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.
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
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
Tagalicious
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 ...
Reappearance of the Undead
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 ...
In the Future-Past Tense
The fantasy of the future and the utopian promises of new technologies have always gone hand-in-hand. If the history of technology's evolution tells the story of our culture, we can also trace our present-day novelties back to the root of our anxieties about the future and the problems these devices hoped to solve. With this correlation in mind, the interactive DVD novel The Imaginary 20th Century (2007) by Norman Klein, Margo Bistis, and Andreas Kratky, jumps back to the fin de siècle era between the 19th and 20th centuries. It was a time of wonder when new technologies and their representation were wedded in documents like panoramic films of public light shows and short actualities about newfangled transportation devices called roller skates. The novel tells the story of "the Chicago World's Fair in 1893, and the story of a woman (Carrie), who in 1901, selects four men to seduce her, each with his own version of the new century" in a recombinatory visual narrative that overlaps 2,200 images culled from primary documents, architectural plans, photos, and other ephemera with an original score. The project speaks to the multiplicity of visions circulating about what the new century would hold, and it's an even more past-tense follow-up to Norman Klein's interactive novel, Bleeding Through: Layers of Los Angeles, 1920-1986 (2003). Klein's work has clearly resonated with at least eleven people, because closing this week at Otis College of Art and Design's Ben Maltz Gallery is "The Future Imaginary," an exhibition that responds to The Imaginary 20th Century with the work of artists Deborah Aschheim, Jeff Cain, Tom Jennings, Jon Kessler, Ed Osborn, Lea Rekow, Douglas Repetto, Phil Ross, Kari Rae Seekins and Aaron Drake, and Susan Simpson. Each contribution embodies the special genre of ...
Fwd: Cultures of eBay: making sense of social and economic aspects of the eBay 'pheno
> [mailto:CYBERSPACE-AND-SOCIETY@JISCMAIL.AC.UK]On
> Behalf Of Rebecca Ellis
> Sent: 23 February 2005 14:56
> To: CYBERSPACE-AND-SOCIETY@JISCMAIL.AC.UK
> Subject: Re: CFP: Cultures of eBay conference,
> University of Essex,
> 24th-25th August 2005
>
>
> Apologies for cross-posting. Please disseminate
> widely.
>
> This is a call for papers, posters, and expressions
> of interest in
> attending a two-day conference at the University of
> Essex, UK:
>
>
***************************************************************************
>
> Cultures of eBay: making sense of social and
> economic aspects of the
> eBay 'phenomenon'
>
> August 24th-25th 2005, Colchester, University of
> Essex
>
> http://www.essex.ac.uk/chimera/culturesofebay.html
>
>
***************************************************************************
>
>
> Conference background
>
> This is the first independent UK conference which
> aims to look at the
> cultural, social and economic aspects of eBay. As
> such, this e-mail asks
> for early expressions of interest in attending, as
> well as being a call
> for papers and posters, in order to gauge the demand
> for this one-off
> conference. The idea for this conference originated
> from an ongoing ESRC
> project (RES-000-23-0433) at Chimera, a department
> of the University of
> Essex, which began in February 2004 and is due to
> end in January 2006.
> Results of this research project will be
> disseminated at the conference.
>
> The overall aim of this conference is to bring
> together academics, and
> practitioner groups from both business and the
> voluntary sector, to
> explore and 'make sense' of the cultural, social and
> economic aspects and
> implications of eBay, the Internet auction site.
>
>
> Background to eBay
>
> This conference explores a phenomenally successful
> form of e-commerce, the
> Internet auction. Specifically, the conference
> will concentrate on one
> such Internet auction site, eBay - chosen for its
> market dominance. With
> 70% of all online auctions currently taking place
> through its site
> (Rowley, 2000), eBay represents 'the world's
> largest personal online
> trading community'. Initially set up in 1995 with
> collectors in mind, eBay
> enabled easier access to collectibles (vid. Bunnel
> and Luecke, 2000) -
> where the traditional inefficiencies of
> person-to-person trading such as
> geographical fragmentation and imperfect knowledge
> (ibid.) could be offset
> through computer-mediated communication (CMC).
