NEWSgrist: Get Your Agitprop On - Vol. 3, no. 15 (Sept. 30, 2002)
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NEWSgrist
where spin is art
http://newsgrist.net
{bi-weekly news digest}
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Vol. 3, no. 15 (Sept. 30, 2002)
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CONTENTS:
- *Splash* Get Your Agitprop On
- *Quote/s* Ars E: blue screen of death?
- *Url/s* Flight 404 - Search & Recovery
- *More Agitprop* much much more…
- *A Bridge Too Far* MidEast tensions hit Queens Museum
- *Queens Partition?* Palestine Pamphlet Flap (full article)
- *DOCudrama* CODeDOC launched at Whitney artport
- *Un-Secret Code* Mirapaul revels in CODeDOC revelations
- *It's a Small World* art trumps privacy in Kruger case
- *Sixes & Sevens* 6 Design Teams selected for 9/11 site
- *Book Grist* Virtuous War
- *Classified* THE THING ISP: rather switch than fight?
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*Splash* http://newsgrist.net
Get Your Agitprop On
"Is the impending war in Iraq getting you down?
Are you tired of being held hostage by your own government?
Is the growing need to agitate gnawing at your insides?
"While you pause to consider your repressed subversive tendencies,
print out these four Quick 'n Easy posters with one click of a mouse.
"Save 'em, trade 'em, or go out in the dead of night and paper the
subway, the grocery store, the post office…
[good recipe for wheat paste adhesive here]
"Or just forward them by email."
Note:
These posters are fashioned after PSYOPs leaflets that were dropped
over Kosovo and Serbia by NATO, courtesy the US Department of Defense
in Spring 1999. To see the original leaflets click through large
posters to original versions…
splash page: http://newsgrist.net
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*Quote/s*
"This year's Ars Electronica took the theme "Unplugged: Art as the Scene
of Global Conflicts" a metaphor for the state of post 9/11 artistic
practice amid an international climate of political tension surrounding
globalization, terrorism, and threats of war. As it was my first visit
to Ars, I tried to inhale as much stimuli as possible without suffering
my own blue screen of death."
– Report from Ars Electronica 2002
Jonah Brucker-Cohen (Rhizome, 9/24/02)
http://www.rhizome.org/object.rhiz?9003
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*Url/s*
1) Flight 404 - Search & Recovery
http://www.flight404.com/
[Needs at least IE.5]
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*More Agitprop*
The 'Not in Our Name' full page ad placed in NYTimes 9/19/02:
[Note: this is a pdf file. Requires Acrobat Reader.]
http://www.nion.us/nion_NYT9-19.pdf
The anti-war ad that was rejected by the NYTimes:
http://www.tompaine.com/op_ads/opad.cfm/ID/6438/view/print
Digital Ultra's 'No War in Iraq' - piccolo network contra la guerra
http://www.digitalultras.com/nowariniraq/
The Optimist's Guide To War With Iraq
[This Modern World, by Tom Tomorrow] Salon.com, Aug. 30, 2002
http://www.salon.com/comics/tomo/2002/08/30/tomo/index.html
Know Your Place! Shut Your Face! Posters by
http://homepage.mac.com/leperous/PhotoAlbum1.html
Artnet Magazine Comments, 9/19/02:
ARTISTS JOIN ANTIWAR EFFORT
http://www.artnet.com/Magazine/news/artnetnews2/artnetnews9-19-02.asp
Several top contemporary artists have joined celebrities, academics
and political figures in signing a highly public petition protesting the
potential U.N. invasion of Iraq. Called "Not in Our Name" http://www.nion.us/
and appearing today as a full-page ad in the New York Times, the
petition expresses support for the regime of Saddam Hussein ("nations
have the right to determine their own destiny") and seems to object
to the battle against terrorism in Afghanistan, the Philippines and
Israel. Signers include art-world stars Laurie Anderson, Leon Golub,
Barbara Kruger, Lucy Lippard, Linda Nochlin, Claes Oldenburg, James
Rosenquist and Kiki Smith along with notorious peace-niks like Ramsey
Clark, Noam Chomsky, Edward Said and Howard Zinn. "Let it not be
said that people in the United States did nothing when their government
declared a war without limit and instituted stark new measures of
repression," says the loony-left ad – which ordinarily would cost
around $100,000.
