for the response - and yes it is helpful. (wish i could go to Geneva for the WSIS too) at any rate, i do find the tri-polar model useful, but i still question it's universal application (not that you were doing that). The relationships between the poles seem highly mutable in such a way that the model becomes more and less useful at different times. and the definition of each pole highly transformative according to who's interest is at stake. For example, the US New Deal policies could be seen as restrictive on markets or as a tactic of preservation of them by the state. but that example only holds for the historical and ideological conditions of the US. And with the commercial interests invested in military ventures in the US, which pole is dominant there? or maybe you're not positioning situational polar dominance, and that is my misreading. but don't many of the desires shaping all of the poles transgress those boundaries? or is the polar model a way of looking at the dominant systems for materializing desire? i'm thinking of how the model is useful for tactical activist organizing and production, how are those desires figured? if you have the time, your comments are appreciated. Thanks. ryan __ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com # distributed via nettime: no commercial use without permission # nettime is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and info nettime-l in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
Re: nettime radio transmitters: technical help needed
Hi nettime, I am looking for some help and practical information about radio transmitters. Well I know a little about radio transmitters from class, I'm a novice mechatronics major who happens to be studying electronic design this semester. I am attempting to build the Small Radio Telescope and am trying to become as erudite as possible with a lot of new nomenclature and equations to me so I can write grants to build it and maybe start a program of sharing SRT and eventually optical around the country for smaller colleges. http://web.haystack.mit.edu/SRT/ Small Radio Telescope project at MIT http://srtcr.blogspot.com My blog on it The problem now is the technical side. I have a degree in industrial engineering (electronics), but since my graduation in 1994 I never did anything with it and now about 95% of my electronic knowledge has evaporated, while the remaining 5% is kind of stale. However, I could understand how to build a small radio-station if someone explained it to me, or if I found a good handbook, and I know how to solder and stuff. Ok, you are going to want something else if you are going to leave it other people's hands. You want to have someone (maybe your gf) help you create some operator manuals that include full schematics so if it is ever in need of repair or if someone wants to duplicate your efforts down there. This is the reason my school does not have a SRT anymore. One semester in the 1980's it broke and the person who made it had left no information about it so the electronics teachers at the time cannibalized it for parts. Apparently, taking into account the local circumstances, the best thing would be an AM-transmitter of about 40 to 100 Watts, although FM could work too. Of course, it is very important that all this is low-cost. A kit would be nice, instructions how to build one from scratch would be better. May I suggest something else if you are going to leave it a remote area without a lot of access to reatail electronics technology? Buy some digital multimeters, cheap ones with 9v batteries. Like maybe 4-5 of them to leave? 3. A good guide/howto (for dummies) on the net would be great. http://www.electronics-tutorials.com for electronics http://www.frn.net/tech/ The free radio network workshop (Radio Pirates, AR) 4. Some references to handbooks, guides, etc. I can buy would be greatly appreciated too. May I suggest you buy a refresher used electronics book with the multisim software package in it? Working on virtual cicruits is a lot easier than soldering when you want to learn something. Site seems down but they have a list of books in multiple languages http://www.electronicsworkbench.com/ I don't know any used college bookstores online in europe but Look 8*) 5. Any help whatsoever, ideas, remarks, experiences, are very welcome. I wish you luck. Thanks in advance, Bart No problem chris # distributed via nettime: no commercial use without permission # nettime is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and info nettime-l in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
Re: nettime ars lecture on software / art / culture
Andreas Thanks for posting your excellent talk. An open question/thought follows. I was reading an interview with Annette Insdorf, a film scholar at Columbia and in it she quotes Truffaut saying: For me a great film is one that simultaneously expresses an idea of the cinema and an idea of the world. I think this rings true with your comments on software art. Today we would call such work performative - it performs the medium in which it is produced and the context in which it is received. For Nicolas Bourriand the art work produces social relations in the conception and distribution of work. In his book, 'Relational Aesthetics, he states, 'For art, no technique or technology is a subject.' Of course techniques and technologies produce social relations, ideological points of view, at the very least, ways to perceive - is it possible that certain formal investigations have a criticality not so much on the surface but procedurally, not wrapped up so beautifully, performatively and conceptually, as the 'scezda' virus - but think of, for example, the very incisive trope of the breakbeat, a radical inscriptional technique, which opens up vistas of new materials and perceptual sounds, consider certain spatial writings, mez, database, glitch, computation - there must be a moment before these things become technique and are a necessity, coming from an urgency, that can only be found in and through material (can we say extend the notion of mechanical here to material