Five writers will be commissioned to develop chapters for a networked book about networked art. The chapters will be open for revision, commentary, and translation by online collaborators. Each commissioned writer will receive $3,000 (US).

Networked Committee:
Steve Dietz (Northern Lights, MN) :: Martha CC Gabriel (net artist, Brazil) :: Geert Lovink (Institute for Network Cultures, The Netherlands) :: Nick Montfort (Massachusetts Institute for Technology, MA) :: Anne Bray (LA Freewaves, LA) :: Sean Dockray (Telic Arts Exchange, LA) :: Jo-Anne Green (NRPA, MA) :: Eduardo Navas (newmediaFIX) :: Helen Thorington (NRPA, NY)

Networked Partners:
New Radio and Performing Arts, Inc. (NRPA) :: newmediaFIX :: LA Freewaves :: Telic Arts Exchange
“A networked book is an open book designed to be written, edited and read in a networked environment.” – Institute for the Future of the Book

Networked Goals:
(1) To commission five chapters and publish them online using Wiki/blog technology to enable the public to revise, update, debate and translate them
(2) To present public forums to publicize the online book and solicit participation in its development.

Networked Objectives:
:: To develop and publish an online, trans-disciplinary book that will address recent artistic developments made possible by computers, networks, and mobile connectivity
:::: To present the book in an open, participatory and social form
:::::: To document:
:::::::::: the collapse of the traditional distinction between artist, art work and audience
:::::::::: the shaping of creative practice that is open, contingent and participatory
:::::::::: the building of virtual communities which, in the words of Howard Rheingold, “becomes inevitable wherever computer mediated communications technology becomes available to people anywhere.” (The Virtual Community, 1993)

We invite contributions that critically and creatively rethink how networked art is categorized, analyzed, legitimized — and by whom — as norms of authority, trust, authenticity and legitimacy evolve.

In keeping with the transdisciplinary nature of the book, authors may consider, but are by no means limited to, themes such as:

:: cyberspace and identity
:: ubiquitous computing – surveillance, politics, and privacy
:: avatars, wearables, bioart and embodiment
:: collective storytelling, audio narratives and sound art
:: virtual worlds, mixed realities
:: locative media – place, mobility, augmented reality
:: massively multiplayer online games – networked play
:: responsive architecture and relational environments
:: social networks
:: nomadism, psychogeography, and the city
:: tactical media – performance, agency and activism
:: open source and crowdsourcing
:: Originality, copies, remix, mashup

All papers will be reviewed by our international committee.

Commissioned chapters, as well as contributions by collaborators, will be subject to the Creative Commons License Attribution-Noncommercial-Share Alike 3.0/Unported: http://creativecommons.org/licenses/by-nc-sa/3.0/

Once the chapters are published online, registered users will be able to revise, add to, and translate the existing texts. There is no end date for the project. When “Networked” has attracted substantive participation, we will consider publishing a print version of the project, which may itself be updated over time.

GUIDELINES:

Submissions must be based on original, unpublished research. They should include:

1. Name, address, URL, email and one page CV of author.

2. A 1000 word proposal that should be accompanied by an abstract of no more than 250 words and a list of keywords to indicate the subject area of the chapter. [Each of the commissioned chapters will contain text, images, videos, and/or audio.]

3. Three networked writing samples. Samples may include a blog entry, a Wikipedia article the applicant worked on extensively, or samples from any other participatory project (send URLs).

Acceptable Submission Formats: Either a web page (send url in an email) or a single text document (send as an email attachment)

Final chapters must be no less than 5,000 words.

Submissions and Questions should be sent to: jo at turbulence dot org

IMPORTANT DATES:
Deadline for Proposals: December 15, 2008
Notification: January 31, 2009
Deadline for Complete Chapters: April 30, 2009
Online Publication Date: July 1, 2009

“. . . to say the revolution is itself utopia of immanence is not to say that it is a dream, something that is not realized or that is only realized by betraying itself. On the contrary, it is to posit revolution as plane of immanence, infinite movement and absolute survey, but to the extent that these features connect up with what is real here and now in the struggle against capitalism, relaunching new struggles whenever the earlier one is betrayed.” —(GillesDeleuze/Felix Guattari)

