NEWSgrist: *Eryk Salvaggio=RGB* Vol

NEWSgrist: *<electronetwork>* Vol.4, no.10 (May. 19, 2003)

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NEWSgrist

where spin is art

http://newsgrist.net

{bi-weekly news digest}

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Vol.4, no.10 (May. 19, 2003)

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CONTENTS:

- *Splash* <electronetwork>

- *NEWSgrist’s Underbelly* post your own

- *Quote/s* Schlock + awe; He followed the money

- *Url/s* Who is Ali G?; Postcard for the Public Domain

- *A Must Have* order your "Run Bush Run" pins…

- *Danger Lurks* Toying w/ Tuymans

- *Cracker Hackdown* DARPA and the Matrix?

- *Final Fantasy* Mirapaul on the Digital "Sal-yawn"

- *At Whit's End* Max Anderson resigns

- *The Walker's Boot* The Walker Art Center cuts staff

- *G Whiz* So, who IS Ali G?

- *Open Call* Subtle Tech proposals

- *Book Grist* Does the totalitarian shoe fit?

- *Obit* Robert Blackburn, 1920-2003

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*Splash* http://newsgrist.net

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splash archived at: http://www.newsgrist.net/Splash_EM.html

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*NEWSgrist’s Underbelly*

Check for new posts, or post your own news, press releases,

urls, opinions, rants, in the Underbelly : http://pub11.bravenet.com/forum/show.php?usernum=870870569

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*Quote/s*

But while critiquing grandiosity, he admits to some awe. That footage of

soldiers in Hummers blazing across the desert in the first days of the

war: "Vulgar, yet you couldn't take your eyes off it," says LaVerdiere.

"Those gestures need to be examined. It's about the artifice, too, the

way we relate to mediated experiences…"

Julian Laverdiere, quoted by C. Carr in "Empire of Signs," May 2, 2003

The Village Voice, http://www.villagevoice.com/issues/0319/carr.php

Lombardi was on a mission: He wanted to right wrongs by revealing

them. Instead of critiquing the system, like so many contemporary

conceptualists, or journeying to other psychic dimensions like shamans,

Lombardi assumed the personas of the grand inquisitor, the private

investigator, and the lone reporter. He followed the money.

--Jerry Saltz, "Dark Star," May 14, 2003, Artnet Magazine,

http://www.artnet.com/Magazine/features/saltz/saltz5-14-03.asp?C=1

============================

*Url/s*

1) Who is Ali G?

http://www.whoisalig.com/

(see *G Whiz* below)

Postcard for the Public Domain

- prepared by Jay Worthington; design by Luke Murphy.

http://cabinetmagazine.org/issues/10/publicdomainpostcard.php

[Includes pdf versions (front and back) and Flash interactive].

On 15 January 2003, in Eldred v. Ashcroft, the United States Supreme

Court rejected a constitutional challenge to the 1998 Copyright Term

Extension Act (a.k.a. the Sonny Bono Act) that had been brought by a

coalition of online, academic, and public domain publishers. At stake was

the future growth of the public domainthe body of work which is freely

available for use by the public without license or fee. Under the Sonny

Bono Act, now secure as the law of the land, growth in the public

domain will be virtually nonexistent until 2018.

Cabinet decided to compare the public domain we now have with the

one which would have existed had Congress not begun the series of

1998 act. This chart graphically depicts the price paid by the public for

those extensions. By 2030, a total of fourteen and a half million works

which would otherwise have passed into the public domain will remain

restricted by copyright. In other words, by 2030 the public domain will

be less than half the size that it would have been under the copyright

laws of just a few decades ago. The chart also vividly demonstrates

that the bulk of this giveaway happened long before the 1998 legislation

that was challenged in the Eldred case.

We have printed the results on this oversized postcard so that you can

cut it out and tack it to your wall or mail it to your friends. Better yet, if

Congress tries to extend the term of copyright yet again, write an angry

note on the back and mail it to your Representative.