> Dubbed "the perfect store"
> (Cohen, 2002), its success has been phenomenal both
> in financial terms and
> in the number of users it has attracted. Indeed,
> eBay is fast becoming an
> e-commerce mainstay and household name with 125
> million registered users
> worldwide (eBay, 2004), and it is now the UK's
> number one e-commerce site
> (Nielsen Net Ratings, May 2003 cited eBay, 2004).
> Online auction sites
> have revolutionised the way we browse and shop for
> second-hand, antique
> and collectible items. However, they also provide
> new ways and new spaces
> to perform and display knowledges and 'knowingness,'
> particularly in
> relation to material culture.
>
> eBay differs substantially from almost every other
> 'virtual store' or e-
> commerce site in carrying a stock of mostly
> second-hand items, which are
> described and loaded on to a database by thousands
> of individual sellers
> themselves. Accordingly, very contrasting consumer
> and collecting
> knowledges are brought to bear on such items than
> for mainstream new goods
> e-tailing. eBay is also a highly unusual site in
> the way
> that 'communities' are enabled and identities
> performed through the site's
> own community spaces (discussions around topic
> threads and asynchronous
> chat boards) - mediated by material culture in
> buying, selling and
> browsing practices. Yet eBay remains largely
> unexplored by the academic
> literature beyond its reputation (feedback) system,
> particularly in terms
> of the key issues it raises around knowledge,
> identity, community and
> collecting practices in an e-society. This
> conference seeks to redress
> these gaps in the literature. But eBay also has
> considerable relevance
> for government and practitioner groups. The
> research will raise key
> issues for government and policy surrounding the
> potential for eBay to be
> a source of self-employment, particularly for
> 'disadvantaged' groups or
> those requiring flexible work, and increasingly
> important consumer issues
> such as the misselling of goods and the growing
> problem of fraudulent
> behaviour over the Internet. eBay additionally has
> significant
> implications for UK economic competitiveness in
> terms of the practices,
> structures and systems architecture of e-commerce,
> which include web site
> design and the distribution systems for both goods
> and money in an
> Internet era.
>
>
>
> Who should attend
>
> Academics in the fields of (but not exclusively):
> new media, e-commerce,
> cultural studies, sociology, human geography, HCI
>
> Practitioners in relevant fields
>
> Research students
>
> Industry consultants
>
>
>
> Keynote speakers:
>
> Dr Rebecca Ellis and Anna Haywood, University of
> Essex
> http://www.essex.ac.uk/chimera/team/beckye.html
> http://www.essex.ac.uk/chimera/team/annah.html
>
> Mr Will Davies, IPPR
> http://www.ippr.org.uk/about/staff.php?id0
>
> Dr Tim Dant, UEA (tbc)
> http://www.uea.ac.uk/psi/people/dant_t.htm
>
> Others tbc.
>
>
>
> Conference themes
>
> The conference themes have been written in order to
> accommodate the
> interests of both academics and practitioner
> groups. Although papers and
> presentations could address the following themes,
> submissions should not
> be limited to the themes suggested. See the
> conference website (Conference
> themes and scope section) for an outline of
> potential research questions
> that could be addressed under each theme.
>
>
> eBay and identity: the presentation of self/ others
> and knowledge
> performance
>
> * Significance (or not) of members' eBay user
> names.
> * Presentation of self through item
> description, photography and
> buying/ selling practices
> * eBay 'claims to status' and
> disidentification practices
> * Knowledge performance and presentation
> * Knowledge giving
> * 'Unknowingness'
> * How do eBay sellers present themselves, others
> and material
> culture in terms of discourses of 'race,' nation or
> Diaspora?
>
> eBay and social capital
>
> * eBay and 'community'
> * eBay and the development of social capital
> * eBay & trust
>
> eBay, consumption and consumer lifestyles
>
> * eBay and its effects on other disposal routes:
> charity shops,
> throwing away, relegating to the attic
> * eBay as a place to get rid of unwanted
> gifts
> * eBay and 'minimalist living' - e.g.
> de-junking one's life
> * eBay as ethical consumption? 'Recycling'
> to second owners.
> * eBay as a 'weird' or spectacular site of
> alternative
> consumption
> * eBay as a societal mirror in terms of what
> is being bought and
> sold
> * eBay as a store of social memory in material
> culture -
> e.g. 'memory artefacts,' nostalgia
>
> Collecting in an e-society
>
> * The impact of eBay on offline collecting
> practices/ rituals
> * eBay and globalised collecting - the world of
> goods
> * eBay and the ease of 'armchair collecting'
> * The effect of eBay on specific collecting
> cultures and communities
>
> eBay and employment effects
>
> * What impact is eBay having on self-employment
> in the UK?
