Alexander Galloway
Since the beginning
Works in New York, New York United States of America

PORTFOLIO (2)
BIO
Alex works with RSG. Projects include the surveillance tool "Carnivore," "Low Level All Stars" a DVD collection of C64 intros, and the computer game Kriegspiel.
Discussions (75) Opportunities (0) Events (0) Jobs (0)
DISCUSSION

Burpee Shopper's Preview: Gear up for summer!


test

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<A HREF="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d92" target="\_top"><IMG SRC="http://by.advertising.com/sitee679/ejob0536/bnum'644536/bins=1/mnum(460/rich=0" border="0" alt="Click to learn more..."></A>
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<td width="261" align="LEFT" valign="middle" bgcolor="#999900"><font size="2" face="arial" color="#FFCC33"><b><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d83"><font size="2" face="arial" color="white"><b>DARK
ORBIT </b></font></a></b></font></td>
<td width="197" align="right" valign="middle" bgcolor="#999900"><font size="2" face="arial" color="white">Oct
11, 2001</font></td>
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<td width="123" height="58" align="center" valign="middle" bgcolor="#006699"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d83"><img src="http://mms.shockwave.com/190/images/preview\_darkorbit.jpg" border="0" width="121" height="62" hspace="1"></a></td>
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<td valign="middle" bgcolor="#006699" colspan="3"><font face="Arial" size="2" color="white">
Our new space shooter delivers the best 3D action you'll find on the Web
-- or just about anywhere else. Take the online version for a test drive,
and then download the entire game to your hard drive. You'll be blown away!</font></td>
</tr>
<tr>
<td bgcolor="#FFFFFF" width="123"><img src="http://mms.shockwave.com/190/images/spacer.gif" width="121" height="2"></td>
<td bgcolor="#FFFFFF" width="7"></td>
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<table width="121" border="0" cellspacing="0" cellpadding="0" valign="top" bordercolor="black">
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<td height="21" width="114" align="center" valign="middle" bgcolor="#999900"><font size="2" face="arial" color="white"><b>ATOMFILMS
HITS </b></font></td>
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<td height="2" width="114" align="center" valign="middle" bgcolor="#FFFFFF"><img src="http://mms.shockwave.com/190/images/spacer.gif" width="1" height="2"></td>
</tr>
<tr>
<td height="21" width="114" align="center" valign="middle" bgcolor="#003366"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d80"><font size="2" face="arial" color="white">Sweet
Release</font></a></td>
</tr>
<tr>
<td height="1" width="114" bgcolor="#CCCCCC"></td>
</tr>
<tr>
<td height="21" width="114" align="center" valign="middle" bgcolor="#003366"><font size="2" face="arial" color="white"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d84"><font size="2" face="arial" color="white">Break
Stuff</font></a></font></td>
</tr>
<tr>
<td height="1" width="114" bgcolor="#CCCCCC">
</tr>
<tr>
<td height="21" width="114" align="center" valign="middle" bgcolor="#003366"><font size="2" face="arial" color="white"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d85"><font size="2" face="arial" color="white">Greedy
#4</font></a></font></td>
</tr>
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<td height="2" width="114" align="center" valign="middle" bgcolor="#FFFFFF"><img src="http://mms.shockwave.com/190/images/spacer.gif" width="1" height="2"></td>
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<td height="21" width="114" align="center" valign="middle" bgcolor="#999900"><font size="2" face="arial" color="white"><b>SHOCKWAVE.COM<br>
GAMES</b></font></td>
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</tr>
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<td height="21" width="114" align="center" valign="middle" bgcolor="#003366"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d89"><font size="2" face="arial" color="white">Blix</font></a></td>
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<td height="21" width="114" align="center" valign="middle" bgcolor="#003366"><font size="2" face="arial" color="white"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d77"><font size="2" face="arial" color="white">InkLink</font></a></font></td>
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<td height="1" width="114" bgcolor="#CCCCCC">
</tr>
<tr>
<td height="21" width="114" align="center" valign="middle" bgcolor="#003366"><font size="2" face="arial" color="white"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d78"><font size="2" face="arial" color="white">Tamale
Loco: Rumble</font></a></font></td>
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</tr>
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</table>
<br>
<a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d90"><img src="http://mms.shockwave.com/190/images/120x60tm1.gif" width="120" height="60" border="0"></a>
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<td width="70" valign="top" align="center"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d61"><img src="http://mms.shockwave.com/190/images/picon\_sw\_waterballoon5\_sml.gif" border="0" width="73" height="50"></a></td>
<td>&nbsp;&nbsp;</td>
<td valign="middle"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d61"><font size="2" face="arial" color="black"><b>WATERBALLOON
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<td width="70" valign="top" align="center"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d60"><img src="http://mms.shockwave.com/190/images/picon\_sw\_gears\_sml.gif" border="0" width="73" height="50"></a></td>
<td>&nbsp;&nbsp;</td>
<td valign="middle"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d60"><font size="2" face="arial" color="black"><b>GEARS<br>
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<td width="70" valign="top" align="center">
<h3><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d91"><img src="http://mms.shockwave.com/190/images/picon\_af\_greedy01\_sml.gif" border="0" width="73" height="50"></a></h3>
</td>
<td>&nbsp;&nbsp;</td>
<td valign="middle"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d91"><font size="2" face="arial" color="black"><b>THE
GREEDY SHOW</b></font></a><br>
<font size="2" face="arial" color="black">Toilet humor reigns as Jim
Belushi and friends unleash their new animated comedy series on our
partner site, AtomFilms.</font><br>
<br>
</td>
</tr>
<tr>
<td colspan="3" height="1" bgcolor="#99A7B5"><img src="http://mms.shockwave.com/190/images/spacer.gif" height="1"></td>
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<td width="70" valign="top" align="center"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d76"><img src="http://mms.shockwave.com/190/images/picon\_sw\_photojam\_sml.gif" border="0" width="73" height="50"></a></td>
<td>&nbsp;&nbsp;</td>
<td valign="middle"><a href="http://www.shockwave.com/rd/cr.cgi?k263040&c0&w=1&d76"><font size="2" face="arial" color="black"><b>PHOTOJAM</b></font></a><br>
<font size="2" face="arial" color="black">Download PhotoJam, put YOUR
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the Web! It's the killer app for great Halloween and holiday moments.</font><br>
<br>
</td>
</tr>
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From uwa9800g@yahoo.co.uk Sat Nov 10 16:22:05 2001
Return-Path: <uwa9800g@yahoo.co.uk>
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From: "uwa9800g@yahoo.co.uk" <uwa9800g@yahoo.co.uk>
Date: Sat, 10 Nov 2001 09:19:20
To: test@nothing.org
Subject: BUSINESS PROPOSAL
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Content-Type: text/plain;charset="iso-8859-1"
Content-Transfer-Encoding: 7bit

