DHP/Kunstnett Norge.

Vinnerne hedres på en åpen tilstelning i lokaler hos Norsk kulturråd, fredag 7. desember kl. 14. Arrangementet vil bli nærmere annonsert på postlistene 110 og Fokus. Påtegning her: http://kunst.no/postlister.

Juryen består av:
Grethe Melby, hovedfagsstudent medievitenskap, UiB og skribent
Pia Vigh, prosjektleder Kulturnet Danmark
Jill Walker, stipendiat humanistisk informatikk, UiB og skribent
Erik Hesby, prosjektleder/redaktør Kunstnett Norge
Dag Hensten Pettersen, prosjektmedarbeider Kunstnett Norge og webdesigner

Kunstnere, formidling:
Per Berntsen: http://kunst.no/perb/
Bjørn Bjarre: http://kunst.no/bjarre/
Kristian Finborud: http://www.finborud.com/
Kalle Grude: http://kunst.no/kallegrude/
Harald Kolstad: http://www.kolorado.net
Laila Kongevold: http://kunst.no/kongevold/
Jens Laland: http://artematrix.org/
Ellen Johannesen/Karmakonsult: http://www.karmaconsult.com/
Jens Styve: http://www.jetfly.com
Berit Sømme: http://www.somme.no

Institusjoner/fora, formidling:
Dyre Vaasamlingane: http://www-n.hit.no/bibliotek/galleri/dyre-vaa/
Filmtilsynet: http://www.filmtilsynet.no/
Litteraturnettet: http://www.litteraturnettet.no/
Localmotives: http://www.localmotives.com
Oslo kunsthall: http://www.oslokunsthall.no/
Pilota FM: http://www.pilota.fm
Tegn: http://www.tegn.no
Uks-biennalen: http://www.uks-biennalen2001.no/
Utsmykningsfondet: http://www.utsmykkingsfondet.no/
Vinduet: http://www.vinduet.no/

Gruppe, formidling
De Utvalgte: http://www.deutvalgte.no/
Dimmu Borgir: http://www.dimmu-borgir.com/
Dosertanker: http://www.dosertanker.com/
Hollow Creature: http://www.hollowcreature.com/
JagaJazzist: http://www.jagajazzist.com/
Jo Strømgren kompani: http://www.jskompani.no/
Motherboard: http://www.notam.uio.no/motherboard/
Phonophani: http://www.alog.net/phonophani/
Thulsa Doom: http://www.thulsadoom.com
USX: http://www.ultrafunk.com/usx/

Nettkunst:
Én vinner kåres 7. desember.

Les også:
Årets kunstnettsteder 2000
Kunst.no/01 - bokguide til norsk kunst på nettet

November 9. 2001 - Telenor ISDN Internet Connection

Hei Jens,


Takk for din henvendelse. Ditt Telenor Internett abonnement er
avsluttet pr. 2001-11-09.


Ha en fortsatt fin dag !


Håper det ovennevnte hjelper deg. I motsatt fall, ta gjerne kontakt
igjen ved å svare på denne e-posten. Husk at du også kan finne
løsningsforslag og annen nyttig info på http://www.online.no



--
Med vennlig hilsen,


Karin Maria Løwius
Telenor Internett Kundeservice

October 19. 2001 - ARTEMATRIX.ORG [My Workshop & Radio Link Internet Connection]

Ok, so we're almost there - http://kine.artematrix.org and http://aux.artematrix.org - connected to the world by radio link from Stavanger (via a short wave ariel at my next roof neighbor) - both servers to be dedicated various network services and experiments.

October 18. 2001 - The Algebra of Infinite Justice

Please take your time to read this...

by Arundhati Roy

In the aftermath of the unconscionable September 11 suicide attacks on the Pentagon and the World Trade Centre, an American newscaster said: "Good and evil rarely manifest themselves as clearly as they did last Tuesday. People who we don't know massacred people who we do. And they did so with contemptuous glee." Then he broke down and wept.

Here's the rub: America is at war against people it doesn't know, because they don't appear much on TV. Before it has properly identified or even begun to comprehend the nature of its enemy, the US government has, in a rush of publicity and embarrassing rhetoric, cobbled together an "international coalition against terror", mobilised its army, its air force, its navy and its media, and committed them to battle.

The trouble is that once America goes off to war, it can't very well return without having fought one. If it doesn't find its enemy, for the sake of the enraged folks back home, it will have to manufacture one. Once war begins, it will develop a momentum, a logic and a justification of its own, and we'll lose sight of why it's being fought in the first place.

What we're witnessing here is the spectacle of the world's most powerful country reaching reflexively, angrily, for an old instinct to fight a new kind of war. Suddenly, when it comes to defending itself, America's streamlined warships, cruise missiles and F-16 jets look like obsolete, lumbering things. As deterrence, its arsenal of nuclear bombs is no longer worth its weight in scrap. Box-cutters, penknives, and cold anger are the weapons with which the wars of the new century will be waged. Anger is the lock pick. It slips through customs unnoticed. Doesn't show up in baggage checks.

Who is America fighting? On September 20, the FBI said that it had doubts about the identities of some of the hijackers. On the same day President George Bush said, "We know exactly who these people are and which governments are supporting them." It sounds as though the president knows something that the FBI and the American public don't.

In his September 20 address to the US Congress, President Bush called the enemies of America "enemies of freedom". "Americans are asking, 'Why do they hate us?' " he said. "They hate our freedoms - our freedom of religion, our freedom of speech, our freedom to vote and assemble and disagree with each other." People are being asked to make two leaps of faith here. First, to assume that The Enemy is who the US government says it is, even though it has no substantial evidence to support that claim. And second, to assume that The Enemy's motives are what the US government says they are, and there's nothing to support that either.

For strategic, military and economic reasons, it is vital for the US government to persuade its public that their commitment to freedom and democracy and the American Way of Life is under attack. In the current atmosphere of grief, outrage and anger, it's an easy notion to peddle. However, if that were true, it's reasonable to wonder why the symbols of America's economic and military dominance - the World Trade Centre and the Pentagon - were chosen as the targets of the attacks. Why not the Statue of Liberty? Could it be that the stygian anger that led to the attacks has its taproot not in American freedom and democracy, but in the US government's record of commitment and support to exactly the opposite things - to military and economic terrorism, insurgency, military dictatorship, religious bigotry and unimaginable genocide (outside America)? It must be hard for ordinary Americans, so recently bereaved, to look up at the world with their eyes full of tears and encounter what might appear to them to be indifference. It isn't indifference. It's just augury. An absence of surprise. The tired wisdom of knowing that what goes around eventually comes around. American people ought to know that it is not them but their government's policies that are so hated. They can't possibly doubt that they themselves, their extraordinary musicians, their writers, their actors, their spectacular sportsmen and their cinema, are universally welcomed. All of us have been moved by the courage and grace shown by firefighters, rescue workers and ordinary office staff in the days since the attacks.

