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  <title>Re: MAGAZINE</title>
  <link>http://re.cont3xt.net/</link>
  <description>A netzine by CONT3XT.NET</description>
  <lastBuildDate>Thu, 16 Oct 2006 12:30:00 +0100</lastBuildDate>
  <language>en-us</language>
  
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	<title> #006 MARK EDWARD GRIMM / Undecisive Contexts</title>
	<link>http://re.cont3xt.net/pdf/Re_006.pdf</link>
	<guid>http://re.cont3xt.net/pdf/Re_006.pdf</guid>
	<pubDate>Sun, 09 Nov 2007 10:00:00 +0100</pubDate>
	<description>
	<![CDATA[AN E-MAIL CONVERSATION WITH MARK EDWARD GRIMM | The net establishes
	its significance as artistic medium no longer in specialized communities but 
	has become dispersed more and more into contexts commonly assigned to the 
	"classical" art business. Issue #006 of Re: MAGAZINE deals with the artistic
	 work of Mark E. Grimm which?covering different contexts evaluated by 
	 conventional criterias?could be considered as undecisive. The collaborative 
	 work in and outside the net, the study of the working processes and the 
	 transfer of net-related working methods into real life are all practices 
	 deliberately dealt with as artistic statements but rarely leave 
	 material-related marks. Perhaps we observe here the reversal of the 90? s 
	 Californian Ideology and its "Second Life": the reality is not 
	 subordinated to the net but the net turns with its constant 
	 use into a part of the reality.]]>
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   <item>
	<title> #005 MARY-ANNE BREEZE [mez] / Versatile Communication Modalities</title>
	<link>http://re.cont3xt.net/pdf/Re_005.pdf</link>
	<guid>http://re.cont3xt.net/pdf/Re_005.pdf</guid>
	<pubDate>Mon, 12 Nov 2007 10:00:00 +0100</pubDate>
	<description>
	<![CDATA[AN E-MAIL CONVERSATION WITH MARY-ANNE BREEZE | mez, netwurker, 
	data[h!]bleeder, ms post modemism, mezflesque.exe, ova.kill, net.w][ho][urker,
	Purrsonal Areah Netwurker, Phonet][r][ix ... The pseudonyms of the
	Austrialian Internet artist Mary-Anne Breeze are as multifaceted as is her 
	artistic work. In issue #005 of Re: MAGAZINE mez talks about her
	own language of artistic creation called mezangelle which is composed by 
	the playful use of aspects of form and content like orthography, semantics 
	and punctuation and mixed with the hybrid use of segmented code and 
	programming languagees, Internet-slang and literary texts. In her own words,
	her wurks "r never really finished; they kinda hang together in a faux_fixed 
	state, rdy. 4.the.next.incarnation."]]>
	</description>
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  <item>
	<title> #004 SCOTT RETTBERG / Curating Ambiguity, Electronic Literature</title>
	<link>http://re.cont3xt.net/pdf/Re_004.pdf</link>
	<guid>http://re.cont3xt.net/pdf/Re_004.pdf</guid>
	<pubDate>Mon, 28 Sun 2007 15:00:00 +0100</pubDate>
	<description>
	<![CDATA[AN E-MAIL CONVERSATION WITH SCOTT RETTBERG | In autumn 2006 the 
	Electronic Literature Organization (ELO) released the Electronic 
	Literature Collection Volume One, including selected works in 
	New Media forms such as Hypertext Fiction, Kinetic Poetry, 
	generative and combinatory forms, Network Writing, Codework, 3D, 
	and Narrative Animations. One of the main common characteristics 
	of Web-based literary products is that they often can be read (or viewed, 
	listened, played with, used) in multifaceted ways. Accordingly the 
	curation of Electronic Literature is challenged by ambiguity 
	and heterogeneity on different levels.]]>

	<![CDATA[EIN E-MAIL GESPRAECH MIT SCOTT RETTBERG | Im Herbst 2006 hat 
	die Electronic Literature Organization (ELO) den ersten Band 
	der Electronic Literature Collection veroeffentlicht. Die Anthologie 
	umfasst literarisch-kuenstlerische Arbeiten in Form Neuer Medien 
	wie Hypertext Fiction, Kinetic Poetry, generative und kombinatorische 
	Netzliteratur, Network Writing, Codework, 3D, und Narrative Animations. 
	Eines der zentralen Charakteristika von Web-basierter Literatur 
	ist, dass sie haeufig auf mehrere Arten gelesen (gesehen, gehoert,
	gespielt, benutzt) werden kann. Dem Kuratieren von Literatur im 
	Internet stehen Mehrdeutigkeit und Heterogenitaet auf 
	mehreren Ebenen gegenueber. ]]>
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	<title> #003 MIA MAKELA (a.k.a. Solu) / Live Cinema</title>
	<link>http://re.cont3xt.net/pdf/Re_003.pdf</link>
	<guid>http://re.cont3xt.net/pdf/Re_003.pdf</guid>
	<pubDate>Mon, 28 Sun 2007 15:00:00 +0100</pubDate>
	<description>
	<![CDATA[AN E-MAIL CONVERSATION WITH MIA MAKELA | What is Live Cinema? 
	Depending on how you set the boundaries, Live Cinema could be 
	anything -- from the visuals of the VJ in the club last night to 
	sophisticated realtime performances based on complex interaction 
	between musicians and visual artists at renowned festivals like Sónar 
	in Barcelona. Generally it may be defined as ?a recently coined term 
	for realtime audiovisual performances?.]]>