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*A Bridge Too Far*
MIDEAST TENSIONS HIT QUEENS MUSEUM SHOW
Artnet Magazine, Sept. 20, 2002
http://www.artnet.com/Magazine/news/artnetnews2/artnetnews9-19-02.asp?C=1
The Queens Museum of Art, which opened the bridge-building "Queens
International" exhibition, Aug. 11-Nov. 3, 2002, to emphasize the many
cultures cohabiting in the borough of Queens, now finds itself caught
up in a bit of a controversy about the Middle East. After a museum
visitor objected to anti-Israel statements in a pamphlet that was part
of an installation by Palestinian-American artist Emily Jacir, the
museum removed the pamphlet – prompting protests of censorship from
the artist. "Our position is that Jacir is an interesting artist who
lives in Queens," museum director Tom Finkelpearl told the Jewish
Press." And the museum doesn't want to censor." [see full article
below]. The pamphlet is a reproduction of one originally distributed
at the Jordanian Pavilion at the 1964 World's Fair, and includes a
poem lamenting the U.N. partition of Palestine in 1948. Jacir's
installation also includes a Memorial to 418 Palestinian Villages
Which Were Destroyed, Depopulated and Occupied by Israel in 1948
(2001), http://www.queensmuse.org/exhibitions/ a refugee tent
embroidered with Palestinian names. Jacir is slated for a show at
Debs & Co. in Manhattan's Chelsea art district in the spring of 2003.
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*Queens Partition?*
Propaganda Or Art? Queens Museum Withdraws Arab Pamphlet `For Now`
By Tzivia Emmer, Jewish Press Staff Writer
The Jewish Press - Posted 9/11/2002
http://www.thejewishpress.com/news_article.asp?article43
The Queens Museum of Art has provisionally removed an emotionally-
charged piece of literature that was part of an installation created
by artist Emily Jacir. The handout re-creates a pamphlet originally
distributed at the Jordan Pavilion of the 1964 Worlds Fair, which was
held at the museum's site at Flushing Meadows.
In a poem lamenting the United Nations Partition of Palestine in 1948,
the pamphlet contains lines such as, The strangers, once thought
terror's victims,/Became terror's fierce practitioners. It asks
visitors to hear a word on Palestine/And perhaps to help us right a
wrong.
Jacir's work is part of an exhibit on the activities of the U.N. during
the four years it occupied the New York City building that now houses
the museum. In 1948 U.N. Partition of Palestine was ratified there, and
the museum commemorates the event with a news items and photographs.
It also includes a tent embroidered with the names of Arab villages
whose residents were displaced after the Partition agreement, and a
strong message of blame toward Israel.
On August 18 Nicole Levine of Brooklyn was visiting the museum with her
children, ages 11 and 14. She told The Jewish Press she was shocked to
discover the politically-oriented pamphlet here in the art museum a
politically neutral place…. right next to the wall with the bubble
gum!(a hands-on exhibit for children).
The passing remark of a museum patron at the scene furthered her point:
"The (expletive) Jews they [the Arabs] should never have given in to
them."
For the Israeli-born Levine it was a highly emotional moment, bringing
back memories of her family's wartime ordeals and of friends and
relatives wounded and killed by terrorists.
It was the handout rather than the entire exhibit that she found
disturbing, since it is something one carries away and keeps. It is
not the museums business to help this Palestinian further her cause,
she said.
Levine called curator Tom Finkelpearl to voice her dismay. Finkelpearl
politely expressed the view, she said, that the exhibit was simply a
work of art.
"Dont you understand that this feeds anti-Semitism?" she reportedly
countered. The offending pamphlet was sheer propaganda, she said she
pointed out at a time when people are dying on both sides.
Finkelpearl promised to bring up the issue with museum officials. A few
days later, he told Levine by phone that the pamphlet had been removed
from the exhibit, pending further discussion.
Responding to a call from The Jewish Press, Finkelpearl took pains to
note that the exhibit doesn't reflect the point of view of the museum.
He said he was not unsympathetic to the issues raised by Levine, but
that the museum's stance is basically that Emily Jacir is an
interesting artist living in Queens and that the museum didn't want to
censor the artist once she had been asked to participate in the exhibit.
A panel discussion that will present both the Israeli and Arab points
of view was already slated for Sunday, Sept. 15. Informed that the
erev Yom Kippur timing was problematic, Finkelpearl said they were
aware of the date and had therefore scheduled the meeting for 1 p.m.
"What I'm hoping for," said Finkelpearl, "is that we can put forward a
balanced program that will enable people to make up their minds." He
said he hopes the controversy wont overshadow the creative aspects
of the exhibit as a whole.