America's grief at what happened has been immense and immensely public. It would be grotesque to expect it to calibrate or modulate its anguish. However, it will be a pity if, instead of using this as an opportunity to try to understand why September 11 happened, Americans use it as an opportunity to usurp the whole world's sorrow to mourn and avenge only their own. Because then it falls to the rest of us to ask the hard questions and say the harsh things. And for our pains, for our bad timing, we will be disliked, ignored and perhaps eventually silenced.

The world will probably never know what motivated those particular hijackers who flew planes into those particular American buildings. They were not glory boys. They left no suicide notes, no political messages; no organisation has claimed credit for the attacks. All we know is that their belief in what they were doing outstripped the natural human instinct for survival, or any desire to be remembered. It's almost as though they could not scale down the enormity of their rage to anything smaller than their deeds. And what they did has blown a hole in the world as we knew it. In the absence of information, politicians, political commentators and writers (like myself) will invest the act with their own politics, with their own interpretations. This speculation, this analysis of the political climate in which the attacks took place, can only be a good thing.

But war is looming large. Whatever remains to be said must be said quickly. Before America places itself at the helm of the "international coalition against terror", before it invites (and coerces) countries to actively participate in its almost godlike mission - called Operation Infinite Justice until it was pointed out that this could be seen as an insult to Muslims, who believe that only Allah can mete out infinite justice, and was renamed Operation Enduring Freedom- it would help if some small clarifications are made. For example, Infinite Justice/Enduring Freedom for whom? Is this America's war against terror in America or against terror in general? What exactly is being avenged here? Is it the tragic loss of almost 7,000 lives, the gutting of five million square feet of office space in Manhattan, the destruction of a section of the Pentagon, the loss of several hundreds of thousands of jobs, the bankruptcy of some airline companies and the dip in the New York Stock Exchange? Or is it more than that? In 1996, Madeleine Albright, then the US secretary of state, was asked on national television what she felt about the fact that 500,000 Iraqi children had died as a result of US economic sanctions. She replied that it was "a very hard choice", but that, all things considered, "we think the price is worth it". Albright never lost her job for saying this. She continued to travel the world representing the views and aspirations of the US government. More pertinently, the sanctions against Iraq remain in place. Children continue to die.

So here we have it. The equivocating distinction between civilisation and savagery, between the "massacre of innocent people" or, if you like, "a clash of civilisations" and "collateral damage". The sophistry and fastidious algebra of infinite justice. How many dead Iraqis will it take to make the world a better place? How many dead Afghans for every dead American? How many dead women and children for every dead man? How many dead mojahedin for each dead investment banker? As we watch mesmerised, Operation Enduring Freedom unfolds on TV monitors across the world. A coalition of the world's superpowers is closing in on Afghanistan, one of the poorest, most ravaged, war-torn countries in the world, whose ruling Taliban government is sheltering Osama bin Laden, the man being held responsible for the September 11 attacks.

The only thing in Afghanistan that could possibly count as collateral value is its citizenry. (Among them, half a million maimed orphans.There are accounts of hobbling stampedes that occur when artificial limbs are airdropped into remote, inaccessible villages.) Afghanistan's economy is in a shambles. In fact, the problem for an invading army is that Afghanistan has no conventional coordinates or signposts to plot on a military map - no big cities, no highways, no industrial complexes, no water treatment plants. Farms have been turned into mass graves. The countryside is littered with land mines - 10 million is the most recent estimate. The American army would first have to clear the mines and build roads in order to take its soldiers in.

Fearing an attack from America, one million citizens have fled from their homes and arrived at the border between Pakistan and Afghanistan. The UN estimates that there are eight million Afghan citizens who need emergency aid. As supplies run out - food and aid agencies have been asked to leave - the BBC reports that one of the worst humanitarian disasters of recent times has begun to unfold. Witness the infinite justice of the new century. Civilians starving to death while they're waiting to be killed.

In America there has been rough talk of "bombing Afghanistan back to the stone age". Someone please break the news that Afghanistan is already there. And if it's any consolation, America played no small part in helping it on its way. The American people may be a little fuzzy about where exactly Afghanistan is (we hear reports that there's a run on maps of the country), but the US government and Afghanistan are old friends.

In 1979, after the Soviet invasion of Afghanistan, the CIA and Pakistan's ISI (Inter Services Intelligence) launched the largest covert operation in the history of the CIA. Their purpose was to harness the energy of Afghan resistance to the Soviets and expand it into a holy war, an Islamic jihad, which would turn Muslim countries within the Soviet Union against the communist regime and eventually destabilise it. When it began, it was meant to be the Soviet Union's Vietnam. It turned out to be much more than that. Over the years, through the ISI, the CIA funded and recruited almost 100,000 radical mojahedin from 40 Islamic countries as soldiers for America's proxy war. The rank and file of the mojahedin were unaware that their jihad was actually being fought on behalf of Uncle Sam. (The irony is that America was equally unaware that it was financing a future war against itself.)

In 1989, after being bloodied by 10 years of relentless conflict, the Russians withdrew, leaving behind a civilisation reduced to rubble.

Civil war in Afghanistan raged on. The jihad spread to Chechnya, Kosovo and eventually to Kashmir. The CIA continued to pour in money and military equipment, but the overheads had become immense, and more money was needed. The mojahedin ordered farmers to plant opium as a "revolutionary tax". The ISI set up hundreds of heroin laboratories across Afghanistan. Within two years of the CIA's arrival, the Pakistan-Afghanistan borderland had become the biggest producer of heroin in the world, and the single biggest source of the heroin on American streets. The annual profits, said to be between $100bn and $200bn, were ploughed back into training and arming militants.

In 1995, the Taliban - then a marginal sect of dangerous, hardline fundamentalists - fought its way to power in Afghanistan. It was funded by the ISI, that old cohort of the CIA, and supported by many political parties in Pakistan. The Taliban unleashed a regime of terror. Its first victims were its own people, particularly women. It closed down girls' schools, dismissed women from government jobs, and enforced sharia laws under which women deemed to be "immoral" are stoned to death, and widows guilty of being adulterous are buried alive. Given the Taliban government's human rights track record, it seems unlikely that it will in any way be intimidated or swerved from its purpose by the prospect of war, or the threat to the lives of its civilians.

After all that has happened, can there be anything more ironic than Russia and America joining hands to re-destroy Afghanistan? The question is, can you destroy destruction? Dropping more bombs on Afghanistan will only shuffle the rubble, scramble some old graves and disturb the dead.

The desolate landscape of Afghanistan was the burial ground of Soviet communism and the springboard of a unipolar world dominated by America. It made the space for neocapitalism and corporate globalisation, again dominated by America. And now Afghanistan is poised to become the graveyard for the unlikely soldiers who fought and won this war for America.