Sources: Barbara Ringer, Study No. 31, Renewal of Copyright (June,

1960); Martin A. Roberts, Records in the Copyright Office Deposited by

the United States District Courts Covering the Period 1790-1870

(1939); Annual Report of the Register of Copyrights, 2001, Appendix:

Registrations, 1790-2001 (2001). Two simplifying assumptions were

made in the preparation of this chart: only works registered with the

protected for the period granted to corporate copyright holders. Neither

assumption should meaningfully affect the results.

to reproduce this chart and accompanying text so long as proper

attribution is given to Cabinet Magazine, Jay Worthington, and Luke

Murphy. Additional copies are available in PDF format at http://www.cabinetmagazine.org

============================

*A Must Have*

"Run Bush Run" pin: Price: $1.50

http://www.mrlady.com/Store/goods.htm

2004 Prez Campaign Button from Dyke Action Machine! (DAM!)

(actual size 1" diameter) From Buttons to Bustiers, it's time to suit up for

future demos. Dyke Action Machine!'s 2004 Campaign Button is primed to

replace that old-time feeling of your vintage activist regalia. Don't delay!

You're really going to wish you had one of these once the coming mud-

slinging season starts up. Dyke Action Machine! is the New York City-

based public art collaboration of Carrie Moyer and Sue Schaffner.

http://www.dykeactionmachine.com or info@dykeactionmachine.com

============================

*Danger Lurks*

Luc Tuymans

DAVID ZWIRNER

525 West 19th Street

April 24-May 21

ArtForum online, May 9, 2003

Picks -- Michael Wilson

http://www.artforum.com/picks/place=New%20York#picks4700

The sense that disaster might be lurking around the corner--very much

in the air these days--is as prevalent as ever in Luc Tuymans's starkly

beautiful new work. The Belgian painter's fusion of the banal and dingy

with the unspoken threat of violence may have become familiar, but it

retains the power to unsettle. Ambiguities of scale and perspective turn

a patterned carpet into a distant military installation and an SUV driver

into a boxed-in, cringing prisoner, while what appears at first to be a

rendering of an obscure board game reveals itself as a paintball battle.

Tuymans's hovering viewpoints, close-cropped compositions, bruised

palette, and nervy wet-on-wet application lend objects, figures, and

spaces an aura of silent danger. Even omitting Eyeballs, 2003, in which

four pairs of disembodied eyes are lined up like coat buttons, these are

pictures that return our gaze, often with suspicion and sometimes with

malice.

NYTimes, Art In Review, May 9, 2003

ROBERTA SMITH

http://www.nytimes.com/2003/05/09/arts/design/09GALL.html

The postmodern Romanticism of the Belgian painter Luc Tuymans has

been influential, and it is easy to see why. At once seductive and

sinister, nondescript and suggestive, his muted photo-based paintings

leaven the icy image-mongering of Gerhard Richter with the personal

sensibility of painters from Manet to Brice Marden. In other words, the

works play it both ways, confirming the age of mechanical reproduction

while squeezing past its restrictions.

This approach can seem formulaic at times, not the least because Mr.

Tuymans continues to adhere to the Conceptual yet diaristic ploy of

never working on a painting for more than one day. Still, his fifth gallery

show in New York suggests that his workdays may be getting longer,

which is to the good. His new paintings (all from 2003) still look almost

like nothing, then something, and then something else, noncommittally

conjuring scenes from movies, newspaper photographs and snapshots,

often with crime-scene overtones. Two are fudgy, purple-y nocturnes;

others are washed out, almost overexposed grisailles pervaded by

silvery whites and grays.

"Frank," an image of a scowling man lost behind the wheel of a big car,

might almost be a snowy scene from the movie "Fargo," but it isn't. A

horizontal expanse of fluffy white diamond shapes that resemble highly

organized clouds is simply titled "Carpet." "Frozen" depicts the heavily

gloved hand of an industrial worker gripping the handle of a carton in a

palette of Monetesque pinks, lavenders, grays and whites. (You can bet

that's not ice cream.)