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*DOCudrama*
9/16/02
CODeDOC launched today at artport
Christiane_Paul
CODeDOC
An online exhibition
at the Whitney Museum's artport
http://artport.whitney.org
http://artport.whitney.org/commissions/codedoc/
Participating artists: Sawad Brooks, Mary Flanagan, Alex Galloway, John
Klima, Golan Levin, Kevin McCoy, Mark Napier, Brad Paley, Scott Snibbe,
Camille Utterback, Martin Wattenberg, Maciej Wisniewski
CODeDOC takes a reverse look at 'software art' projects by focusing on
and comparing the 'back end' of the code that drives the artwork's
'front end' the result of the code, be it visuals or a more abstract communication process. A dozen artists coded a specific assignment in
a language of their choice and were asked to exchange the code with
each other for comments […]
Intrinsic to software art is a procedural element that allows for
reconfiguration and extension, and, as way of commenting on the
projects, artists started to 'remix' their work, applying their own
code to other projects or combining sections of code into a new
project.
One does not need to be a programmer and have an in-depth under-
standing of computer languages to establish a connection between the
code and its respective results: even a glance at the artists' source
code will reveal certain mathematical functions, and in many cases,
the artists' comments on their writing clarify the functionality of
a line or section of the code. In some cases, reading the source
code will enhance the perception of the work; in other cases, the
code doesn't necessarily add to the projects. CODeDOC is an endeavor
to take a closer look at the process of this particular artistic
practice, and to raise questions about the parameters of artistic
creation.
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*Un-Secret Code*
ARTS ONLINE
Secrets of Digital Creativity Revealed in Miniatures
By MATTHEW MIRAPAUL
NYTimes, Sept. 16, 2002
http://www.nytimes.com/2002/09/16/arts/design/16ARTS.html
Most of us seem to want to experience an artistic creation as a
finished product, not as a mound of raw materials. So an exhibition
called "Gobs of Paint" or a concerto titled "Loads of Notes" would
probably have some problems attracting an audience.
Which means that "Codedoc," an online exhibition of digital artworks
that focuses on their underlying computer code, is a daring endeavor.
It asks viewers without any programming knowledge to step back from
the animated lines and interactive elements of computer art and
instead consider the geeky techniques that digital artists use to
create those works. This would be like studying the artist's brush
and paints and not the painting.
"Codedoc" was organized by Christiane Paul, the Whitney Museum of
American Art's new-media curator. She commissioned small pieces from
a dozen digital artists on the condition that they also publish the
computer code behind their works. The online-only exhibition opens
today in Artport, the Whitney's virtual gallery of Internet-based
art projects, at artport.whitney.org.
Although the 12 works are little more than miniatures, the overall
exhibition provides a revealing look at how digital art is actually
created. In this medium, the raw material is computer code, and when
shaped by the artist it determines the final product. "Codedoc" is
shorthand for the code documents that are essential to the works'
existence.
"To understand art, you need to understand artistic practice," Ms. Paul
said. "We have looked at paintings for hundreds of years, and at some
point, everybody notices that there is something in the stroke of the
brush. Van Gogh looks very different from Seurat, and you see how that
works on the canvas."
With digital art, the creative brush strokes, if you will, are embedded
in the code. Yet its role in the creative process is rarely seen. "We
experience digital art in reverse," Ms. Paul said. "We look at the
visual front end, but what the artist wrote first is the code." The
Whitney exhibition shows the artistic process, since the code precedes
a work's rendering on the computer screen.
For those whose dealings with code are limited to five zippy numbers
on an envelope, a brief tutorial. In the digital realm, code is the
set of instructions that drive a computer's hardware and software.
Most code exists as text, written in Java, C++, Perl or another of
the foreign languages spoken by the software-development tribe.
Whether code is written for a word-processing program or a digital
artwork, its authors are usually the only ones who see it. What
counts is what it does, not how it looks.
But with "Codedoc," viewers are forced to look at each work's code
document before they can see the art. The link that leads to each work
has been placed at the bottom of its page of code, and visitors must
scroll through a list of computer commands like "go to the frame" or,
more typically, "double filtVel = 1."
Ms. Paul is determined to refute the notion that digital artists simply
buy a program, flip a switch and let a computer do its thing. By
putting the code of 12 different artists side by side, she said, even
nonexperts can discern that "it is all written from scratch and that
it shows a lot of individuality."