in Kittler's sense?) and all social dimensions that such materials carry - think only of Schoenberg's tonal system, how radical this was in its conception, and when picked up by others became more mannered and domesticated as it becomes a technique. Soon the technique becomes innocuous, convention, a standard, invisible, deadening and as such artists pick up on this and make this invisible become seen again. Technique then at times results from an urgency to open entirely new spaces of thought, perception and subjectivity and at other times a different arsenal of technique, perhaps more deconstructive, is used to open up and re-invigorate the social perceptions and relations therein. [this is the script of the talk that I gave on the last day of the ars; some of the themes discussed here over the last days resonate, and I thought it might be interesting to chip it in; apologies for the loose style, but it had to work as a talk way at the end of a 5-day conference; comments welcome, of course; -ab] Notes on the cultural dimensions of software and art Andreas Broeckmann, Berlin (lecture manuscript; ars electronica 2003, CODE, Software and Art 2, 911.03) ... # distributed via nettime: no commercial use without permission # nettime is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and info nettime-l in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
Re: nettime Request to Nettime to be part of DISTRIBUTED CREATIVITY online forum with Eyebeam
- Original Message - From: Nato Thompson [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, September 29, 2003 6:59 PM Subject: RE: nettime Request to Nettime to be part of DISTRIBUTED CREATIVITY online forum with Eyebeam I am fairly new to the net time list but this debate strikes me as interesting and not unusual. I work at a museum and sympathize with the constraints and difficulties that institutions have in presenting history as well as producing criticality. All too often, I find radicals (of which I do consider myself one) shooting themselves in the foot ok, not to mention shooting others, blowing up buildings, and other radikal type stuff with unreasonable demands for representing themselves. Often times this leads to their non-inclusion which can be useful, non-inclusion ain't exclusion, what's the use in being radikal if you're gonna be included- not all that useful being a radikal anyway... but often times is a result of exhaustion on the part of both parties. let's not move too fast I think Eyebeam is a good place if not somewhat inconsistent at times. They have supported some very interesting projects. interesting for you, of course, but then again they may be pretty boring stuff (I think to them hosting the WTO protest workshops). I don't think their request for the participation of Net Time is all that bizarre. If a misunderstanding is in place, that shouldn't be a call for everyone to get on their high horse how about a donkey, would that be ok? and demand that people try to understand this wildly bizarre thing called a de-centered community (is it really so strange?). I think the danger is in trying to fit more 'centered' modes of presenting projects. That is to say, having individuals represent the group in a manner which offends those participating. ok now, who's offended-- everyone speak up... Particularly, if people who contribute to the group feel they are somehow inexplicity supporting the careerist ambitions of their so-called representatives. This dynamic of resentment and confusion regarding representation has commonly plagued art collectives. The absolutely critical resistance to authorship finds a problem when confronted with those who need a spokesperson. My personal feeling is having representatives for such an expansive and loosely knit group like net time (I mean am I one myself for being a part for only 2 months?) is just a bad idea. It inevitably will set up a problematic hierarchy that has no ability to be checked, deliberated on, or worked out. Instead, Eyebeam should suggest something that provides a forum for everyone involved and highlights its extraordinarily disparate nature. I don't find it all that suprising that Eyebeam would like to incorporate the interesting work that happens on Net time. And I don't think simple attacks on the fact that Eyebeam has to raise money in order to survive is very helpful (in reference to the post by Brett Shand). But then again, I suppose the bigger question this issue begs is: is the net time crew capable of making a collective decision? My hopes would be 'no'. I say Yes But if that is the case, then I suppose asking net time any questions and hoping for a single answer is ridiculous too. Hmmm... Quite a quandry. yes, quite ridiculous... # distributed via nettime: no commercial use without permission # nettime is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and info nettime-l in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED] # distributed via nettime: no commercial use without permission # nettime is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and info nettime-l in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
Re: nettime Request to Nettime to be part of DISTRIBUTED CREATIVITY online forum with Eyebeam
Beth, Practically speaking, you're asking two questions: one, will members of the Nettime list have anything to say about whatever topic you propose for your online forum? and two, can you redistribute the responses? The answers: 1) You are free to propose any discussion topic to this list that you like. Sometimes nobody picks up on it, sometimes you can't get people to shut up. 2) If you want to follow US copyright law, you must seek permission from each individual writer before redistributing any single post from Nettime, either online or in print. Even though Nettime (prescriptively?) adds guidelines for re-use at the bottom of each post on this list, redistribution rights still rest with the individual author (for both commercial and non-commercial purposes). This is why there will never be a Slashdot book, for example - much of the content on that website was written by anonymous authors and the rights can not be secured. Luckily we all have each other's email addresses, so although your idea is not impossible, it will create a lot of administrative work. For the Eyebeam publicity materials, I don't think you could legitimately announce that Nettime is an 'invited participant'. Maybe you could say 'this month in the forum, our spotlight is on nettime' or something like that. But if you want to use that, you'll have to ask for my permission ;-) Copyright 2003 All rights reserved by the author # distributed via nettime: no commercial use without permission # nettime is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and info nettime-l in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