> * Who does an eBay living appeal to?
> * What impact is eBay having on other forms of
> employment?
> * Is eBay creating new types of jobs?
> * Is eBay a good place to start trading for the
> newly self-
> employed?
> * eBay as a supplementary source of income
> * Is eBay a good medium for selling services?
>
> eBay, competition and the 'perfect market'
>
> * Does eBay really constitute the economists'
> 'perfect market'?
> * Is eBay creating new markets?
> * eBay and competition
> * eBay's business model
>
> eBay and the 'real' economy
>
> * Money flows
> * National postal services and other goods
> distribution networks
> * Internet infrastructure - Broadband vs.
> dial up
>
> eBay and website design
>
> * Designing e-commerce sites: what makes eBay
> sticky?
> * Designing e-commerce sites to support
> trustworthiness
> * How effective is eBay's feedback system?
>
> eBay and the consumer
>
> * eBay and consumer privacy
> * eBay and consumer protection issues
>
> Representations of eBay
>
> * How has eBay been represented in the media?
> * How do eBay's customers perceive it -
> through practice and media
> representation?
>
>
>
> Guidance for authors of papers
>
> It is not intended for authors to submit full
> papers for the conference.
> Presenters will be chosen by a panel on the basis
> of their submitted
> abstracts. Abstracts should be no more than 400
> words. If you are
> interested in participating, please email your
> abstract to the conference
> administrator by 31st March, 2005. Please e-mail
> Mr Martin Hicks (hicksm
> and add @essex.ac.uk to create full e-mail address)
> using the title 'eBay
> Conference.'
>
> The submission must include:
>
> * A title and abstract (400 words) outlining the
> work to be
> presented
> * Name(s) & contact details for each of the
> author(s)
> * Whether work is completed or on-going
> * Whether partly or wholly a student project
> * If work is subject to external constraints,
> (e.g. commercial
> sensitivity)
>
> Authors of accepted submissions will be notified by
> 22nd April 2005.
> PowerPoint presentations will be required by 29th
> July 2005.
>
>
> Guidance for poster submission
>
> Poster submissions addressing any of the areas
> identified in the
> conference topics are invited. The poster sessions
> are an ideal venue for
> presenting recent research results or ongoing
> research projects that might
> not yet be complete, but whose preliminary results
> are interesting
> nonetheless. Although poster authors do not
> formally present their work,
> the session allows for informal open-ended
> questions and discussion as
> attendees explore the topic with the presenter(s),
> who can convey their
> ideas without the requirements of a written paper.
> Unfortunately, as
> poster sessions afford opportunities for
> interaction with other attendees,
> poster submissions cannot be made without
> attendance.
>
> If you would like to present a poster, please send
> details to Mr Martin
> Hicks (hicksm and add @essex.ac.uk to create full
> e-mail address) using
> the title 'eBay Conference poster.' The deadline
> for poster submission is
> 31st March, 2005.
>
> The submission must include:
>
> * A title and brief abstract (250 words)
> describing the contents of
> the poster
> * Name(s) & address(es) of author(s)
> * Name of presenter of the poster, address,
> email, telephone and fax
> number (if available)
> * Whether work is completed or on-going
> * Whether partly or wholly a student project
> * If work is subject to external constraints,
> (e.g. commercial sensitivity)
> * A brief note indicating how the space
> afforded for display of the
> poster will be used, including any innovative
> suggestions for
> display or observer involvement.
>
> Authors of accepted submissions will be notified by
> 22nd April 2005.
>
> There is no predefined layout and content format
> for poster presentations.
> A standard A1 poster board (approx 23 x 33 inches
> or 61 x 45.7cm) will be
> provided to display your work. For additional
> information on poster
> presentations, please refer to the conference
> website.
>
>
> Conference location
>
> The conference will be held at the campus of the
> University of Essex in
> Colchester, UK (see http://www.essex.ac.uk/about/
> ). The University is
> situated in a landscaped parkland campus on the
> outskirts of Colchester,
> the oldest recorded town in Britain. Colchester is
> served by excellent
> transport links, with the A12 running into London
> and trains to the
> capital taking 45 minutes. Stansted Airport, the
> home of many of
> the 'budget' airlines is easily accessible.