The jarringly titled "Eyeballs" initially suggests a close-up of a double-

breasted jacket — a bit of milk-chocolate suede or velvet dotted with

parallel rows of buttonlike spheres. The pale coral, butter and brown

tones of "Mayhem," which is based on a wide-angle overview of a paint

-ball arena (from a guns and ammo magazine), brings to mind a pulled

-apart still-life, maybe by Morandi, until you grasp the title, scale and

intimations of mindless violence.

These paintings gather force more decisively than Mr. Tuymans's

previous efforts, and still fall apart when you look at them really closely.

Pitting the painting's flimsiness against its powers of transformation

more evocatively than before, they mitigate the alienation of everyday

life with a layer of lightly dabbed-on oil paint that signifies human

attention, and summons a wondrous sense of light without really

covering up much.

============================

*Cracker Hackdown*

Defense agency pulls OpenBSD funding
By Robert Lemos
CNET News.com, April 18, 2003, 5:00 AM PT
http://zdnet.com.com/2100-1104-997429.html

The unused portion of a grant from the Defense Advanced Research

Projects Agency to fund development of the open-source operating

system OpenBSD has been pulled for unspecified reasons.

The project´s leader, Theo de Raadt, said Thursday he was informed by
email that the remaining portion of the $2.3 million grant has been
pulled. An e-mail from a professor who is managing the grant did not
provide a reason, but de Raadt said he believes the cancellation was
prompted by concerns about the money going to too many foreign

developers and to antiwar statements that de Raadt made to reporters.

"They decided that they didn´t want (our project) anymore," de Raadt

said Thursday, less than hour after he received notification. "This is it.

It´s over."

DARPA, the arm of the U.S. Department of Defense that funds research

and development and is best known for funding the project that later

became the Internet, awarded the grant in 2001 as part of its

Composable High-Assurance Trusted Systems (CHATS) projects, said

de Raadt.

About $1 million had been allotted to add new security features to
OpenBSD, an open-source OS that many consider to be the most

secure free implementation of a Unix-like system. The project had

finished most of the work in the first three months of the grant and

had been recently using the money to fund more security

enhancements to the software, de Raadt said at a recent security

conference.

A University of Pennsylvania computer science professor, Jonathan

Smith, had originally applied for the grant under the title, "Portable
Open-Source Security Enhancements," or POSSE. About $500,000 of

the money went to several U.K. researchers to do a vulnerability analysis

on OpenSSL, a widely used program for encrypting communications,

especially to and from Web sites. A handful of flaws were found,

de Raadt said.

Smith refused to comment on the funding, citing the sensitivity of the
issue. An e-mail to the POSSE project´s DARPA representative wasn´t
answered.

Earlier this week, de Raadt said he was told that officials from DARPA
were concerned about statements appearing in press reports that

indicated most of the grant was being funneled to foreign researchers,

an apparent no-no for government-funded projects. Moreover,

de Raadt believed that the U.S. government took exception to

comments he made indicating that the money spent on his project

meant that fewer cruise missiles were being built.

"In the U.S., today, free speech is just a myth," de Raadt said.

He estimated that about 85 percent of the money has already been

spent and that the remaining portion would have continued the project

for another six months. "The only money that I got was my salary,"

he said.

With nearly 60 OpenBSD hackers traveling to Canada to take part in a
"hackathon"--a week´s worth of programming sessions--the project

now finds itself about $30,000 short of the money it needs to house

the attendees.

"We are left in the lurch very seriously...and will need to struggle to
keep our conference facilities in some way," de Raadt said.

The project plans to ship version 3.3 of the OpenBSD system on Friday.
An acknowledgment of the role that DARPA played, which was to

appear on the back of the box, will instead be covered by a sticker,

he said.