From:Dr.Malenge Uwa
Tel:44-775-281-5820(Satellite phone).
Lagos-Nigeria.
email:uwa9800a@mailcity.com(confidential)

Attn:President/Ceo.

STRICTLY CONFIDENTIAL BUSINESS PROPOSAL
RE: TRANSFER OF US$21.5 MILLION (TWENTY ONE MILLION,
FIVE HUNDRED THOUSAND US DOLLARS ONLY).

I know this email will reach you as a surprise, but
need not to worry
as
we are using the only secured and confidential medium
available to seek
for foreign assistance/partnership in a business
transaction which is
of
mutual benefit.

I am a member of the Federal Government of Nigeria
Contract Award and
Monitoring Committee in the Nigeria National Petroleum

Corporatio(NNPC).
Sometime ago, a contract was awarded to a foreign firm
in NNPC by my
Committee. This contract was over invoiced to the tune
of US$21.5M.
U.S.
Dollars. This was done deliberately. The
over-invoicing was a deal by
my
committee to benefit from the project. We now want to
transfer this
money which is in a suspense Account with NNPC into
any Overseas
Account
which we expect you to provide for us.

SHARE: -
For assisting us in this deal, you will be entitled to
30\% of the
money,60\% will be for me and my partners while 10\% has
been mapped out
from the total sum to cover any expenses that maybe
incurred by us
during the course of this transfer, both locally and
international
expenses. It may interest you to know that a similar
transaction was
carried out with one MR. PATRICE MILLER, President of
Crane
International Trading Corp. of 153 East 57th St., 28th
floor, NY10022,
TEL:(212)-308-7788 AND TELEX: 6731689. The deal was
concluded and all
covering documents were forwarded to MR. MILLER to
authenticate the
claim. Once the funds were transferred, MR. MILLER
presented his Bank
with all the legal documents and remitted the whole
funds to another
Bank Account and disappeared completely. My colleagues
were shattered,
as such opportunities do not come all the time.
I would require your company's name,address,telephone
cell phone and
fax
numbers and also,
your banking details where the funds will be remitted
to.

The above information would be used to make formal
applications as a
matter of procedure for the release of the money.
It does not matter whether or not your company does
contract projects
of
this nature described here. The assumption is that
your company won the
major contract and subcontracted it out to other
companies. More often
than not, big trading companies or firms of unrelated
fields win major
contracts and subcontracts to more specialized firms
for execution of
such contracts.