Gerald Raunig:
Art and Revolution. Transversal Activism in the Long Twentieth Century
New York/Los Angeles: Semiotext(e)/MIT Press 2007

Gerald Raunig has written an alternative art history of the “long twentieth century,” from the Paris Commune of 1871 to the turbulent counter-globalization protests in Genoa in 2001. Meticulously moving from the Situationists and Sergei Eisenstein to Viennese Actionism and the PublixTheatreCaravan, Art and Revolution takes on the history of revolutionary transgressions and optimistically charts an emergence from its tales of tragic failure and unequivocal disaster. By eloquently applying Deleuze and Guattari’s idea of the “machine,” Raunig extends the poststructuralist theory of revolution through to the explosive nexus of art and activism. As hopeful as it is incisive, Art and Revolution encourages a new generation of artists and thinkers to refuse to participate in the tired prescriptions of marketplace and authority and instead create radical new methods of engagement. Raunig develops an indispensable, contemporary conception of political change–a conception that transcends the outmoded formulations of insurrection and resistance. Too much blood and ink has been shed for the art machines and the revolutionary machines to remain separate.

PHILIA :
1. fi¬li/-a , Ion. -i/h, h( , (file/w ) affectionate regard, friendship

2. friendliness, amiability, f. a)/neu tou= ste/rgein Aristot. Nic. Eth. 1126b22, cf. au=Aristot. Nic. Eth. 1108a28.

3. later, of lovers, fondness, LXXPr.5.19, Lyr.Alex.Adesp.1.8, AP5.266 (Agath.).

4. c. gen., of things, fondness, liking for, ke/rdouj Plat. Rep. 581a; [tw=n a)rxw=n ] Arist.Cael.306a12.

5. the natural force which unites discordant elements and movements, opp. nei=koj, Emp.18, al., Isoc. 15.268.

II. Pythag. name for three, Theol.Ar.16 (not for six, Iamb. In Nic. au=Iamb. =lr P.).

________________________________

Music friendship can move us to the heights or depths of emotion. It can persuade us to buy something, or remind us of our first date. It can lift us out of depression when nothing else can. It can get us dancing to its beat.

But the power of music goes much, much further: it occupies more areas of our brain than language does. Humans are a musical species.

Music like friendship can also go wrong: Sacks explores how catchy tunes can subject us to hours of mental replay, and how a surprising number of people acquire nonstop musical hallucinations that assault them night and day.

Yet far more frequently, music goes right: Sacks describes how music can animate people with Parkinson’s disease who cannot otherwise move, give words to stroke patients who cannot otherwise speak, and calm and organize people whose memories are ravaged by Alzheimer’s or amnesia.

Excerpted from Musicophilia by Oliver Sacks Copyright (c) 2007 :

Tony Cicoria was forty-two, very fit and robust, a former college football player who had become a well-regarded orthopedic surgeon in a small city in upstate New York. He was at a lakeside pavilion for a family gathering one fall afternoon. It was pleasant and breezy, but he noticed a few storm clouds in the distance; it looked like rain.

He went to a pay phone outside the pavilion to make a quick call to his mother (this was in 1994, before the age of cell phones). He still remembers every single second of what happened next: “I was talking to my mother on the phone. There was a little bit of rain, thunder in the distance. My mother hung up. The phone was a foot away from where I was standing when I got struck. I remember a flash of light coming out of the phone. It hit me in the face. Next thing I remember, I was flying backwards.”

Oliver Sacks Musicophilia, a New York Times bestseller, has been named one of the Best Books of 2007 by the Washington Post and the editors of Amazon.com.

Naomi Klein released this year her new 4 years research titled “The Shock Doctrine: The Rise of Disaster Capitalism” that destruct the myth of “free market” democracy. It all started from a bunch of guys called the Chicago Boys, headed by Milton Friedman, that experimented their ultraliberist process of social and economic engineering. A process based on a deviated form of capitalism defined “disaster capitalism”.

They started from Chile to apply massively their visions on society, being the economic consultant for the Pinochet tiranny. The natural disaster that destroyed tens of thousands of lives in New Orleans is seen as an ‘opportunity’ to put the city’s schooling and public housing in private hands. 9/11 became the excuse for the creation of a vast, private-security industry.