	<![CDATA[EIN E-MAIL GESPRAECH MIT MIA MAKELA | Was verbirgt sich 
	hinter dem Begriff ?Live Cinema?? Abhängig davon, wie man die 
	Grenzen setzt, kann Live Cinema alles mögliche sein ­ von den 
	Visuals im Club vergangene Nacht bis hin zu ausgereiften 
	Echtzeitperformances, die auf der komplexen Interaktion zwischen 
	Musikern und bildenden Künstler fußen und auf anerkannten 
	Medienkunstfestivals wie beispielsweise dem Sónar in Barclona 
	gezeigt werden. Am ehesten lässt sich Life Cinema aber als 
	in Echtzeit aufgeführte, audiovisuelle Perfomance beschreiben. ]]>
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  	<item>
	<title> #002  THE AMAZON NOIR TEAM / The Big Book (C)rime</title>
	<link>http://re.cont3xt.net/pdf/Re_002.pdf</link>
	<guid>http://re.cont3xt.net/pdf/Re_002.pdf</guid>
	<pubDate>Wed, 06 Dec 2006 19:00:00 +0100</pubDate>
	<description>
	<![CDATA[AN E-MAIL CONVERSATION WITH PAOLO CIRIO, ALESSANDRO LUDOVICO, 
	UBERMORGEN.COM | About one year after the release of Google Will Eat Itself 
	the artists Paolo Cirio, Alessandro Ludovico, Hans Bernhard 
	and Lizvlx foxed out Amazon.com, the second global Internet player. 
	The results of the Media/Art-event Amazon Noir - The Big Book Crime 
	were presented on the 15th of November 2006.]]>

	<![CDATA[EIN E-MAIL GESPRÄCH MIT PAOLO CIRIO, ALESSANDRO LUDOVICO, 
	UBERMORGEN.COM | Rund ein Jahr nach der Veröffentlichung von 
	Google Will Eat Itself haben die Künstler und Medienaktivisten 
	Paolo Cirio, Alessandro Ludovico, Hans Bernhard und Lizvlx den 
	internationalen Buchhandelsriesen Amazon.com erfolgreich ausgetrickst. 
	Die Ergebnisse der Medien/Kunst-Aktion Amazon Noir - The Big Book Crime 
	wurde am 15. November 2006 der Öffentlichkeit vorgestellt. ]]>
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	<item>
	<title> #001  JEREMY HIGHT / Possibilities in Locative Media</title>
	<link>http://re.cont3xt.net/pdf/Re_001.pdf</link>
	<guid>http://re.cont3xt.net/pdf/Re_001.pdf</guid>
	<pubDate>Thu, 16 Oct 2006 12:30:00 +0100</pubDate>
	<description>
	<![CDATA[Im aktuellen Diskurs um Medienkunst ist immer wieder die Rede
	von so genannten positionsbestimmenden Medien: Mit Hilfe von
	Navigationstechnologien entsteht gerade ein breit gefächertes
	künstlerisches Handlungsfeld, das sich in der jüngsten Theoriegeschichte
	unter dem Begriff "Locative Media" zusammenfassen lässt. Die Ursprünge
	des Konzepts positionsbestimmender Medien gehen aber bis zu den Anfängen
	der Menschheits- und Mediengeschichte zurück. Die Ortung und Aufzeichnung
	von Fortbewegung auf der Erdoberfläche waren schon in den frühen Mythen,
	wie etwa dem Gilgamesch-Epos - oder spezifischer in Homers Odyssee - Thema.]]>

	<![CDATA[Locative Media - recently becoming more popular in Media Art
	discourses - has roots dating back to the dawn of history. Early myths
	like the Gilgamesch Epic or - more specific - Homer's Odyssee deal with
	issues of location and the recording of movement on earth's surface.
	Developments since then include mediaeval cartography as well as the
	Situationists' approach to mapping a city. Nowadays Locative Media uses
	technology to trigger artworks in a specific physical space. ]]>
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