We have strong reliable connections and contacts at
the Central Bank of
Nigeria, as well as the Federal Ministry of Finance
and we have no
doubt
that all the money will be released and transferred if
we get the
necessary foreign partner to assist us in this deal.
Therefore,when the
business is successfully concluded we shall through
our same
connections
withdraw all documents used from all the concerned
Government
Ministries
for 100\% security.

We are ordinary civil servants and we will not want to
miss this once
in
a lifetime opportunity to get rich. We want this money
to be
transferred
to your nominated bank for us, before the present
Democratic Government
start Auditing all Federal Government owned
Parastatals.

Please contact me immediately through my confidential email address
whether or not you
are interested in this deal.If you are not,it will
enable me scout for
another foreign partner to carry out this deal. But
where you are
interested, send the required documents aforementioned
herein through
my
above confidential email address, as time is of the essence in this
business.
I wait in anticipation of your fullest co-operation.

Yours faithfully,
Dr.Malenge Uwa.

NB:Please when dialing my number, don't include 234,
just dail your
country access number+44-775-281-5820.

From shockwave@mms.shockwave.com Tue Nov 13 18:20:32 2001
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Date: Tue, 13 Nov 2001 15:14:41 -0800 (PST)
From: "Shockwave.com" <shockwave@mms.shockwave.com>
To: test@nothing.org
Subject: Blend grooves, download jigsaws, and more!
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November 9, 2001

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Intel

DISCUSSION

Hacktivism as High {Tech} Art


Currently on view at New York's New Museum of Contemporary Art is
"Open_Source_Art_Hack," a group show of artists poetically conflating
hacking with open-sourcing. There is, already, a bit of a hacker ethos
to open source. The idea that often commercially-valuable, always
laboriously-constructed codes should be openly accessible (openly
modifiable!) by all begs the invention of naughty plots a la Bruce
Sterling's 1993 cult classic, "The Hacker Crackdown." But the artists
in this show are not rerouting police emergency calls to phone- sex
lines or breathing heavily into payphone receivers to rip off Baby
Bells. They are co-opting existing means of surveillance or
surveillance-culture indoctrination to make new comments about life in
network culture. Incidentally, by participating in a major museum show,
they are also helping to launch "hacktivism" into the colloquy of
contemporary art...

On Sundays, in New York, the curious can take a walking tour of the
city's hidden cameras, led by members of the Surveillance Camera
Players. The group has mapped over half of the city's estimated ten
thousand strategically-placed cameras--though the total figure continues
to rise, following post-911 rally- cries for increased surveillance.
The Players have worked, through tours, performances, protests, and
other activities, to protect the rights of Americans, outlined under the
4th Amendment to the Constitution, "against unreasonable searches and
seizures." Americans, they say, have a right to observe those observing
them. This mantra plays out, self-reflexively, in all of the work
included in "Open Source Art Hack."

In SCP's case, the surveillance camera is treated like a television
camera, before which the group performs theatrical gems from George
Orwell's "Animal Farm" to Alfred Jarry's "Ubu Roi." After six years of
interventions, SCP has come to feel that passersby have become more
their audience than the police eyes trained on their target cameras, as
evidenced in protests in which members inform oblivious strollers that
they were being watched. Videos of these performances and walking-tours
comprise SCP's contribution to the show. Museum visitors (or otherwise
oblivious strollers) will find themselves peering in at the videos in
the museum's storefront window--an at-once typical site for the
investment of scopophilic energy and atypical site for the
museum-display of art.

Next to SCP's videos, and further inside the museum, are the Radical
Software Group's "Carnivore" clients. RSG's packet-sniffing machine
monitors the traffic on a selection of computers--in this case, those in
the museum's media lounge-- and visualizes the docking-sites and use of
pre-programmed keywords. Putting the "art" in "art hack," each RSG
client has created a unique interface for this visualization.
Particularly poignant is entopy8zuper's representation of active users
as globe-circling airplanes trudging a crash-and-burn path where logoffs
leave fiery pock-marks in an ambiguous web world. While "Carnivore" is
modeled after the FBI's surveillance engine, RSG-founder Alex Galloway
has shrugged off the typical hacker coat of arms, claiming to be more
interested in exploring positive models of observation than undermining
the state apparatus.