Then the Iraq war, organised around the idea that following the shock and awe military strategy, the country could be organised as a pure, free-market paradise, partly because country and people alike were so traumatised that they would offer no opposition. In the book is explained as the Shock and Awe strategy started as a psicological strategy to cure madness in the ’50s to become a global political strategy to “cure” societies that don’t want to apply for the free market circus.

Employing electroshock therapy, sensory deprivation and drug-induced comas, these experiments helped develop some of the “coercive interrogation techniques” that have been practised in Guantánamo Bay, but it all started from the psicological tests of the 50’s. Klein uses torture as a metaphor, and does not claim any cause-and-effect link between its re-emergence and the rise of neo-liberal shock therapy; but she does point to some disquieting similarities. Individuals and societies have been “de-patterned” with the aim of remaking them on a better, more rational model. The same Shock and Awe tecnique are now being used bot just on individuals but also on populations. In each case, the experiments have failed, while inflicting lasting and often irreparable damage on those who were subjected to them.

Here an excerpt form the book:

“In sharp contrast to the glacial pace with which the levees were repaired and the electricity grid brought back online, the auctioning-off of New Orleans’ school system took place with military speed and precision. Within 19 months, with most of the city’s poor residents still in exile, New Orleans’ public school system had been almost completely replaced by privately run charter schools.

The Friedmanite American Enterprise Institute enthused that “Katrina accomplished in a day … what Louisiana school reformers couldn’t do after years of trying”. Public school teachers, meanwhile, were calling Friedman’s plan “an educational land grab”. I call these orchestrated raids on the public sphere in the wake of catastrophic events, combined with the treatment of disasters as exciting market opportunities, “disaster capitalism”.

Privatising the school system of a mid-size American city may seem a modest preoccupation for the man hailed as the most influential economist of the past half century. Yet his determination to exploit the crisis in New Orleans to advance a fundamentalist version of capitalism was also an oddly fitting farewell. For more than three decades, Friedman and his powerful followers had been perfecting this very strategy: waiting for a major crisis, then selling off pieces of the state to private players while citizens were still reeling from the shock.

In one of his most influential essays, Friedman articulated contemporary capitalism’s core tactical nostrum, what I have come to understand as “the shock doctrine”. He observed that “only a crisis – actual or perceived – produces real change”. When that crisis occurs, the actions taken depend on the ideas that are lying around. Some people stockpile canned goods and water in preparation for major disasters; Friedmanites stockpile free-market ideas. And once a crisis has struck, the University of Chicago professor was convinced that it was crucial to act swiftly, to impose rapid and irreversible change before the crisis-racked society slipped back into the “tyranny of the status quo”. A variation on Machiavelli’s advice that “injuries” should be inflicted “all at once”, this is one of Friedman’s most lasting legacies.”

Jasmina, a serbian writer and journalsit review Sappiano le mie parole di sangue, Babsi Jones, Rizzoli, 2007

Chi è babsi jones?
Chi se ne frega. Sa scrivere alla Lautreamont, cita i miei amici come Nicole Janigro, David Albahari, usa una forma frammentaria, transnazionale, postletteraria, da hip blogger sex and drugs and wars globalista. E recita Amleto. Come se fosse Shakespeare. Chi era Shakespeare d’ altronde. Chi se ne frega anche di quello. Quello però di cui me ne frego e come è che questo babsi Amleto si è impossessata della mia guerra, a war of my own . Più precisamente ha pigliato una guerra che io ho buttato nell’immondizia con le parole in rosso: Questa non è la mia guerra fatta nel mio nome nella mia lingua materna, con il mio corpo sul mio corpo. Con il MIO sangue.
Sappiano le mie parole di sangue, dice babsi Amleto NO. Che queste parole sue in cirillico metaforico su Serbia Bosnia Kosovo, name it, non siano scritte in sangue. Dico io, Jasmina Ofelia.
Amleto sod off, questo è il 21 secolo, il secolo delle donne bombe, della globalizzazione, della balcanizzazione, del postumanesimo, l’uomo è morto in auschwitz hiroshima blablabla, ma è vero…Dove le guerre si fanno in TV, in diretta, multinazionali corporali corporei con scuse etniche, religiose, politiche. Amleto hey, non hai capito che seguire le traccie del petrolio vuol dire seguire le traccie del sangue.
Sappiano e sanno le tue parole di petrolio.
Forse non lo sai davvero, spero che sei in buona fede, io da idiota politica, preferisco credere che dubitare. Citerò Auden: se l’ amore non è mai mutuo, Lord let me be the one who loves more.
Bene Amleto, concedimi che io sia quella che ama me stessa, la mia famiglia guarda caso serba a Belgrado, sotto Tito, sotto Milosevic, sotto sanzioni, sotto le bombe e finalmente sotto il neo-fondamentalismo serbo. Oggi come oggi.