And what of America's trusted ally? Pakistan too has suffered enormously. The US government has not been shy of supporting military dictators who have blocked the idea of democracy from taking root in the country. Before the CIA arrived, there was a small rural market for opium in Pakistan. Between 1979 and 1985, the number of heroin addicts grew from zero to one-and-a-half million. Even before September 11, there were three million Afghan refugees living in tented camps along the border. Pakistan's economy is crumbling. Sectarian violence, globalisation's structural adjustment programmes and drug lords are tearing the country to pieces. Set up to fight the Soviets, the terrorist training centres and madrasahs, sown like dragon's teeth across the country, produced fundamentalists with tremendous popular appeal within Pakistan itself. The Taliban, which the Pakistan government has sup ported, funded and propped up for years, has material and strategic alliances with Pakistan's own political parties.

Now the US government is asking (asking?) Pakistan to garotte the pet it has hand-reared in its backyard for so many years. President Musharraf, having pledged his support to the US, could well find he has something resembling civil war on his hands.

India, thanks in part to its geography, and in part to the vision of its former leaders, has so far been fortunate enough to be left out of this Great Game. Had it been drawn in, it's more than likely that our democracy, such as it is, would not have survived. Today, as some of us watch in horror, the Indian government is furiously gyrating its hips, begging the US to set up its base in India rather than Pakistan. Having had this ringside view of Pakistan's sordid fate, it isn't just odd, it's unthinkable, that India should want to do this. Any third world country with a fragile economy and a complex social base should know by now that to invite a superpower such as America in (whether it says it's staying or just passing through) would be like inviting a brick to drop through your windscreen.

Operation Enduring Freedom is ostensibly being fought to uphold the American Way of Life. It'll probably end up undermining it completely. It will spawn more anger and more terror across the world. For ordinary people in America, it will mean lives lived in a climate of sickening uncertainty: will my child be safe in school? Will there be nerve gas in the subway? A bomb in the cinema hall? Will my love come home tonight? There have been warnings about the possibility of biological warfare - smallpox, bubonic plague, anthrax - the deadly payload of innocuous crop-duster aircraft. Being picked off a few at a time may end up being worse than being annihilated all at once by a nuclear bomb.

The US government, and no doubt governments all over the world, will use the climate of war as an excuse to curtail civil liberties, deny free speech, lay off workers, harass ethnic and religious minorities, cut back on public spending and divert huge amounts of money to the defence industry. To what purpose? President Bush can no more "rid the world of evil-doers" than he can stock it with saints. It's absurd for the US government to even toy with the notion that it can stamp out terrorism with more violence and oppression. Terrorism is the symptom, not the disease. Terrorism has no country. It's transnational, as global an enterprise as Coke or Pepsi or Nike. At the first sign of trouble, terrorists can pull up stakes and move their "factories" from country to country in search of a better deal. Just like the multi-nationals.

Terrorism as a phenomenon may never go away. But if it is to be contained, the first step is for America to at least acknowledge that it shares the planet with other nations, with other human beings who, even if they are not on TV, have loves and griefs and stories and songs and sorrows and, for heaven's sake, rights. Instead, when Donald Rumsfeld, the US defence secretary, was asked what he would call a victory in America's new war, he said that if he could convince the world that Americans must be allowed to continue with their way of life, he would consider it a victory.

The September 11 attacks were a monstrous calling card from a world gone horribly wrong. The message may have been written by Bin Laden (who knows?) and delivered by his couriers, but it could well have been signed by the ghosts of the victims of America's old wars. The millions killed in Korea, Vietnam and Cambodia, the 17,500 killed when Israel - backed by the US - invaded Lebanon in 1982, the 200,000 Iraqis killed in Operation Desert Storm, the thousands of Palestinians who have died fighting Israel's occupation of the West Bank. And the millions who died, in Yugoslavia, Somalia, Haiti, Chile, Nicaragua, El Salvador, the Dominican Republic, Panama, at the hands of all the terrorists, dictators and genocidists whom the American government supported, trained, bankrolled and supplied with arms. And this is far from being a comprehensive list.

For a country involved in so much warfare and conflict, the American people have been extremely fortunate. The strikes on September 11 were only the second on American soil in over a century. The first was Pearl Harbour. The reprisal for this took a long route, but ended with Hiroshima and Nagasaki. This time the world waits with bated breath for the horrors to come.

Someone recently said that if Osama bin Laden didn't exist, America would have had to invent him. But, in a way, America did invent him. He was among the jihadis who moved to Afghanistan in 1979 when the CIA commenced its operations there. Bin Laden has the distinction of being created by the CIA and wanted by the FBI. In the course of a fortnight he has been promoted from suspect to prime suspect and then, despite the lack of any real evidence, straight up the charts to being "wanted dead or alive".

From all accounts, it will be impossible to produce evidence (of the sort that would stand scrutiny in a court of law) to link Bin Laden to the September 11 attacks. So far, it appears that the most incriminating piece of evidence against him is the fact that he has not condemned them.

From what is known about the location of Bin Laden and the living conditions in which he operates, it's entirely possible that he did not personally plan and carry out the attacks - that he is the inspirational figure, "the CEO of the holding company". The Taliban's response to US demands for the extradition of Bin Laden has been uncharacteristically reasonable: produce the evidence, then we'll hand him over. President Bush's response is that the demand is "non-negotiable".

(While talks are on for the extradition of CEOs - can India put in a side request for the extradition of Warren Anderson of the US? He was the chairman of Union Carbide, responsible for the Bhopal gas leak that killed 16,000 people in 1984. We have collated the necessary evidence. It's all in the files. Could we have him, please?)

But who is Osama bin Laden really? Let me rephrase that. What is Osama bin Laden? He's America's family secret. He is the American president's dark doppelgänger. The savage twin of all that purports to be beautiful and civilised. He has been sculpted from the spare rib of a world laid to waste by America's foreign policy: its gunboat diplomacy, its nuclear arsenal, its vulgarly stated policy of "full-spectrum dominance", its chilling disregard for non-American lives, its barbarous military interventions, its support for despotic and dictatorial regimes, its merciless economic agenda that has munched through the economies of poor countries like a cloud of locusts. Its marauding multinationals who are taking over the air we breathe, the ground we stand on, the water we drink, the thoughts we think. Now that the family secret has been spilled, the twins are blurring into one another and gradually becoming interchangeable. Their guns, bombs, money and drugs have been going around in the loop for a while. (The Stinger missiles that will greet US helicopters were supplied by the CIA. The heroin used by America's drug addicts comes from Afghanistan. The Bush administration recently gave Afghanistan a $43m subsidy for a "war on drugs"....)

Now Bush and Bin Laden have even begun to borrow each other's rhetoric. Each refers to the other as "the head of the snake". Both invoke God and use the loose millenarian currency of good and evil as their terms of reference. Both are engaged in unequivocal political crimes. Both are dangerously armed - one with the nuclear arsenal of the obscenely powerful, the other with the incandescent, destructive power of the utterly hopeless. The fireball and the ice pick. The bludgeon and the axe. The important thing to keep in mind is that neither is an acceptable alternative to the other.