---------------------------------------------------------

[Other DARPA news: May 14, 2003, posted at Metafilter.com:

http://www.darpa.mil/ipto/Solicitations/PIP_03-30.html

DARPA looking for proposals to create the Matrix. "The Information

Processing Technology Office (IPTO) of the Defense Advanced

Research Projects Agency (DARPA) is soliciting proposals to develop

an ontology-based (sub)system that captures, stores, and makes

accessible the flow of one person’s experience in and interactions

with the world in order to support a broad spectrum of associates/

assistants and other system capabilities. The objective of this

"LifeLog" concept is to be able to trace the "threads" of an individual's

life in terms of events, states, and relationships."]

---------------------------------------------------------

============================

*Final Fantasy*

ARTS ONLINE

Computer-Driven Fantasy at the Financial Center

By MATTHEW MIRAPAUL

NYTimes May 5, 2003

http://www.nytimes.com/2003/05/05/arts/design/05MIRA.html

Hours before the April 22 opening of the New York Digital Salon art

exhibition, Alex Galloway was making sure that "Carnivore," his

Internet-based artwork, was running properly. Once or twice a minute,

as designed, it would splash a bold streak of color across a large

computer screen. A passer-by stopped to watch, and when the screen

did not change for an extended time, she asked, "Is it working?" Mr.

Galloway replied, "You have to be patient."

Visitors to the Digital Salon have been even more patient. The salon,

organized by the School of Visual Arts in New York, has changed little

since the first exhibition in 1993. Although the salon has grown from a

small display of digital prints into an annual showcase for dozens of Web

sites, animated videos and other computer-generated works, many of

the same artists were "hung" year after year, making a dynamic genre

seem static. As a result, the salon has never produced much excite-

ment, even among its artists. As one recently said of this annual gallery

and Web exhibition, it has been the "Digital Sal-yawn."

So for the salon's 10th anniversary its organizers decided to abandon

the annual open-call format in which jurors would sift through 1,000

recent works and choose the best. Instead the salon invited 10 new-

media curators to review the genre's history and select the 10 works

that they each considered to be benchmarks. The list, sort of a 100-

piece starter set for the digital-art canon, was published last fall in the

electronic-arts magazine Leonardo. (The magazine's contents, including

the curators' essays, are on the salon's Web site, at

http://www.nydigitalsalon.org)

Bruce Wands, the salon's director, said, "The public isn't really sure

what digital art is yet." Ideally the salon selections would tell people

exactly what it is. To show them, 19 of the works can be viewed in the

salon exhibition, "Vectors: Digital Art of Our Time," at the Courtyard

Gallery of the World Financial Center in Lower Manhattan through May

25.

Is it working? Well, no. If the salon's goal is to introduce audiences to

important works in digital-art history, gallery visitors are more likely

to leave wondering why these were chosen. Except for a confusing

color-coded timeline near the entry and a handout that describes rather

than interprets the works, viewers take an unguided tour. And because

the works are arranged neither chronologically nor by genre, there is

little sense of how the art has progressed or become diverse.

Nor does it help that only a fraction of the roughly 100 artworks is on

display. Mr. Wands said that to show all of them would have cost nearly

$1 million, and plans for a comprehensive exhibition had to be cut when

fund-raising became difficult after 9/11. Still, there are some curious

choices among the included works. For instance "Apartment" by Martin

Wattenberg and Marek Walczak was exhibited at the Whitney Museum

in 2001 and can be viewed on the Internet. So, why show it again,

when Char Davies's virtual-reality works, favored by two curators, have

not been in New York since 1995?

Similarly, Mr. Galloway's "Carnivore" deserved better treatment. As he

conceived it the piece monitors electronic exchanges between

computers, then uses various artists' software to convert them into

works that can actually be seen or heard. One of the aims of

"Carnivore" is to show how different digital artists use the same raw

material to get different results. Yet Mr. Galloway's interpretation is the

only one being exhibited. Which is somewhat like going to the "Matisse

Picasso" exhibition and then just looking at the Picassos.