True, up to a point. For instance, Scott Snibbe's code for "Tripolar"
is a sliver of text, while John Klima's code for "Jack and Jill"
resembles the script for a three-character drama. As it turns out,
Mr. Snibbe's work is a minimalist take on chaos theory, while Mr.
Klima's work adds a psychological dimension to the children's poem.
Still, for those who do not speak the languages, reading the
exhibition's code is like attending a concert where scores are
distributed rather than program notes. Yo-Yo Ma is able to flip
through the sheet music and hear the sound, but the average
concertgoer is liable to remain baffled by all those funny symbols.
Mr. Snibbe, a San Francisco artist, agreed that people unfamiliar with
programming would be stumped by the Whitney site's code documents.
"Really, they're all going to look the same," he said. "If we had eight
Russian poets, we might have similar problems. But to my eyes, all the
code looks really different."
He continued, "People had really distinct styles." He said he enjoyed
how Camille Utterback, a Brooklyn artist, embellished her code with
poetic comments, and he described Mr. Klima's code as social psychology
because "it's all about relationships." To help viewers grasp what is
on the site, Mr. Snibbe and his colleagues have inserted explanatory
remarks into their own documents and then annotated others' code.
Once one gets past the code, some of the exhibition's works are quite
entertaining. Each artist was asked to create a work that would move
and connect three points in space. Most responded with animated
graphic contraptions. Some works are hypnotic. Others were less literal
in how they interpreted the assignment. Sawad Brooks overlaid the home
pages of Web sites for three international newspapers.
But the site's most remarkable works are six reinterpretations, or
remixes, in which the artists process the others' code through their
own programs. For instance, Brad Paley wrote a program that analyzes
his own code, but he also turned the program on Mr. Snibbe's code. It
is meant as spirited fun, but if code is a reflection of personal
style, it also serves as portraiture.
Admittedly, computer code is not the most accessible of art subjects.
Ms. Paul said, "This is a very unusual artistic practice in that the
artist completely writes the project in verbal terms and that
determines the visual outcome." She likened the writing of code to
the conceptual-art projects of Sol LeWitt, who drafts precise
instructions on how to create a wall painting, then leaves it to
others to execute the work.
The New York artist John F. Simon Jr. takes this thinking a step
further, arguing that programming is a form of creative writing.
"What you choose to write about in code is very important," he
said. "It's like what you choose to write about when you write a
book. The plot can determine the beauty of the story. You have to
make the same kinds of choices when you write code."
Ms. Utterback said: "Most people as kids wielded a paintbrush, so
it's not mysterious to them how you create a painting. But people
have no concept of what computer code looks like. Even if what's
there still looks mysterious and crazy, it humanizes it."
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*It's a Small World*
Art trumps right to privacy [EXCERPTS]
A US Federal court has thrown out the case against artist Barbara
Kruger for her appropriation of a 1960 photo, and against the
Whitney Museum and LA MoCA for selling merchandising reproducing
the offending image
By Martha Lufkin
[FULL ARTICLE: The Art Newspaper, 9/20/02]
http://www.theartnewspaper.com/news/article.asp?idart030
NEW YORK. A Federal court in New York has thrown out a lawsuit against
the artist Barbara Kruger, the Whitney Museum of American Art, the
Museum of Contemporary Art in Los Angeles, and others including the
MIT Press. In the lawsuit, two individuals, the photographer Thomas
Hoepker and his friend Charlotte Dabney, had sought damages stemming
from the use and exhibition of an image of Dabney within a work
created by Barbara Kruger.
The Kruger work shows Dabney, right eye partially enlarged by a
magnifying glass, with the words "It's a small world but not if you
have to clean it." The plaintiffs claimed that the work violated
Dabney's right to privacy and Hoepker's copyright.
The decision clarified important aspects of US copyright law, the court
said. It also stated the rule for New York in cases pitting privacy
rights against freedom of speech as applied to the sale of museum gift
shop items. The May 2002 decision was written by Judge Alvin K.
Hellerstein, of the United States District Court for the Southern
District of New York.
In 1960, Hoepker, a well-known German photographer, created the
photographic image of Dabney with the magnifying glass, and published
it with the title "Charlotte As Seen By Thomas" in the German
photography magazine FOTO PRISMA in 1960.