President Bush's ultimatum to the people of the world - "If you're not with us, you're against us" - is a piece of presumptuous arrogance. It's not a choice that people want to, need to, or should have to make.

© Arundhati Roy 2001 - the Guardian

October 10. 2001 - No to RAND (reasonable and non-discriminatory) licensing

World Wide Web Consortium 
Patent Policy Working Group 
www-patentpolicy-comment@w3.org

Dear W3C Patent Policy Working Group,

I'm concerned about the recent Patent Policy Framework draft, which 
could allow W3C members to charge royalty fees for technologies 
included in web standards.
In particular, I object to the inclusion of a "reasonable and 
non-discriminatory" (RAND) licensing option in the proposed policy. I 
believe that the exclusive use of a "royalty-free" (RF) licensing 
model is in the best interests of the Internet community, and that 
RAND licensing would always necessarily exclude some would-be 
implementors.
I applaud the W3C for its tradition of providing open-source 
reference implementations and its work to promote a wide variety of 
interoperable implementations of its open standards. The W3C can best 
continue its work of "leading the Web to its full potential" by 
continuing this tradition, and saying no to RAND licensing.

Sincerely,
Jens Laland
PO Box 463
N-4349 Bryne
Norway

October 3. 2001 - Hacking is Formalism

Hver tidsalder har sine magiske slagord med relasjon til tidens nye oppfinnelser og framskritt. I 1870-årene var det magiske ordet: elektrisk.

In 1935, all-wave reception had become a universal hobby. Every day and hour there was literally thousands of people in all parts of the world occupied in the diversion of tracking down distant stations, or merely enjoying the varied programs, educational features and unexpected thrills the wave bands of radio had to offer. It was the greatest show on earth.

Etter å ha blitt bombardert av de uttallige og pompøse titler ­ artikler, kritikker der det digitale (den digitale revolusjon) tilnærmelsesvis er ikledd et skinn av å være et paradigmeskifte ­ vil jeg hevde at innholdet ofte handler om forhold som ikke nødvendiggjør den digitale teknikken. Gender problematikken kunne eksempelvis like gjerne omfattet 20-årenes radioamatører med deres verdensomspennende (globale) telegrafi nettverk som dagens tekstbaserte samtaleform (chats) på internett.

Jay Clayton, in The Voice in the Machine, presented at the English Institute at Cambridge, MA, in August 1995, argued that the telegraph could have been interpreted in the 1880's as a disembodying technology. Significantly, however, his research indicates that during the late nineteenth century it was perceived as an odd or different kind of embodiment, but not as a disembodiment. Wiener's proposal, coming seventy years later, occurred in a different cultural context that was much more inclined to construct the telegraph and many other technologies as disembodying media. The comparison is further evidence for Clayton's point that perceptions of how the body related to technologies are historical constructions, not biological inevitabilities.

Vi må være klar over at de teoriene som ligger bakenfor "det digitale", ikke er nye, men baserer seg på grunnreglene i den filosofiske matematikken. Å studere filosofi kan derfor være en bra måte å innlede studiene i digitalteknikk på. Vi kan nemlig betrakte et digitalt problem som filosofisk av karakter.

A simple adding machine (digital processor) could still be built, using nothing that wasn't invented at least 120 years ago.

George Boole never had the thrill of seeing a Boolean expression realized in switches, wires, and lightbulbs. One obstacle, of course, was that the incandescent lightbulb wasn't inventet until 15 years after Boole's death. But Samuel Morse had demonstrated his telegraph in 1844 - ten years before the publication of Boole's "The Laws of Thought" - and it would be simple to substitute a telegraph sounder for the lightbulb in a simple circuit performing boolean algebra. But nobody in the nineteenth century made the connection between the ANDs and ORs of boolean algebra and the wiring of simple switches in series and in parallel. No mathematician, no electrician, no telegraph operator, nobody - not even Charles Babbage. Instead of gears and levers to perform calculations, his Analytical Engine should have been (better) built using telegraph relays.

September 10. 2001 - Maintaining Public Order

A democratic approach

The Internet, an indispensable resource in the operations of banks, multinationals, and intelligence and security services, is also a lifeline for the anti-capitalists. Without the Internet, the global civil society. would not have grown into what it is now and it cannot function without it. The activists found one another on the Internet, they communicate With one another an the Internet, they organize their demonstrations and their protests violent or otherwise - on the Internet and they broadcast their own television footage. The emergence of the Internet has made It possible to protest against globalization on a global scale. Some groups in Prague actually used the Internet to organize a training camp where they could practise successful methods of taking action based on intelligence they had gathered about the tactics of the Czech police.

September 9. 2001 - Sorry

September 6. 2001 - The list of E-Codes (numeric codes of food additives)

Isn't it reassuring to know that our food is this nutritious? Check it out, or even do more.

September 1. 2001 - Invitasjon fra www.localmotives.com

Subject: invitasjon

To: <laland@artematrix.org>

Stavanger 1.september 2001

Kjære Jens Laland

WWW.LOCALMOTIVES.COM er et nettmagasin for samtidskunst og kultur. Det blir drevet av Jan Inge Reilstad (litteraturviter), Geir Egil Bergjord (billedkunstner), Susanne Christensen (billedkunstner) og Helene Selvåg (billedkunstner). Vi startet opp som et 2000 års prosjekt og har gitt ut 5 nummer siden den gang; humor, lydkunst/ poplyrikk, steder, kultutskrift, nettkunst. Nummer 6 sannheten, kommer i september. Klikk deg inn og se hva vi holder på med.

Vi planlegger nå vår desemberutgave som har tittelen ØKONOMI. Vi har fått støtte av Vederlagsfondet og Norsk Kulturråd til dette temanummeret, hvor vi ønsker en fremmedgjøring av begrepet ØKONOMI, slik at vi igjen får øye på det. Gjerne på en radikal og alternativ måte. Vi ønsker denne gang et verk basert nummer hvor LOCALMOTIVES skal fungere som et galleri.

Vi vil med dette invitere deg til å bidra med et verk i dette nummer. Begrepet ØKONOMI er opp til deg å definere og å sette inn i en kunstnerisk kontekst. Om du tolker det privat, lokalt, globalt eller helt abstrakt er opp til deg. Du må ta nettets muligheter og begrensninger i betraktning. Vi må ha arbeidet i digital form hos oss 15. november. Vi kan kun tilby et lite symbolsk honorar for deltagelse på 2000 nkr.

LOCALMOTIVES nummer 7 ØKONOMI vil bli lagt ut 1. desember.

Ut over nettdelen av prosjektet, har vi planer om en live performance/teateropplevelse i Norges Banks nedlagte lokaler i Stavanger sentrum rundt juletider. Vi arbeider også med et oppslag i Dagens Næringsliv i desember.

Vi håper du har lyst å bidra og ønsker å høre fra deg innen 15 september.