nettime unstable digest vol 66
Date: Mon, 22 Sep 2003 05:00:12 +0200 (CEST)
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Date: Tue, 23 Sep 2003 08:56:16 -0700
From: Lanny Quarles [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Subject: entelechy of every abandoned moment
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To: [EMAIL PROTECTED]
Subject: i'm here
Date: Sun, 21 Sep 2003 12:40:20 -0400 (EDT)
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nettime Report: Creative Labour and the role of Intellectual Property [Part 1/2]
[here's a report on creative labour that I've written for the fibreculture list. It may be of interest to nettimers in light of the recent DISTRIBUTED CREATIVITY threads. For those of you after Executive summaries only, here you go: Reflexivity and Empirical Research Creativity - What's in a Name? Intellectual Property and Creativity Intellectual Property and the Labour Contract Intellectual Property and (Dis)Organised Labour Multitudes and the Exploitation of Network Sociality Immaterial or Disorganised Labour? Conclusions For those after something more substantive, read on] [PART 1/2] Report: Creative Labour and the role of Intellectual Property By Ned Rossiter, September 2003 Here's my report based on the survey I conducted for the fibrepower panel initiated by Kate Crawford and Esther Milne - Intellectual Property-Intellectual Possibilities (Brisbane, July 03). I wanted to explore in some empirical fashion the relationship between intellectual property and creative labour. Why? Largely because such a relationship is the basis for defining what is meant by creative industries, according to the seminal and much cited mapping document produced by Blair's Creative Industries Task Force (CITF). Despite the role IP plays in defining and providing a financial and regulatory architecture for the creative and other informational or knowledge industries, there is remarkably little attention given by researchers and commentators to the implications of IP in further elaborating conceptual, political and economic models for the creative industries. There is even greater indifference towards addressing the impact of exploiting the IP of those whose labour power has been captured: young people, for the most part, working in the creative and culture industries. Angela McRobbie's work is one of the few exceptions. At a different level, I was curious to see how a mailing list might contribute in a collaborative fashion to the formation of a research inquiry in which the object of study - creative labour and IP - is partially determined by the list itself. Finally, after levelling critiques at various times and occasions against what Terry Flew (2001) identifies as the 'new media empirics', I thought it necessary to engage in a more direct way with this nemesis-object: what, after all, can a new media empirics do and become when it is driven through what I've developed elsewhere (or rather, syphoned from larger and older media theory, informatics and philosophy debates) as a processual model of media and communications? (Rossiter, 2003b) I'll address this question in the concluding section of this report. As I noted in an earlier paper (Rossiter, 2003a) posted to fc: The list of sectors identified as holding creative capacities in the CITF Mapping Document include: film, music, television and radio, publishing, software, interactive leisure software, design, designer fashion, architecture, performing arts, crafts, arts and antique markets, architecture and advertising. The Mapping Document seeks to demonstrate how these sectors consist of '... activities which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through generation and exploitation of intellectual property' (CITF: 1998/2001). The CITF's identification of intellectual property as central to the creation of jobs and wealth firmly places the creative industries within informational and knowledge economies. In posting the survey questionnaire to the list, I was interested in ascertaining the following: 1. the extent to which respondents perceived their primary activities (i.e., activities other than eating, sleeping, watching TV, having sex, substance abuse, etc -- though I guess many would argue that they are indeed primary activities, and perhaps also creative ones!) to correspond with creativity, however that term might be understood (n.b., the survey synopsis clearly framed creativity in relation to the Creative Industries discourse, so the latitude for interpreting the term creativity was relatively circumscribed). 2. whether a very partial mapping of the fc network produced results similar to the sectors identified in the CITF Mapping Document. Whatever the results, I was interested in what they might then say about national, regional or State manifestations of the creative industries: is Australia's CI the same as the UK? Is there a temporal factor at work? (i.e., given the time of development, incubation, etc., would a mapping exercise produce different results depending of when and how it was conducted?) 3. to establish whether respondents perceived or understood an extant relationship between their labour and intellectual property. 4. to find out whether IP in the workplace makes work a political issue. At the time of the survey, the fc list had just over 700 subscribers (June, 03). All