Enter Barbara Kruger
Thirty years later, Kruger was specialising in "appropriation art"
collages which combined photographs and text. She created an
untitled silkscreen, called the "Kruger Composite" by the court,
incorporating Hoepker's "Charlotte" and adding three red rectangles
carrying the "It's a small world" text. In 1990, Kruger sold the
Composite to the Museum of Contemporary Art in Los Angeles (MoCA),
and from 1999-2000 the museum displayed it as one of 64 works in
an exhibition of Kruger's work. Merchandising including t-shirts,
note cubes, magnets and postcards decorated with the Kruger work
were offered for sale in the MoCA shop, and the work was also
reproduced in the exhibition catalogue published with MIT Press.
In July 2000 The Kruger work travelled to New York for an
exhibition at the Whitney Museum, which also sold similar items
in its shop, and where the image was reproduced on five-story-
high vinyl billboards at several locations in Manhattan.
Before the exhibition had completed its run, Hoepker and Dabney sued
(The Art Newspaper, No. 110, January 2001, p.10). See Newsgrist,
Vol.1, no.53: http://www.geocities.com/newsgrist/newsgrist1-53.html
[…]
The court rejected Hoepker's argument that Kruger's Composite was a
mere reproduction and not an original work.
The right to privacy
Charlotte Dabney sought damages for violation of her right to privacy,
a claim which must meet a statutory test in New York. Three of four
requirements under that statute had been met, the court said: Dabney's
picture was used, without her consent, and within the state of New
York. The only required test left for Dabney to prevail on a privacy
claim, then, was whether the image was used "for advertising purposes
or for the purposes of trade." The advertising and trade tests, the
court said, were designed to protect against privacy intrusions while simultaneously "protecting the quintessential American right" to
freedom of speech. Commercial speech, the court said, could be
restricted more readily than "pure" First Amendment speech.
Art over privacy
While art was not as clear as political speech, New York courts have
afforded First Amendment protection to art when pitted against privacy
rights, the court said. A New York 1993 case held that an artist could
make and sell 20 bronze busts of model Cheryl Tiegs-at $20,000 each-
without her written consent, and without violating her privacy rights,
which "fell" to the artist's free speech rights. In California, the
court said, the question was whether a work of art sufficiently
"transformed" the person's image, or whether instead "the celebrity"
was what was being sold. Under either State law, the court said,
Kruger's work was "pure First Amendment speech in the form of
artistic expression."
The Whitney's display of the work was therefore protected by the First
Amendment, the court said, as was the reproduction of the image in the
exhibition catalogue. Similarly, the court said, the leaflets,
newsletters, and other exhibition advertisements, including the large
vinyl "billboards," fell outside New York's privacy protection,
because they merely "proved the worth and illustrated the content"
of the show. […]
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*Sixes & Sevens*
Design Teams Are Selected for New Plans for 9/11 Site
By EDWARD WYATT [EXCERPTS]
NYTimes, Sept 27, 2002
http://www.nytimes.com/2002/09/27/nyregion/27REBU.html
Six teams of architects, artists and designers, including individuals
and firms that have created some of the most renowned buildings and
public works of the last quarter-century, were chosen yesterday by
the Lower Manhattan Development Corporation to create new designs for
the World Trade Center site. The people selected are representatives
of 27 architecture and design firms in the United States and in four
foreign countries. Their selection opens a new phase in the
rebuilding of Lower Manhattan, one that has been strongly influenced
by the public's highly negative reaction to the initial six designs
for the trade center site.
[…]
The problem in need of a solution is how to reconcile the requirements
of the Port Authority of New York and New Jersey, which owns the trade
center site and earns money from private developers' payments for the
rights to the office and retail space there, with the public's desire
for the accomplishment of an array of goals.
Among these goals are the creation of a memorial including the
footprints of the twin towers, the restoration of a soaring element
to the city's skyline, and renovation of an area of downtown that
while thriving before Sept. 11, was not the easiest place in which to
live or work. Each team will produce multiple sets of designs for the
16-acre site, incorporating office space, stores, transportation and
a memorial. Each will also create designs that keep substantially all
the former office and retail space on the site as well as designs
that move substantial portions to nearby properties. In the next two
weeks, the development corporation and the Port Authority will settle
on requirements for the architecture teams to use in allocating
office space to the site, Mr. Betts said. The requirements will range
from the 11 million square feet outlined in the lease held by Larry A. Silverstein, to "a substantially lower amount," Mr. Betts said. […]
Details of the six teams selected to work on the trade center site
designs can be found on the Lower Manhattan Development Corporation's
Web site at http://www.renewnyc.com.
The six teams are:
1- Studio Daniel Libeskind, Berlin.
2- Foster and Partners, London.