Quindi ti prego, non parlarmi di Kosovo, di 5 secoli di Turchi, della vendetta, di Mladic eroe che rivendicava i serbi travagliati dai Murat dai secoli, del genocidio di Srebrenica come montatura di stampa del complotto internazionale contro il popolo eletto del
cielo, i Serbi. E bullshit scritto nei manuali , nazionalisti…clerofascisti…
Io sono Serba ( lo dico malvolentieri perché è un’ identita compulsiva che tu Amleto mi fai indossare, tu personaggio defunto, che parli una lingua estinta, di vendetta, sangue… prima che fosse inventato l’antibiotico e la guerra nucleare.

Il mio nome è Jasmina ed è il mio vero nome bosniaco serbo. E la famiglia di mio padre bosniaca è stata massacrata da nazisti, fascisti ustasha nella seconda guerra mondiale. Ma io ti dico, da testimone e vittima, aggressore e idiota politica che i serbi di Srebrenica, di Serbia, di Kosovo hanno commesso degli orrori di guerra 50 anni dopo.
I miei Serbi nel mio nome. C’ ero, l’ ho visto, l’ho sentito, non lo nascondono nemmeno, se ne vantano. Sono ancora impuniti latitanti perfino privilegiati, vivono nella mia strada, letteralmente… E poi una certa babsi jones nel ruolo di Amleto principe di vendetta scrive libri su di loro. Pur essendo un idiota politica, pacifista, umanitaria, donna in nero, donna intellettuale, donna di casa, non permetto e non perdono. -che copri di fango e oblio gli 8000 ammazzati a Srebrenica nel nome della vendetta -che ricordi il cardinale criminale cattolico Stepinac di 60 anni fa che sterminava zingari serbi e ebrei e ignori i preti ortodossi serbi che benedicevano i soldati di Mladic prima che andassero ad ammazzare tutti i NON serbi, nel genocidio di Srebrenica, 12 anni fa. C’ è il filmato, guardalo,è on line -che ti appropri della mia guerra, del mio futuro, della mia sopravvivenza vivendo cheap thrills di una guerra altrui.
Esiste un’altra Serbia, una Serbia non amletica, pacifista e creativa che se ne frega della vendetta, del passato, delle chiese, delle tombe, della religione come strumento di odio dell’altro, del sangue.
Che si preoccupa del global warming, della militarizzazione globale, dell’ abuso del petrolio come sangue e delle parole come armi. Come colpi di odio, di vendetta velenosi. In italiano, in serbo, in inglese name it…suonano uguali, annunciano la morte. Non te lo permetto Amleto, la Serbia non è la tua annegata Ofelia.

Scritto da Jasmina

Backstage

Sappiano le mie parole di sangue – Shall my words taste of blood almost Review.

Definition: Know

1sa|pé|re
v.tr. e intr. (io so)

Hamlet is a tragedy and revenge play by William Shakespeare. It is one of his best-known works, and also one of the most-quoted writings in the English language.[1] Hamlet has been called “Shakespeare’s greatest play”[2] and it is universally included on lists of the world’s greatest books.[3] It is also one of the most popular of Shakespeare’s plays, judging by the number of productions; for example, it has topped the list at the Royal Shakespeare Company since 1879.[4] With 4,042 lines and 29,551 words, Hamlet is also the longest Shakespeare play.[5]

Who’s there?” asked Barnardo.

“Long live the King!”

Hamlet/o is an impossible tragedy and revenge play by Hamlet/Babsi Jones.