Vennlig hilsen Helene Selvåg og Susanne Christensen.

Helene@localmotives.com

August 24. 2001 - Milestone #2...

hallå jens.

hoppas att du har haft en lysande sommar, och att det kommer att fortsätta så även i höst. själv sitter jag i sverige, har varit och jobbat i oslo i 6 veckor, men nu är jag tillbaka i sverige, och här tänker jag förbli. jag har kommit in i malmö, åtminstone för ett år framöver, och att jag känner viss glädje över detta är väl inget att hyckla med... hur som, har du vägarna förbi skåne så är du alltid välkommen in på en pilsner.

ha det fint, vi höres mvh m. rylander

August 19. 2001 - ARTEMATRIX.ORG [My Workshop & ISDN Internet Connection]

Milestone #1...

August 16. 2001 - Tone Hansen kurator for Vestlandsutstillingen 2002

Billedkunstneren Tone Hansen (1970) har siden endt utdannelse ved Statens Kunstakademi i -98 markert seg gjennom prosjektet frotté, et kunstmagasin produsert av frottéfactory i samarbeid med Marit Paasche. Kunstnerisk arbeider Tone Hansen med foto, video og tekst. Nylig har hun gjort seg bemerket som kurator for utstillingen Odyssé, produsert for Riksutstillinger i samarbeid med Paasche. Som billedkunstner, foredragsholder, kurator, frilans skribent og nylig, utstillingsleder ved Riksutstillinger, innehar hun både en praktisk- og kunstteoretisk kompetanse av betydning for arbeidet med Vestlandsutstillingen 2002. Vestlandsutstillingen har som målsetting å fange opp det som skjer på dagens kunstscene, og med Tone Hansen som kurator for jubilanten Vestlandsutstillingen 2002 ønsker man et ungt blikk på en livskraftig 80 åring. Utstillingen vil vandre gjennom de 4 vestlandsfylkene våren 2002.

August 8. 2001 - WinNT Internet Information Server (Virus)

Microsoft and the National Infrastructure Protection Center (NIPC) urged all users of Microsoft's IIS 4.0 and 5.0 to install a security patch to protect against Code Red. The worm, which had been in a dormant phase, awoke August 1, 2001, and is once spreading--albeit slower than expected. Code Red spreads by scanning the Internet for vulnerable IIS systems, and it is this scanning activity which has the potential to degrade service across the entire Internet. A patch issued by Microsoft removes the IIS scanning vulnerability in Windows NT and 2000. Users of Microsoft Windows 95, Windows 98, or Windows Me are not affected by the Code Red worm.

History
The Code Red worm, named after a high-caffeine cola from Pepsi, exploits a known vulnerability in ida.dll, a component of the Index Server that provides support for .ida and .idq files. In Microsoft's IIS 4.0 and 5.0, ida.dll is subject to buffer overruns, allowing a malicious user to exploit rogue code and gain access to the server. Microsoft originally posted a patch for this vulnerability on June 18, 2001.

However, not all the affected IIS systems were patched. Within a few hours on July 19th, the Code Red worm spread to more than 250,000 machines worldwide. The worm, believed to have started at a university in Guangdong, China, searches out ida.dll vulnerable systems by chosing random Internet addresses and defaces some infected Web sites with the phrase "Hacked by Chinese." The original outbreak of the worm was to have launched a denial-of-service attack upon www.whitehouse.gov, but the White House changed its numerical address and avoided the attack. Code Red continued to spread from July 20th to July 27th when it went dormant.

Variations of the worm have been seen in the wild and reported to BugTraq. In a rare move, the government is joining with Microsoft to encourage all users of Windows NT and 2000 to install the security patch. Users of the beta version of Windows XP should contact Microsoft directly for more information.

Prevention
The worm can be removed by rebooting an infected system, however that solution does not guard against infection again at a later time. Therefore, Microsoft has a created a security patch for the following systems: Windows NT version 4.0 and Windows 2000 Professional, Server and Advanced Server. In addition, Symantec has a free tool to scan your system for signs of infection.

Additional information regarding the patch can be found on Microsoft's Web site. Also, Digital Island has detailed step-by-step instructions for installing the patches and safeguarding your system.

July 26. 2001 - Feminine Language

FINE: This is the word we use at the end of any argument that we feel we are right about but need to shut you up. NEVER use fine to describe how a woman looks. This will cause you to have one of those arguments.

FIVE MINUTES: This is half an hour. It is equivalent to the five minutes that your football game is going to last before you take out the trash, so it's an even trade.

NOTHING: This means something and you should be on your toes. "Nothing" is usually used to describe the feeling a woman has of wanting to turn you inside out, upside down, and backwards. "Nothing" usually signifies an argument that will last "Five Minutes" and end with a huffy "Fine."

GO AHEAD (with raised eyebrows): This is a dare, one that will result in my getting upset over "Nothing" and will end with the word "Fine."

GO AHEAD (normal eyebrows): This means "I give up" or "do what you want because I don't care." You will get a raised eyebrow "Go ahead" in just a few minutes, followed by "Nothing" and "Fine" and she will talk to you in about "Five Minutes" when she cools off.

(LOUD SIGH): This is not actually a word, but is still often a verbal statement very misunderstood by men. A "Loud Sigh" means she thinks you are an idiot at that moment and wonders why she is wasting her time standing here and arguing with you over "Nothing."

(SOFT SIGH): Again, not a word, but a verbal statement. "Soft Sighs" are one of the few things that some men actually understand. She is content. Your best bet is to not move or breathe, and she will stay content.

OH!: This exclamation, followed by any statement, is trouble. Example: "Oh, let me get that." Or, "Oh, I talked to him about what you were doing last night." If she says "Oh" before a statement, RUN, do not walk, to the nearest exit. She will tell you that she is "Fine" when she is done tossing your clothes out the window, but do not expect her to talk to you for at least 2 days. "Oh" as the lead to a sentence usually signifies that you are caught in a lie. Do not try to lie more to get out of it, or you will get raised eyebrows and "Go ahead" followed by acts so unspeakable that we can't bring ourselves to write about them.

THAT'S OK: This is one of the most dangerous statements that a woman can say to a man. "That's OK" means that she wants to think long and hard before paying you retributions for what ever it is that you have done. "That's OK" is often used with the word "Fine" and used in conjunction with a raised eyebrow. "Go ahead." At some point in the near future when she has plotted and planned, you are going to be in some mighty big trouble.

PLEASE DO: This is not a statement; it is an offer. A woman is giving you the chance to come up with whatever excuse or reason you have for doing whatever it is that you have done. You have a fair chance to tell the truth, so be careful and you shouldn't get a "That's OK."

THANKS: A woman is thanking you. Do not faint; just say, "You're welcome."

THANKS A LOT: This is much different from "Thanks." A woman will say, "Thanks A LOT," when she is really ticked off at you. It signifies that you have hurt her in some callous way, and will be followed by the "Loud Sigh." Be careful not to ask what is wrong after the "Loud Sigh," as she will only say "Nothing."