3- A team of four individuals: Richard Meier, Peter Eisenman, Charles
Gwathmey and Steven Holl, all of New York.
4- United Architects, a team including three firms (Foreign Office
Architects of London, Imaginary Forces of New York and Los Angeles,
and UN Studio of Amsterdam) and three individuals (Greg Lynn of
Los Angeles, Reiser Umemoto of New York and Kevin Kenon of NY).
5- A team led by Skidmore, Owings and Merrill of New York, assisted by
Tom Leader of Berkeley, Calif., Michael Maltzan of Los Angeles,
Neutelings Riedijk of Rotterdam, Field Operations of Philadelphia
and New York, SANAA of Tokyo; and four artists, Inigo Manglano-
Ovalle, Rita McBride, Jessica Stockholder and Elyn Zimmerman.
6- Think, a team including Shigeru Ban, Tokyo; Frederic Schwartz, NY;
Ken Smith, New York; Rafael Vinoly, New York; and as consultants,
Arup, London; Buro Happold Engineers, Bath, England; Jorg
Schlaich, Stuttgart, Germany; William Moorish, Charlottesville,
Rockwell, Va..; David New York; and Jane Marie Smith, Baltimore.
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*Book Grist*
Virtuous War
Mapping the Military-Industrial-Media-Entertainment Network
By James Der Derian
Westview Press; June 2001
272 pp.
ISBN 0813397944
http://www.amazon.com/exec/obidos/ASIN/0813397944/ref=ase_techdirectionson/002-8578364-7084850
Review:
http://www.techdirections.com/html/JDerDerian.html
In the Mojave Desert, off the shores of San Francisco Bay, in the hills
of southern Germany, down the road from Disney World, and in the heart
of Hollywood, the United States armed forces are preparing for the next
war. They are fought by the military in the same manner as they are
viewed by citizens, on real-time networks and by live-feed videos, on
the PC and TV, actually and virtually. Motivated by political and
ethical imperatives, enabled by smart technologies, a new form of
high-tech, low-risk, networked warfare is emerging: virtuous war.
Virtuous War is a road trip into the cyborg heart of the
military-industrial-media-entertainment network. James Der Derian takes
the reader from a family history of war and genocide to new virtual
battlespaces in Hollywood, Silicon Valley, and Orlando's Simulation
Triangle. We travel with the author to the Army's Advanced Warfighting
Experiment in the Mojave Desert, the Marines Urban Warrior occupation
of the San Francisco Bay area, and the staging areas of the Kosovo air
campaign in Italy. Der Derian redesigns a ships command center as the
Disney Room, and the Army builds a Holodeck at a California university.
Computer simulations, cable news coverage, and feature movies all blur
and converge in this new virtual alliance of the military, the media,
and the entertainment industry.
Der Derian traces the hardwiring of Virtuous War through new
technologies of global surveillance, networked communications,
computerized logistics, and precision munitions. But he also digs
deeply into the political and philosophical questions posed by this
new form of secular holy war, where killing–based on our images of
conflict in the Gulf, Bosnia, and Kosovo–appears to be distant and discriminate, efficient and ethical. Will the tail of technology not
only wag the dog of military strategy but also up-end the policy of
civilian control? Will going to war become easier, the making of
peace bloodier? What happens to those at the short-end of the virtual
stick? Is virtuous war the harbinger of a new world order or a brave
new world? The result is the first book to offer a virtual theory
for the military strategies, philosophical questions, ethical issues,
and political controversies surrounding the future of war and peace.
[James Der Derian is the director of INFO/tech/war/peace project:
http://www.watsoninstitute.org/infopeace/index2.cfm
He is Professor of International Relations (Research) at Brown
University and Professor of Political Science at UMASS/Amherst.
His articles on war and technology have appeared in the New York
Times, Nation, Washington Quarterly, and Wired.]
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*Classified*
Wouldn't you rather switch than fight?
Ask them - the many people who use and love THE THING - why it's become
such an integral part of their lives, and they'll tell you that it's
because it just works. Letting them do what they want to do. Whether
it's dial-up, domain hosting, email services, or co-location. No
filters, no data harvesting, no ads, no fishy reseller deals. So if
you are still on AOL, Earthlink, Rhizome or some idiotic Yahoo email
service, go ahead and switch!
http://isp.thing.net/switch/switch1.html
http://bbs.thing.net
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NEWSgrist: Get Your Agitprop On - Vol. 3, no. 15 (Sept. 30, 2002)
-
Type: discussion