What's really missing in an exhibition with 10 diverse curatorial

contributors is a firm organizing hand. The World Financial Center's

gallery may be lovely as corporate office space goes, but it is far from

ideal for exhibiting media art. Save your visit for a rainy day, when

sunlight won't wash out the atrium's computer screens.

Timothy Druckrey, an independent curator in New York and editor of

"Ars Electronica: Facing the Future" (M.I.T. Press, 2001), a history of

the 25-year-old European electronic-arts festival, said that skimpy

support for new-media art in the United States made it nearly

impossible for cultural institutions here to mount effective

retrospectives. They simply don't have the history to support them.

It is probably telling that none of the works from any of the nine

previous salons was considered good enough to make the greatest-hits

lists for the 10th salon.

Mr. Druckrey said that in Europe exhibitions were based on decades of

commissions and encouragement for new-media art rather than a

sudden shift from open-call competitions. "To attempt to leap into

legitimacy in this way demonstrates the woeful condition of media art in

the United States," he said of the Digital Salon.

Mr. Wands, who is also director of the graduate computer-art

department at the School of Visual Arts, said he was disappointed with

the salon's budget-induced limits. He urged visitors to view this year's

salon as a group of events, including a recent two-day symposium and

some concerts, rather than as a single exhibition. He expressed hope

that the show's traveling version would be larger.

Because of the amount of effort involved in developing this year's salon,

the 11th edition will not be held until the fall of 2005. By then it may

have a harder time attracting an audience. Several competing groups

are discussing the possibility of holding festivals in New York and

California like the Ars Electronica event in Linz, Austria.

At the same time the biannual Boston Cyberarts Festival is building

momentum. The third festival opened there on April 26 and runs

through Sunday. Since 1999 its director, George Fifield, has corralled

60 diverse cultural institutions in the Boston area into presenting

exhibitions and concerts that coincide with festival events. The festival

has a vibrancy that the salon sorely lacks. (A schedule is at

http://bostoncyberarts.org)

"The artists of the future will have never known a world without

computers," Mr. Wands said during his opening remarks for the salon.

The Digital Salon has had 10 years to establish itself as an important

forum for the digital arts, but so far it has squandered the opportunity.

Will the Digital Salon's visitors stay patient? Or will they, like Mr.

Galloway's passer-by, simply walk away?

============================

*At Whit's End*

Director of the Whitney Resigns

By CAROL VOGEL

NYTimes, May 13, 2003 [excerpted]

http://www.nytimes.com/2003/05/13/arts/design/13WHIT.html

Maxwell L. Anderson, director of the Whitney Museum of American Art,

resigned Monday after a tumultuous five years in the post, the museum

announced.

Rumors of trouble between Mr. Anderson and the Whitney's board had

been circulating around the gossipy art world for some time. Mr.

Anderson said in a statement that it had "become clear in recent

months that the board and I have a different sense of the Whitney's

future, in both the scale of its ambitions and the balance of its

programming."

Leonard A. Lauder, the museum's chairman, agreed. "Max is a brilliant

man of many talents," Mr. Lauder said in an interview. "It is unfortunate

that there wasn't a perfect match of his skills and ambitions and that of

the Whitney's."

Mr. Anderson, speaking by phone, said he was particularly disappointed

when the board abandoned its plans to build a $200 million expansion

project was officially scrapped last month, museum officials said they

were concerned that the building would have been too expensive to

operate let alone build in the current economic climate.

"We are trustees of a nonprofit organization," Mr. Lauder said. "We had

to be prudent."

But Mr. Anderson called the issue of the building's expense debatable.