July 25. 2001 - Hvem har avlagt data utstyr de kan gi bort?

Har du en gammel datamaskin som du ikke lenger bruker, og som du vil bli av med? Ikke kast den! Gi den bort til noen som fortsatt kan gjøre bruk av den. Det er utallige firma (og familier) som årlig oppgraderer til nyere og raskere maskiner. Du tenker kanskje at den gamle maskinen din nå er ubrukelig, jeg tenker ikke slik. Dersom du ønsker å gi bort noe gratis, vil jeg mer enn gjerne ta imot og gjøre meg nytte av det. Jeg er spesielt interesert i 30-pins RAM, 540MB og mindre IDE hard-disker, 486 system og komponenter. Hvorfor? For å kjøre og eksperimentere med Linux.

July 24. 2001 - Laland 21185: The Nearest Planetary System?

pretty cool (huh!)
but is it still out there?

George Gatewood, discoverer of the planetary system around Laland 21185, also finds a planet around Epsilon Eridani, and gives the actual mass of the planet.

To: gatewood@pitt.edu
Subject: Laland 21185 

Mr. Gatewood

May I ask You who found this star - and when?
(and why the 'Laland'-part in the name?)

regards
Jens Laland
Norway

The answer came back from Mr. Gatewood within the hour...

Subject: Re: Laland 21185
To: Jens Laland <laland@drillcon.no>
Cc: gatewood@pitt.edu 

I think that the name comes from a catalog put together
by a French astronomer named LaLande.  The number of the
star in the catalog is 21185, thus the name.

I saw some more information about the man in a book I
have at home.  I will try to get you the Book's name.

                                Cheers

Besides, I just found this on the internet...

Lalande 21185: The Nearest Planetary System?
Credit and Copyright: John Whatmough, Extrasolar Visions

Explanation:

What's the closest extrasolar planetary system? It may well be planets of the dim red dwarf star cataloged as Lalande 21185 -- a mere 8 light years distant.

Our own planetary system would be detectable by such a technique ... Ref.: SETI Institute Online, the Search for Extraterrestrial Intelligence

Using data obtained from frequent observations of this star over the last 50 years, University of Pitsburgh astronomer George Gatewood recently announced that much of Lalande 21185's wobble is most likely due to an unseen planet with approximately 90% of the mass of Jupiter and an orbital period of 5.8 years. His work also indicates that a second and possibly third planet of similar mass could well be present in the system.

Massive planets orbiting a red dwarf star would be very different from the Earth -- as illustrated in this artist's vision of a Jupiter-sized planet with rings and moons lit by a cool, dim sun.

Nevertheless, the existence of a planetary system so near our own suggests the intriguing possibility that planets are common in our galaxy.

July 23. 2001 - The Blues Is Dying in the Place It Was Born

Musicians who were not born here, who have not had their spirits or their bodies broken, who have never looked at these endless cotton fields and hated them, can never truly play the blues, said Mr. Ford, who now lives in Greenville, Miss., and Mr. Davis, who lives across the Mississippi River in Pine Bluff, Ark. Outsiders might play a tune from the Delta, Mr. Jones said, but there is no feeling in it.

"It's just," he said, "something you hear."

But here in the Delta, where most of the legendary juke joints have slowly shut their doors and most of the bluesmen have died off or moved away, the blues is fading from the very place it was born, say the people who play it and others who live here.

An article written by Rick Bragg.

July 20. 2001 - Assumption

July 13. 2001 - Blues: Barbara Dane

To:	Jens Einar Laland@akernet
cc:	bdane@webtv.net@Internet, Jens Einar Laland@akernet 
Subject:	Blues in Norway

Hello Jens
You may wish to forward this to some of your blues contacts in Norway or
contact her
regards
Terry
PS I`m Allabammy bound!


----- Original Message -----
From: "Barbara Dane" 
To: 
Sent: Friday, July 13, 2001 01:23
Subject: your big disappointments


> Hi Terry,
> Someone forwarded your report on a disappointing trip to MS and by now
> I'm sure you have had plenty of input about what to do next time to
> connect with the scene.  But I couldn't resist contacting you to suggest
> you subscribe to Living Blues (out of Mississippi) and Blues Access, and
> also take a look at some websites before next trip. I just sent you a
> page about DC Minner's fabulous Dusk to Dawn Festival in Oklahoma, where
> I will be singing this Labor Day weekend.  That was just to underline
> the fact that the blues is spread all over the country, not just MS.  In
> fact, Oklahoma has a really widespread blues scene..my oldest son
> bluesman Jesse Cahn is a part of it.
>
> NOW, one of the reasons I'm writing you is that I am planning a trip t
> Europe this fall with Jesse, and would like to be put in touch with a
> good booker in the UK. Can you help with a few contacts? The time frame
> is mid Sept. to early Nov. and we will be in the Netherlands, th Canary
> Islands and who knows where else?
>
> About me: I'm 74 yrs old, have worked with everybody from Lightnin' to
> Muddy to Louis Armstrong and Jack Teagarden, have lots of CDs (but they
> aren't widely available) and can send out a bio and discography pretty
> easily. Still don't have a website but should have one soon. I hate the
> whole idea of a "career" but still love to sing.  Back in Nov. 1959
> Ebony magazine wrote a lengthy feature story about me (their only one
> ever on a white woman) calling me "the blue eyed blond who is helping
> keep the blues alive.." with pictures of me with Muddy, Memphis Slim,
> Willie Dixon, Little Brother Montgomery, etc...I'm a maverick, and
> pretty outspoken against racism and war, so am left out of lots of
> history books, but there is a full page in "Blues Who's Who" if you care
> to look.
>
> Thanks for any help, and good luck next trip! Barbara
>

July 11. 2001 - Albert Hiorth

Dette er den spede begynnelse på en web-side om Albert Hiorth, en nå nesten glemt omreisende predikant og spesiell ingeniør. Hans tanker om økonomikk synes jeg er det som virker mest lovende. Det er dette jeg nå undersøker nærmere.

July 5. 2001 - Copyleft Attitude : the Free Art license

To: response@i-love-u.ch
Subject: | e - k u n s t | i love u "plovdiv" july issue 2001 


http://www.i-love-u.ch  http://www.i-love-u.tv


dear loverz


Copyleft Attitude : the Free Art license



Free Art license
[ Copyleft Attitude ]


version 1.1


Preamble: see at http://www.artlibre.org
With this Free Art License, you are authorised to copy, distribute and
freely transform the work of art while respecting the rights of the
originator.
Far from ignoring the author's rights, this license recognises them and
protects them.
It reformulates their principle while making it possible for the public
to make creative use of the works of art. Whereas current literary and
artistic property
rights result in restriction of the public's access to works of art, the


goal of the Free Art License is to encourage such access.