Here, RSG, like its "Open Source Art Hack" peers, reestablishes mimicry
as a beautiful, if scientifically-complex, form of defense. But what is
it that is being defended against? For starters, it's the infusion of
panoptic strategies into network culture. Whether it is packet sniffing
or search engine data- cataloguing, internet users are always-already
vulnerable to the search and display of their activities and
communication. Indeed, it is not just that Google is archiving one's
chat-group confessions, but the possibility that any and all future
actions might be monitored that invokes a Foucaultian digital
panopticon-an always-present eye casting an impact upon the moves we
make.

LAN's "Tracenoizer" clone sites exploit the abundance of unfiltered
personal information online, creating sources of mis-information about
websurfers bearing a data-based resemblance (say, a similar name) to
"Tracenoizer" users. Filmmaker Harun Farocki, a welcome addition to the
cadre of what has become a too-tight nepotistic circle of "new media"
artists, explores these panoptic issues in his "Eye/Machine." Exposing
the means and motives by which war machines look, Farocki pairs
interviews of surveillance pilots with sample footage. The result is a
document of the constructed realities (read: visions) of war and the
impetus for incorporating military machinery into civilian life.

Both Knowbotic Research and Cue P. Doll have turned established search
mechanisms on their heads in creating alternative means of gathering
information about the world's major companies and organizations.
Knowbotic Research's entrancing installation has at its heart a portal
for the exposure of the crack- vulnerabilities of a public group's
server. Plastic containers flash and buzz with varying intensity--a
comment on the physicality of the firewall--as data rolls and pops on
screen, Vegas-style. Cue P. Doll's "CueJack" bites the tongue of the
"CueCat," a barcode scanner that delivers users at the door of retail
websites. "CueJack" also reads barcodes, but rather than touting the
many fine products for sale by the manufacturer of the item you've
scanned, "CueJack" takes you to a database of the corporate wrong-doings
and related boycotts of said retailer. Both Knowbotic Research's
installation and Cue P. Doll's scanner require readings with the body,
thereby making users corporeally complicit in the {art-} hack
activities.

Radioqualia calls for sonic participation in their "Free Radio Linux"
project. Artists Adam Hyde and Honor Harger have created an online and
on-air radio station in which a computerized voice reads the Linux
operating system code--an endeavor that will take years to complete.
"Free Radio Linux" is the ultimate self-reflexive case of artists
commenting on the character and relative complexities of existing
channels of representation, distribution, and interpretation. Their
project provides the sonic backdrop for the asking of several key
questions underscored by "Open Source Art Hack." Perhaps most important
is the question, "What is a code?"

The Alliance for Telecommunications Industry Solutions (ATIS) defines it
as "a set of unambiguous rules specifying the manner in which data may
be represented in a discrete form." The fact that we use the same
four-letter word to describe a system of representation that we do to
refer to social norms (see dress "code") is less a matter of irony and
more an indication of the degree to which that system of representation
is a reflection of a dominant ideology. That special milieu we've named
"network culture" is no more than a percentage of the population at
large behaving and interacting in such a way as to self- reflexively
trace their patterns of protocol-driven activity. Seemingly mechanical
activity like the ping-pong game of one computer chatting with another
was scripted by humans who have been enculturated in a society in which
there exist elaborate codes of propriety and impropriety, in
communicative exchange, and where a sort of social Darwinism has
translated keeping up with the Joneses into keeping up with the OS's.
However phantasmatic the traces of these social scripts are upon
computer codes, their products are entirely tangible. Hacktivism, while
admittedly entrenched in recognizing--if not following--rules of
engagement, then seems a worthwhile means of attempting to dissect the
ideological apparatuses at play in this closed circle of coded
signification.

DISCUSSION

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DISCUSSION

Net.Dialogue.8: The Loss of Inscription


Net.Dialogue.8: The Loss of Inscription
(Mark Amerika with Giselle Beiguelman)

MA: You have created a beautiful site called http://desvirtual.com where
many people from around the world were first turned on to your work The
Book After The Book. Although you have said that this work is not net
art per se but is more "a hybrid of criticism and hypervisual essay,"
one of the works that came after - <content=no cache> - started feeling
like a playful art project than an essay per se...can you elaborate on
what you were doing with this project?

GB: <Content=No Cache> was conceived in 2000 and I did it right after
the Book after the Book.

It's not an essay but it explores online writing and the phenomena of
the loss of inscription, which reverts all our cultural traditions that
usually link memory to writing proofs.

Its point of departure is this curious tag ("content = no cache").
Placed in the html code it updates the contents of any online page,
erasing what was written before. In this sense, it announces a new
condition of writing.