[…]

============================

*The Walker's Boot*

MINNEAPOLIS: INTERNET ART LAYOFFS

By MATTHEW MIRAPAUL

NYTimes, May 13, 2003

http://www.nytimes.com/2003/05/13/arts/13ARTS.html

The Walker Art Center in Minneapolis, which has been a strong

supporter of Internet art, has dismissed the curator for its online art

projects. Steve Dietz, the center's new-media curator, and six other

Walker staff members were laid off in a cost-cutting move that is

expected to save more than $1 million annually, officials there said

last week. Although the Walker is proceeding with a $90 million

expansion scheduled to open in 2005, the center's director, Kathy

Halbreich, said plans to build a digital-art gallery would be deferred

for at least five years. Magda Sawon, director of Postmasters Gallery,

a new-media gallery in Chelsea, Manhattan, said Mr. Dietz "was the

most active, innovative and accomplished curator of new media in

this country." Under Mr. Dietz, who joined the Walker in 1996, the

center has vigorously supported the notion of the Internet as a

creative medium by commissioning a series of online-only artworks

and organizing several Web-based exhibitions. Mr. Dietz also acquired

äda'web, an important collection of early Internet art, for the center's

Web site http://www.walkerart.org . Ms. Halbreich said she intended

to keep the projects online but could not commit to doing so until the

cost was determined.

and more:

Walker Art Center cuts staff by 5 percent

BY DOMINIC P. PAPATOLA

Pioneer Press, May. 08, 2003

http://www.twincities.com/mld/pioneerpress/entertainment/5809781.htm

Walker Art Center announced the layoffs of 5 percent of its staff

Wednesday afternoon, becoming the latest local arts organization

forced to downsize in difficult economic times.

The Minneapolis museum said it would lay off seven members of its

staff of 149 full- and part-time workers. The cuts came at all levels and

included Steve Dietz, the center's director of New Media Initiatives. The

Walker was one of the first art centers in the country to have a

curatorial position in the nascent artistic field of new media.

[…]

============================

*G Whiz*

Is You Wicked?

By MAUREEN DOWD

NYTimes, May 7, 2003

http://www.nytimes.com/2003/05/07/opinion/07DOWDD.html

James Baker, the former secretary of state who helped make two

Bushes president, the first by sniping at Massachusetts, the second by

snatching away Florida, is an extremely careful man.

A dignified diplomat with a deep fear of ridicule, Mr. Baker always keeps

his suit jacket and his public utterances buttoned.

That is why I was dumbfounded one recent night to see him being

interviewed on HBO by a hip-hop guy wearing fatigues, shades, a

skullcap and bling-bling and talking like a British gangsta/Rasta rapper.

The young man was asking a skeptical and increasingly impatient Mr.

Baker whether it was wise for Iraq and Iran to have such similar names.

YOUNG MAN: Isn't there a real danger that someone give a message

over the radio to one of them fighter pilots, saying, `Bomb Ira--' and

the geezer doesn't heard it properly and bombs Iran instead of Iraq?

MR. BAKER: No danger.

YOUNG MAN: How does you make countries do stuff you want?

MR. BAKER: Well, the way you deal with countries on foreign policy

issues. . . is you deal with carrots and sticks.

YOUNG MAN: But what country is gonna want carrots, even if it's like a

million tons of carrots that you're giving over there--

MR. BAKER: Well, carrots I'm not using the term literally. You might

send foreign aid money, money.

YOUNG MAN: Well, money's better than carrots. Even if a country love

carrots and that is, like, their favorite national food, if they get given

them--

MR. BAKER: Well, don't get hung up on carrots. That's just a figure of

speech.

YOUNG MAN: So would you ever send carrots? You know, is there any

situation

MR. BAKER: No, no.

YOUNG MAN: What about if there was a famine?

MR. BAKER: Carrots, themselves? No.

The interview was a hilarious classic in the seldom-seen subgenre of

international relations humor.

Mr. Baker could outfox Al Gore but not Ali G. The 31-year-old British

satirist, whose new HBO show has already become a cult favorite

among high school and college kids, came to America to do the same

sort of interviews he did in England, putting unwitting V.I.P.'s on the

spot.