The intention is to make work accessible and to authorise the use of its


resources by the greatest number of people: to use it in order to
increase its use, to create newconditions for creation in order to
multiply the
possibilities of creation, while respecting the originators in according


them  recognition and defending their moral rights.


In fact, with the arrival of the digital age, the invention of the
Internet and free software, a new approach to creation and production
has made its appearance. It also encourages a continuation of the
process
of experimentation undertaken by many contemporary artists.


Knowledge and creativity are resources which, to be true to themselves,
must remain free, i.e. remain a fundamental search which is not directly


related to a concrete application. Creating means discovering the
unknown,
means inventing a reality without any heed to realism.
Thus, the object(ive) of art is not equivalent to the finished and
defined art object.
This is the basic aim of this Free Art License:
to promote and protect artistic practice free from the rules of
the market economy.





July issue 2001: "plovdiv"


monthly appearing e-zine for multimedia art,
monthly changing subject, no-commerce platform for cyber-artists,
photographers, screen-designer, e-musicians, movie-makers,
comic-developers...


visit http://www.i-love-u.ch  http://www.i-love-u.tv

our snailmail:
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die redaktion see editorial at http://www.i-love-u.ch


To unsubscribe, write to response@i-love-u.ch (subject: unsubscribe)


Next month's theme:


vorspiel.


feel free to join us and to send contributions to response@i-love-u.ch


:
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: post distribuert via:
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| e - k u n s t | nettverk for kunst og ny teknologi |
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: url = http://www.kunst.no/e-kunst
: postadresse = e-kunst@kunst.no

June 26. 2001 - Upgraded the F. Kittler section

from: Friedrich=Kittler@rz.hu-berlin.de 
to: nettime-l@desk.nl
subject: On the Implementation of Knowledge- Toward a Theory of Hardware

			For David Hauptmann, SysOp of my professorship, 
			laid off by the Berlin Senate

The world in which we have lived for the last forty years is no longer broken up into stones, plants and animals but into the unholy trinity of hardware, software and wetware. Since computer technology (according to the heretical words of its inventor) is at the point of „taking control," the term hardware no longer refers to building and gardening tools but to the repetition, a million times over, of tiny silicon transistors. Wetware, on the other hand, is the remainder that is left of the human race when hardware relentlessly uncovers all our faults, errors and inaccuracies. The billion-dollar business called software is nothing more than that which the wetware makes out of hardware: a logical abstraction which, in theory - but only in theory - fundamentally disregards the time and space frameworks of machines in order to rule them.

June 19. 2001 - My New Workshop in Bryne, Norway

My new workshop (Artist Studio, Office, and Server Site) is now being built inside the attic of a building facing the town center (plaza) of Bryne. The building has nice provisions for a planned roof garden as well as a future penthouse to live in. Artematrix servers will be up and running as soon as the necessary provisions for a permanent cable (digital connection to the internet) is solved. This 24 hours luxury is ment to be sponsored by Drillcon A/S.

June 14. 2001 - KUNSTNETT NORGE: TJENESTER OG TEORI - HVA NÅ?

Delivered-To: laland@stud.ntnu.no 
X-Sender: erhe@pop.interpost.no 
Date: Thu, 14 Jun 2001 21:11:58 +0200 
To: e-kunst@kunst.no 
From: Kunstnett Norge  
Subject: | e - k u n s t | Tjenester og teori - hva nå? 
Sender: kunst.no-e-kunst-owner@kunst.no 
X-BeenThere: kunst.no-e-kunst@kunst.no 
X-Mailman-Version: 1.2 (experimental) 
List-Id: Nettverk for kunst og ny teknologi.  
X-Virus-Scanned: by AMaViS perl-10

Det norske Kulturnettet, som Kunstnett Norge er del av, er som noen vil vite et treårig prosjekt som utløper ved nyttår. En arbeidsgruppe har nylig avsluttet en evaluering av kulturnettet, og gruppen foreslår en videreføring av prosjektet, men i en annen form enn den som gjelder i dag.

Rapporten kan lastes ned fra KDs nettsider: http://odin.dep.no/kd/ eller her.

Arbeidsgruppen foreslår at hele Kulturnettet samles i én redaksjon, som legges innunder en planlagt ABM-utviklingsenhet (ABM=ArkivBibliotekMuseum), og at Kunstnettredaksjonen i sterkere grad kobler seg til Kulturrådet for å dra nytte av fagressursene som befinner seg der. Videre foreslår arbeidsgruppen at kulturnettet ikke skal beskjeftige seg med tjenesteyting, og at det bør begrense den journalistiske virksomheten til fokusering på nettsteder i lenkedatabasen. Det legges i det hele tatt opp til et mer strømlinjeformet og "lettere" kulturnett.

Samtidig foreslås det en prioritert rekkefølge med virkemidler som Kulturnettet kan benytte for å "gjøre tjenesten mer komplett, øke antall daglige brukere og styrke norske brukeres vurdering av Kulturnett". Pkt. 8 lyder: "Kulturnett tilrettelegger for formidling av digitale kunstuttrykk på nettet".

Det er således ingen selvfølge at Kunstnett Norge får mandat fra KD til å videreføre tjenestetilbudet overfor kunstnere/kunstaktører. Formidlingen av nettkunst kan forhåpentlig videreføres, men må antagelig finne en annen form enn i dag.

Tjenestebiten inkluderer i dag nettjenester for kunstnere, spesialtjenester for nettkunstnere, webhotell og rådgivning overfor enkeltkunstnere og institusjoner. Alt er gratis, med unntak av tidkrevende tjenester overfor kunstinstitusjoner (eks: bistand i oppbygging av nettsider, nettkunstpresentasjoner/foredrag i institusjoner).

Nettkunstformidlingen består i drift av et galleri som har som mål å presentere det mest interessante som produseres av nettkunst her til lands, samt et forum som er ment å inspirere til økt bevissthetsnivå rundt dette fagfeltet, inkludert innarbeidelse av begreper og stiumlering til kritisk diskurs.

Kunstnett har sendt sine kommentarer til evalueringsrapporten til KD.

Vi argumenterer først og fremst for å få lov til å opprettholde tjenestetilbudet overfor kunstnerne; dvs. hjemmesidemalene, serverplass og det som etterhvert vil bli epostadresser og postlister. Det er uten tvil et *stort* behov blant landets ca. 10.500 profesjonelle kunstnere for å få hjelp til å formidle seg og sitt på nettet. Og vi ser ingen andre aktør som pr. i dag som naturlig kan overta denne funksjonen på landsbasis.