> Colchester is also linked from
> the north with Ipswich and via the A14 to
> Birmingham, the M1/M6 to the
> Midlands and the north of England. Accommodation is
> available on the
> campus.
>
>
>
> Important dates
>
> Expressions of interest in attending (for
> non-presenters only), no later
> than: 21st March 2005
>
> Abstracts and posters no later than: 31st March
> 2005
>
> Acceptance notification: 22nd April 2005
>
> PowerPoint presentations no later than: 29th July
> 2005
>
> Formal registration for all no later than: 16th May
> 2005
>
> Conference dates: 24th and 25th August, 2005.
>
>
>
> More information
>
> For more information on any aspects of the
> conference, please see the
> conference website:
>
> http://www.essex.ac.uk/chimera/culturesofebay.html
>
> Additionally, please e-mail Mr Martin Hicks (hicksm
> and add @essex.ac.uk
> to create full e-mail address) using the title
> 'eBay Conference' for early
> expressions of interest, or any queries you may
> have. To go to this e-
> mail address automatically, please go to the
> conference
> website.
>
> ____________________________________________
>
> Rebecca Ellis
>
> Chimera
>
> http://www.essex.ac.uk/chimera/index.html
>
> Institute for Socio-Technical Research & Innovation
>
> University of Essex
>
> ________________________________________
>
> Adastral Park, PP1 Ross Building,
>
> Martlesham Heath, Ipswich IP5 3RE
>
> _________________________________________
>
>
******************************************************************************
> ******
> Distributed through Cyber-Society-Live [CSL]: CSL
> is a moderated discussion
> list made up of people who are interested in the
> interdisciplinary academic
> study of Cyber Society in all its manifestations.To
> join the list please
> visit:
>
http://www.jiscmail.ac.uk/lists/cyber-society-live.html
>
******************************************************************************
> *******
>
>
__________________________________________________
Do You Yahoo!?
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my "Overture" at 667 Shotwell (SF)
this month or next, please check out my show,
"Overture," which opens next week at 667 Shotwell.
I'll be presenting a few site-specific audio &
sculptural installations, all of which relate to
popular music and stardom. I'll also be showing "The
One That Got Away," a new video comprised of footage
from the one big audition you didn't get to see on
American Idol.
~marisa
Marisa S. Olson, "Overture"
667 Shotwell, San Francisco, CA
Opening Weds., Feb. 16, 2005 7-9:30 pm
February 16 - March 14
667 Shotwell announces "Overture" an exhibition full
of humor, fantasy, and the work of one frustrated
musician
Fwd: New: Media Art Preservation Newsletter
stuff below...
--- Nederlands Instituut voor Mediakunst
<Mailing@montevideo.nl> wrote:
>
> Monitoring Media Art Preservation
>
> (English only)
> For years the Danish Video Art Data Bank provided us
> with e-news about the international video art world
> and preservation. Now this initiative will have to
> stop and the European video and media art community
> could need a new provider. It was this realization
> that prompted the setup of the Netherlands Media Art
> Institutes plans. From January 2005 on the
> Netherlands Institute for Media Art will publish her
> Media Art Preservation Resources on her website
> www.montevideo.nl. New media art preservation
> research, visited events, publications and
> presentations will be published as an online
> newsletter. As a tribute to Torben Soborgs Video Art
> e-monitor we will call this service Monitoring Media
> Art Preservation.
>
> Monitoring Media Art Preservation is the online
> newsletter on preservation of the Netherlands Media
> Art Institute and offers 4 times a year information
> and news about ongoing research, presentations and
> publications dealing with video and media art
> preservation. The newsletter will be in English
> only.
>
> Subscribe/ Unsubscribe:
> <mailto:preservation@montevideo.nl>
> preservation@montevideo.nl
> Editor: Gaby Wijers <mailto:gaby@montevideo.nl>
> gaby@montevideo.nl
>
>
> INCCA Preservation and Presentation of
> Installation Art project
> As of June 1, 2004, the Preservation and
> Presentation of Installation Art project, initiated
> by the Netherlands Institute for Cultural Heritage,
> is officially under way. This research project into
> the management and conservation of installations is
> taking place within the framework of the EU's
> Culture 2000 program.