With his white-gangsta-rapper-wannabe persona, Sacha Baron Cohen,

a brilliant graduate of Cambridge, sends up the vacuity of the culture in

an era when putting people on TV who attract the right demographic is

more important than putting people on TV who know what they're

talking about.

But the interviews depend on the subject's not recognizing Ali G or even

realizing that he's a comedian.

Ali G scammed Mr. Baker and others into granting interviews by sending

them flattering letters on fancy stationery from United World

Productions, inviting them to be part of a six-part series for Channel 4

on British TV aimed at explaining the U.S. Constitution to young people.

With his crew, Mr. Cohen went into Mr. Baker's conference room in a

dark suit and put on his garish Ali G outfit before Mr. Baker came in.

As in England, Mr. Cohen has left a trail of irritated interviewees in his

wacky wake.

Marlin Fitzwater had his doubts when Ali G showed up wearing a red

jumpsuit and high-tops and asked inane questions. Like Mr. Baker, Mr.

Fitzwater figured that Ali G was dressing for his "hippie" audience. But

he ended the interview after Ali G asked him whether Hillary Clinton

drank "from the fairy cup."

"I said, `You're an idiot,' " Mr. Fitzwater recalled. "I'd never been lied

to like that. I was two steps away from calling the sheriff."

Donald Trump, who walked out of an interview when Ali G tried to pitch

the idea of a glove to eat ice cream cones with, recalled: "I thought he

was seriously retarded. It was a total con job. But my daughter, Ivanka,

saw it and thought it was very cool."

James Woolsey was good-natured when Ali G brought up the grassy

knoll and asked, "Who shot J. R.?" Richard Thornburgh was patient

when Ali G misinterpreted the meaning of hung juries. And Brent

Scowcroft didn't flinch when Ali G asked him, "Did they ever catch the

people who sent Tampax through the mail?"

"It was anthrax," Mr. Scowcroft corrected pleasantly.

Ali G is wicked. And to him, that's a compliment.

more info: http://www.hbo.com/alig/?ntrack_para1=leftnav_category0_show9

============================

*Open Call*

SUBTLE TECHNOLOGIES

BLURRING THE BOUNDARIES BETWEEN ART and SCIENCE

Call for Curatorial Proposals

Deadline June 15th

Subtle Technologies is currently accepting curatorial proposals.

Full information is available at

http://www.subtletechnologies.com/calls.html

The Subtle Technologies Festival welcomes submissions of

programming ideas from curators and organizations that would like to

contribute to the festival. These ideas could be for gallery shows,

performances, screenings and events relevant to the festival's themes.

We encourage anyone interested in making a submission to attend

Subtle Technologies 2003, or review our archives to get a sense of

the topics we have covered in the past. Although we are not limited

to these topics it will give you an overview of the festival's

interests.

To have your programming proposal considered for next year's

festival, we require submissions by June 15th 2003. Your submission

should include a short curatorial statement, a preliminary list of

content and your C.V. (max. 3 pages).

Please send your proposal to subtleprogramming@sympatico.ca

Visit our archives on the web at http://www.subtletechnologies.com

============================

*Book Grist*

Terror and Liberalism

by Paul Berman

W.W. Norton & Company; (April 2003)

ISBN: 0393057755

http://www.amazon.com/exec/obidos/tg/detail/-/0393057755/qid=1052503492/sr=8-1/ref=sr_8_1/103-9112213-8387015?v=glance&s=books&n=507846

From Publishers Weekly:

Berman puts his leftist credentials (he's a member of the editorial board

of Dissent: http://www.dissentmagazine.org) on the line by critiquing

the left while presenting a liberal rationale for the war on terror, joining

a discourse that has been dominated by conservatives. The most

original aspect of his analysis is to categorize Islamism as a totalitarian

reaction against Western liberalism in a class with Nazism and

communism; drawing on the ideas of Camus in The Rebel, Berman