Når det gjelder produksjon av nettkunst, så rustet Kunstnett seg opp kompetansemessig og teknisk høsten 1999 bl.a. fordi vi opplevde at tilbudet i de eksisterende produksjonsverkstedene ikke holdt en standard som tok høyde for nettkunstarbeider av mer ambisiøs art. Uten at vi trenger spekulere i årsaker, kan vi konkludere med at norske nettkunstnere så langt ikke har stått i kø for å få assistanse fra Kunstnett til å gjøre ting av kompleks art. (Nordiske nettkunstnere har imidlertid dratt veksler på vår kompetanse i forbindelse med utviklingen av det nordiske nettkunstgalleriet «n2art».) Siden høsten 1999 har dessuten dette skjedd: produksjonsnettverket (pnek) har blitt opprettet; BEK har markert tekniske ambisjoner og skikkelighet gjennom div. prosjekter, og Atelier Nord har hentet inn nettkunstkompetanse gjennom ansattelsen av Atle Barcley (med bakgrunn fra bl.a. Kunstakademiet i Trondheim og Kunstnett). Det beste/enkleste vil utvilsomt være om produksjonsverkstedene selv er i stand til å gi nettkunstnerne assistanse også på teknisk krevende prosjekter.

Hva med nettkunstformidlingen?

Evalueringsgruppens forslag om at "Kulturnett tilrettelegger for formidling av digitale kunstuttrykk på nettet" kan tolkes som en aksept for videre formidling av nettkunst, men samtidig anbefales ikke "sterk satsning på Kulturnett som journalistisk produkt".

Om en ser på ulike kulturportaler omkring i verden - det har blitt en del av dem etterhvert - hører det til unntakene at disse drifter kritiske diskurser for ulike fagfelt. Det ligger da ei heller naturlig innunder en *portals* virksomhet å gå i dybden på spesifikke områder. Kunstnetts nettkunstformidling, med tilhørende tekstfora, har vært en vesentlig del av vår *profil*, og har i liten grad vært motivert som en "oppgave". Det eksisterte knapt noen pågående teoretisk virksomhet omkring nettkunstfeltet i 1999, da Kunstnett startet opp, og begrepet "nettkunst" var ennå ikke naturlig i bruk blant de som arbeidet med denne type kunst, blant bevilgende myndigheter eller i pressen. Det var i det hele tatt få grunner i fagmiljøene til å protestere på at Kunstnett brukte offentlige midler på å omtale og diskutere fagfeltet nettkunst. Man kan selvsagt diskutere hvor vellykket nettkunstsatsningen har vært, ikke minst journalistisk sett. Min egen opplevelse av dette, som prosjektleder og redaktør, har vært at foraene våre aldri har nådd et akseptabelt profesjonelt nivå, til tross for sterke enkeltbidrag fra kunnskapsrike personer i det norske nettkunstmiljøet. Problemet har vært manglende ressurser til å tenke langsiktig og helhetlig, men kanskje også manglende magasinerfaring blant oss som har stelt med dette. Likevel vil vi påstå at foraene har hatt sin berettigelse, fordi det har vært gjort så lite på andre hold. Noe er rett og slett bedre enn ingenting! (Vi har også tro på at vi har de beste bidragene til gode - vi legger for tiden en del opparbeidede ressurser i det nettkunstteoretiske feltet, og resultatene vil forhåpentligvis komme utover sommeren og høsten.)

Det er en naturlig oppgave for Kunstnett å stå som en sisteleddsformidler av norsk nettkunst i forhold til et bredt publikum på nettet. Vi har poengtert overfor Kulturdepartementet at vi ønsker å få videreført en *kvalitetsorientert og pedagogisk tilrettelagt presentasjon* av pågående nettkunstvirksomhet, med spesielt fokus på norsk produksjon. Ett argument vi har brukt er at denne type kunst gjerne viser nyskapende bruk av nettet, og at unge er en vesentlig målgruppe.

Den teoretiske diskursen omkring nettkunsten blir imidlertid ikke en del av det "nye" Kulturnettet, dersom evalueringgruppens forslag blir gjennomført. Dersom Kunstnetts selvstendighet som sektornett skal svekkes, til fordel for en mer sammensmeltet kulturnettløsning, vil det jo heller ikke være behov for å opprettholde en egenart med nettkunststoffet som det vesentligste elementet.

Dersom den teoretiske diskursen skal opprettholdes her til lands, må dermed andre aktører enn Kunstnett Norge se dette som sin oppgave. Utfordringen og spørsmålene går til nettkunstnerne, teoretikerne og ansvarlige aktører i produksjonsnettverket:

1. Er det behov for en "norsk" nettkunstdiskurs, eller klarer vi oss med en "felles" internasjonal diskurs gjennom fora som nettime og Rhizome?

2. Dersom det er behov for en egen norsk diskurs, er en postliste som e-kunst et tilstrekkelig forum, eller er det nødvendig med et redaksjonelt styrt magasin?

3. Dersom det er behov for et redaksjonsstyrt forum, er dette en naturlig oppgave for produksjonsnettverket? Andre aktører?

Alle innspill er velkomne! Gjerne også spørsmål/kommentarer til evalueringen.

Med vennlig hilsen

Erik Hesby

KUNSTNETT NORGE - offisiell portal til norsk kunst på Internett
http://kunst.no
kunst@kunst.no

Erik Hesby
Redaktør/Prosjektleder
hesby@kunst.no

June 06. 2001 - New Domains

Last month have been used to update the internal structure of the site (plus some minor exterior improvements here and there). The Administration folder has received most of my attention. This to give myself the option to establish remote access to various services while I'm away from home. I have also registered some new domain names that may become something some time in the near future:
http://artematrix.info will be used to operate an interactive mySQL-Database containing information on how to do things, download bytes, try stuff and dream a bit, i.e. lots of stuff otherwise hard to locate, find or get hold of. Help me build a huge (indexed) collective information source on where to purchase stuff or services you and I need as professional artists. In addition to this database, I plan to run an extensive web(?)hunting.service for anyone willing to pay me money searching for information, systematically compile it all, and then quickly present it to the client in either e-form, print, or both.
http://artware.museum will be used to collect and store important digital artwork presented on the internet etc. I hope to get your assistance in recommending artwork or projects that should be included and saved for the future. The plan is to present only a few works (no longer active elsewhere) at any time. However, all accepted works will be saved, and a be re-presented online in due time. Almost like a museum...
http://statoil.museum is a domain I don't know if Statoil will let me keep. Click on http://www.fuck-statoil.com, and you tell me... (Ok, so it didn't work this time. The thing is, it sometimes do).

May 26. 2001 - Inadequate protection of artworks at Trondheim Kunstmuseum?

Somebody had a lot of fun poking into each and every one of the 64 loudspeakers mounted in an artwork of mine during a three weeks art show just closed.

Trondheim Kunstmuseum
Bispegt. 7b, N-7013 Trondheim.
Phone: +47 73 53 81 80 
Fax: +47 73 53 81 70 
e-mail: kunst@tkm.museum.no

April 22. 2001 - New page: UKS, Oslo 2001

The documentation of the work presented is available here.

April 20. 2001 - New layout: artematrix web site

A preliminary draft of the new site layout is now up and running. Comments, proposals, or any other feedback are appreciated.