> The rapid obsolescence of media technologies,
> interactivity and, for instance, the site specific
> character of many installations are a challenge for
> prevailing views about long-term conservation,
> documentation and presentation. Thirty complex
> installations (many multimedia) are being set up,
> investigated and documented in the project. By
> sharing their experience the partners are working
> together in developing guidelines for conservation,
> re-installation and documentation of installation
> art. <http://www.incca.org/> http://www.incca.org/
>
>
>
> Presentation PACKED
> Wednesday February 9 the full report of PACKED shall
> be presented in Brussels. PACKED stands for:
> Platform for the Archiving and Preservation of
> Artistic Creations on Electronic or Digital Bearers.
> PACKED is an initiative by the Flemish museums Smak
> and Muhka along with Argos, centre for audiovisual
> arts.
> The preservation platform is targeted, among other
> things, towards the exchange and compilation of
> expertise and information on preservation and
> archiving, collection building and the public
> disclosure of audiovisual creations, as well
> discussions on the subject and the development of
> short-term policy preparation.
> <http://www.packed.be/> http://www.packed.be
>
>
> Media Art Preservation Conference
> Preservation or Documentation? Conservation or
> Digital Distribution
> Media art works represent some of the most
> compelling and significant artistic creations of our
> time. Because of their short live, technical, or
> otherwise variable natures and because of the
> variability and rapid obsolescence of the media
> formats, they also present significant obstacles to
> accurate documentation, access, and preservation.
> Without strategies for preservation many of these
> vital works will be lost to future generations.
> February 14 2005 the Netherlands Media Art
> Institutes will offer the specialists in this field
> the opportunity to get a state of the art overview
> on the conservation and documentation of media art
> by presenting prominent international speakers and
> projects.
>
>
>
>
------------------------------------------------------------------------------------
> Netherlands Media Art Institute
> Montevideo/Time Based Arts
> Keizersgracht 264
> NL 1016 EV Amsterdam
> The Netherlands
> T +31 (0)20 6237101
> F +31(0)20 6244423
> E info@montevideo.nl
> http://www.montevideo.nl <http://www.montevideo.nl/>
>
>
> PRESENTATION
www free(zing) throws
Walton--see leewalton.com), so I've become really
addicted to this website:
http://www.lemonskyprojects.com/projects/leewalton/index.html
I thought some others here might enjoy it. The weather
in NY makes it particularly chuckle-worthy.
Marisa
__________________________________
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Yahoo! Mail - You care about security. So do we.
http://promotions.yahoo.com/new_mail
Fwd: Games To Go
>
> Pacific Film Archive presents:
> GAMES PEOPLE PLAY: a film/video series that looks
> at games
> as cultural activity with a special emphasis on
> videogames.
> running January through April
>
>
> WED JAN 19 2005
> 7:30 The Most Dangerous Game
> Ernest B. Schoedsack, Irving Pichel (1932)
>
> The lush and foreboding jungle in The Most Dangerous
> Game might seem
> strangely familiar. This film was made
> simultaneously with King Kong,
> and the two share more than a common set, for here
> too is hirsute
> libido on the loose. Richard Connell's oft-filmed
> story of the
> self-exiled Russian Count Zaroff, who tires of big
> game hunting and
> goes instead for human quarry on his private island,
> is a tale of
> Sadean camp. Collecting castaways, Zaroff, played
> with restrained
> randyness by Leslie Banks, gives his prey a few
> hours' lead, then off
> he goes to bag his booty. When a no-nonsense nimrod
> (Joel McCrea)
> washes ashore, things start to get a bit gamey.
> Throw in trophy
> wife-to-be Fay Wray, and you have the makings of a
> great hunting
> party.
> Preceded by short: Chess Fever (Vsevolod Pudovkin,
> Nikolai
> Shpikovsky, U.S.S.R., 1925). Asked to direct a comic
> ditty at the
> international chess tournament held in Moscow,
> Pudovkin did one
> better, incorporating the unwitting chess champions,
> including Jose
> Raoul Capablanca, into this story about an obsessive
> player and his
> incensed wife. (Silent with Russian intertitles and
> live English
> translation)
> Special performance by febrile pianist Greg
> Goodman.
>
> The Pacific Film Archive Theater is located at 2575
> Bancroft Way, one
> block east of Telegraph Avenue in Berkeley. For
> info: 510.642.1412.
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