From now on it does not inscribe anymore. It could be pointing to new
epistemological paradigms and ways of producing memories and
representations, but maybe because our printed background and the
metaphorical use of the web: why do we call web sites, sites, if they
are non-sites? why do we need the reference of the page to describe what
happens on the screen? most of on line writing just describes... Like
Error Messages.

Integrated to The Book of Errors it also documents the relationship
between web readers and errors messages. Those messages are
aesthetically reworked and exhibited in new screens. By doing this, the
web site creates a different context for them and inverts the relation
between what is seen and what is read.

In a few words, <Content=No Cache> works as if it would be possible to
operate in the limits between reading and vision, in order to explore
what is supposed to be a cyberliteracy based upon an alphanumeric
culture.

MA: How does this "cyberliteracy" you are so in tune with, inform your
recent work, I'm thinking particularly of the mobile phone projects and
your use of WAP as a potential nomadic device to transmit what can only
be called nomadic narrative? And how can "literary imagination" find
its way into these transmissions as well?

GB: You are right, the mobile phone projects are far away from our
traditional backgrounds. They are nomadic devices and they make us think
on different artistic interventions, conceived to be experienced on the
move, in between, while doing other things. They are not contemplative
at all. Mobile phones and PDAs are tools we need because we are already
multitask personalities. You have a mobile phone in order to be able to
drive and make a call. You are supposed to be concentrated in many
things simultaneously and being involved in different situations. So
those nomadic devices interest me because they point to new reading
contexts and, as always, it is important to keep in mind: you do not
talk about a world of reading without talking about a reading of the
world. In this sense they will probably force us to redefine our
understanding of what is art. They demand new concepts and art
experiences tuned with entropy and acceleration.

This is something that disturbs and attracts me, I worked on this on
"Wopart" and in "Leste o Leste?" (Did you read the East) which was a
teleintervention in electronic panels, that explored the entropy and
acceleration of the city as the main space of action.

MA: It seems that in order for art to have purpose, it oftentimes must
intervene in the mainstream culture, to call it to account. This means
hacking corporate culture and challenging preconceived realities whether
they be commercially or artistically generated (or both). What was the
concept behind your recent web art project created for the Sao Paolo
Biennial, the one called "ceci n'est pas un nike"? Why Magritte - and
why Nike?

GB: This was created for and inspired by the SP Biennial. Web art became
an institutional hype and this has many consequences. One of them is
integration to the market _ what is good and bad_ the other is its
misunderstanding of online art. And here we find deeper questions
involved in this absorption of web art by museums, galleries and
foundations.

Usually the presence of web artist in exhibitions like the SP Biennial
is associated with the physical presence of computers in the building.
Online experience is reduced to surface and hidden by a fake objectual
condition. Moreover sponsors give computers and connections in order to
sell their e-biz (machines or connection services) and the artist is
converted into a useful accessory for marketing chains.

In some ways, traditional institutions need surface and objects in order
to see art, meaning and value. They cannot stand or don't know how to
deal with interfaces that connects local situations to non-site.

Nikes are surface only. Web sites are interfaces.

"Ceci n'est pas un nike" (desvirtual.com/nike) updates Magritte's simple
statement "This is not a pipe/this is a drawing that pictures a pipe",
that points to the conflict between representation and presentation. It
discusses the conflict between interface and surface, exploring elements
of that non-surface situation of cyberspace: the possibilities of
interferences in the web site icon _the nike_ (the e-nike generator) and
in the critical text that uses a wiki platform (the e-palimpsest) . You
can create, publish, destroy and rebuild everything because it is online
and you are working in a special interface, not inside the computer or
on the monitor surface...

MA: Are we living in Apocalypse Now?

GB: I'm too chaotic, so I'm in a Fractal process of recreation. There is
not any messianic future that could replace my contractions and internal
gaps. I hope so.

+ + +

Mark Amerika's FILMTEXT has recently been exhibited in London, Melbourne
and at the European Media Art Festival. Forthcoming exhibitions will
take place in various international locations including SIGGRAPH 2002
and ISEA Nagoya. Updates available at www.markamerika.com

Giselle Beiguelman is a multimedia essayist and web-artist who lives in
Soa Paulo, Brazil, and has been presenting her web works in exhibits,
festivals and scientific events devoted to new media art.

DISCUSSION

rhiz under "construction


rhizomers,

over the next week or two we will be completely overhaul the rhizome back-end.

majordomo will be replaced with a new emailing system. upgraded to apache2
and php4 today.. more fun changes coming soon!

i'm trying to make the transition invisible to you, but don't be surprised
if a bug or two surfaces. and please email me if you find any bugs, or have
suggestions.

love,

alex