Rizzoli Editore (RCS), collana 24/7

Pol. How say you by that? Still harping on my daughter:
yet he knew me not at first; he said I was a Fishmonger:
he is farre gone, farre gone: and truly in my youth,
I suffred much extreamity for loue: very neere this. Ile
speake to him againe. What do you read my Lord?
Ham. Words, words, words

I was Hamlet (?)

Babsing

Must (like a Whore) vnpacke my heart with words

For, what we know must be, and is as common

Once upon a time

Io non so, I don’t know

Qu. No more.
Enter Ghost.

Ieri ho smesso di uccidermi.

Faccio a pezzi gli strumenti della mia prigionia la sedia il tavolo il letto.

Distruggo il campo di battaglia che era la mia dimora.

(babsì jones. SLMPDS. 1701765. ? . )

jugo_slavismi

King. What do you call the Play?
Ham. The Mouse-trap: Marry how? Tropically:
This Play is the Image of a murder done (not only) in Vienna
Ham. The body is with the King, but the King is not with the body. The King, is a thing-

Mi strappo l’orologio dal petto che era il mio cuore.

Nepovratna pesma – Miroslav Antic

Nikad nemoj da se vracas
kad vec jednom u svet krenes
Nemoj da mi nesto petljas
Nemoj da mi hoces-neces.

I ja bezim bez povratka.
Nikad necu unatrag.

Sta ti znaci staro sunce,
stare staze,
stari prag?

Tu je ono za cim moze da se pati
Tu je ono cemu mozes srce dati.
Al’ ako se ikad vratis
moras znati
tu ces stati
I ostati.

Ocima se u svet trci
Glavom rije mlako vece
Od reke se dete uci
ka morima da potece.

Od zvezda se dete uci
da zapara nebo sjajem.
I od druma da se muci
i vijuga za beskrajem.

Opasno je kao zmija
opasno je kao metak
da u tebi vecno klija
i carlija tvoj pocetak.

Ti za koren
nisi stvoren
Ceo svet ti je otvoren.

Ako ti se nekud zuri,
stisni srce i zazmuri.
Al’ kad podjes – nemoj stati
Mahni rukom.
I odjuri.
Ko zna kud ces.
Ko zna zasto.
Ko zna sta te tamo ceka.
Ove su zelje uvek belje
kad namignu iz daleka.

Opasno je kao munja
opasno je kao metak
da u tebi vecno kunja
i muci se tvoj pocetak.
Ti si uvek krilat bio
samo si zaboravio.

Zato leti.
Sanjaj.
Trci.
Stvaraj zoru kad je vece.
Nek’ od tebe zivot uci
da se peni i da tece.
Budi takvo neko cudo
sto ne ume nista malo,
pa kad krenes – kreni ludo,
ustreptalo,
radoznalo.

Ko zna sta te tamo ceka
u maglama iz daleka.

Al’ ako se i pozlatis,
il’ sve tesko,
gorko platis,
uvek idi samo napred.

Nemoj nikad da se vratis.

The mania for orchid-collecting during Victorian times, had simply been too much for it. With only a single specimen surviving in the wild, the lady’s slipper orchid is today Britain’s rarest, and most heavily guarded, flower. Their locations are being kept top secret for fear: English Nature conservationists are aware of would-be thieves touting for business on the internet, by offering to steal the rarest orchids to order. More: Orchidelirium strikes everywhere. Police are on the hunt after more than 600 protected orchids were stolen from a nature reserve in the marshes of the Orlické Mountains region. The theft, discovered June 26, is the first in the area and is believed to be the largest of its kind in Czech history.

There are more then 30,000 different species in the wild, and 300,000 hybrids available. But the favourites species are proper relics from the wild genetic past: SOUTHERN MARSH ORCHID, LADY’S SLIPPER, EAST STAR-OF-BETHLEHEM, DIAPENSIA LAPPONICA, KILLARNEY FERN, SPRING GENTIAN. People have died for them, and still go to jail for them because there will always be thieves with trowels and pots all over the world. And a Black Market, of course…

My Favourite one is Black Orchids Rex Todhunter Stout novel, where the larger-than-life fictional detective Nero Wolfe goes to the flower show and …..