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[ia]rbath agrammê fiblô chnêmeô [a e]e êêê iiiI ooooo uuuuuu ôôôôôô[ô] Lord Gods, heal Helena, daughter of [...] from every illness and every shivering and [fever], ephemeral, quotidian, tertian, quar[tan], iarbath agrammê fiblô chnêmeô aeêiouôôuoiêea eêiouôôuoiêe êiouôôuoiê iouôôuoI ouôôuo uôôu uuuuu ôô Rider-amulets such as this one were popular, possibly among Jews and certainly among Christians as all-purpose protective devices. The imagery -- a mounted warrior subduing a prostrate enemy -- is common enough in many cultures, and its adoption as a symbol in the fight against demons is readily understandable. On this amulet, as on many others, the rider is identified as Solomon, the wise biblical king whom post-biblical traditions turned into an expert in all occult sciences, and especially the subjugation of demons. Thus, Jews and Christians alike invoked Solomon's name in exorcism rituals, and told stories of the wonderful seal with which he "muzzled" and "sealed" every evil spirit. On this amulet the key, like God's seal, symbolizes the power to shut the demons in and prevent them from doing any harm. Bibl.: C. Bonner, Studies, no. 294. Obv.: Rider with nimbus spearing a lioness with a human, female face. An angel with nimbus blesses the rider with his raised wing. Inscrip.: (in field) One God who conquers evil; (in margin) (cross) He who dwells in the help of the Most High will abide in the shelter of the God of heaven. He will say to the Lord... Text: + Al + o + daughter + of Ae + se ++ and Phibamon e ô ô ô ô ô ô ô I write; I adjure you, Saôt Sabaôt, that you receive this incense from me and speak a word to my advantage over Alo daughter of Aese. Ha[..]ouel, you must bring loss and grief. May the adjuration go (up) to heaven until you act on my behalf against Alo daughter of Aese. Upon Alo shall (the) curse (of) God come. May the darkness take her, Alo daughter of Aese. From afar (?) you (pl.) must beg this one (?) to receive this incense from me (?). The curses of the Law and Deuteronomy will descend upon Alo daughter of Aese. May hunger and misery rule the body of Alo and Phibamon. May their eyes .... May furnace flame(s) come from the mouth of Alo daughter of Aese. May (the) curse (of) God descend upon Alo and her entire house(hold). May the fear of death be in Alo's house. May you make them bedridden. Amen, Amen, Sabaô[th]! Apa Victor son of Thibamon. A Coptic curse of Apa Victor against Alo daughter of Aese and against Phibamon. Why exactly he wanted to curse them is unclear. Note that Apa Victor invoked the curses of the Law (the Pentateuch) and Deuteronomy (cf. esp. Deut 28:15ff) upon his enemies' heads -- a not uncommon practice among both Jews and Christians. Although this Christian curse employs no voces magicae or characteres, it does display vestiges of pre-Christian, "international" magic, such as the vowel-sequence in line 2. Bibl.: Meyer-Smith, no. 104. Egypt 2nd or 3rd century A.D. Papyrus Text: An amulet: Great heavenly one who turns the universe, the God who is, Iaô, Lord, ruler of all, ablanathalaabla, grant, grant me favor. I shall have the name of the great God in this amulet; and protect me from every evil thing, me whom NN bore, NN begot. This individual Greek spell was to be written on an amulet (Gk. "phylaktêrion," whence our "phylactery"), and the client's identity would have been specified in place of the NN. It was an all-purpose amulet. Note the appeal to Iaô (probably pronounced Iaho), the Jewish God, as well as the (misspelled) "ablanathanalba" palindrome (a word which reads the same forwards and backwards), one of the commonest voces magicae in late antique magic -- see nos. 5, 7, and 40. Bibl.: PMich; PGM; GMPT. 5. PMich inv. 593 Egypt 4th to 7th century A.D. Papyrus Text: chararn larouth rourouth outh êthith chôchôô ... (2 pages of voces magicae). Pages 18 and 19 of a well-preserved, 20-page codex (i.e., booklet, not scroll), written in Coptic. This codex is one of several Coptic magical texts which came from one "workshop" and provide an interesting example of one text being copied and used by several different practitioners -- note, for example, the change on p. 19, line 3, with a different handwriting and different word-divisions. The text itself begins with a spell, including an invocation of God and of the seven archangels, after which the practitioner introduces himself as Seth, the son of Adam, and performs a purification ritual. Next comes a long list of instructions on the various ways to use the spell -- to cure reptile bites, recite it over some water and have him drink it; to relieve a headache, recite it over oil and anoint his temples; to treat insomnia, recite it over water and wash the area around the patient's bed; to cure impotence, recite it over wine and have the patient drink it; to protect a house, recite it over water and sprinkle it throughout the house; to protect a ship at sea, write it on a clean papyrus sheet and tie it to the tip of the mast; to help a woman whose milk does not flow, recite it over something sweet and let her eat it when she comes out of the bath; etc. Next comes a second spell, which begins with a prayer to God and quickly moves on to a long string of voces magicae, including the ones shown here, after which the spell, and the text as a whole, come to an end. Although this is a Christian text, it incorporates many practices and motifs of pre-Christian magical traditions, such as the practitioner's self-presentation as someone else (in this case, Seth the son of the biblical Adam; cf. no. 3: "I am Abrasax"), as well as many of the older voces magicae, such as the mutilated "sesengenbarpharangês" formula (for which see no. 40) at the second and third lines of p. 19, or the misspelled "ablanathanalba" (cf. no. 4, etc.) at the end of p. 19 and the beginning of p. 20. All the voces magicae on these two pages contain none of those Coptic letters which find no parallel in the Greek alphabet, and must have been copied literatim from a Greek original. Bibl.: Paul Mirecki, "The Coptic Wizard's Hoard," Harvard Theological Review 87 (1994), pp. 435-460 5. PMich inv. 593 Egypt 4th to 7th century A.D. Papyrus Text: chararn larouth rourouth outh êthith chôchôô ... (2 pages of voces magicae). Pages 18 and 19 of a well-preserved, 20-page codex (i.e., booklet, not scroll), written in Coptic. This codex is one of several Coptic magical texts which came from one "workshop" and provide an interesting example of one text being copied and used by several different practitioners -- note, for example, the change on p. 19, line 3, with a different handwriting and different word-divisions. The text itself begins with a spell, including an invocation of God and of the seven archangels, after which the practitioner introduces himself as Seth, the son of Adam, and performs a purification ritual. Next comes a long list of instructions on the various ways to use the spell -- to cure reptile bites, recite it over some water and have him drink it; to relieve a headache, recite it over oil and anoint his temples; to treat insomnia, recite it over water and wash the area around the patient's bed; to cure impotence, recite it over wine and have the patient drink it; to protect a house, recite it over water and sprinkle it throughout the house; to protect a ship at sea, write it on a clean papyrus sheet and tie it to the tip of the mast; to help a woman whose milk does not flow, recite it over something sweet and let her eat it when she comes out of the bath; etc. Next comes a second spell, which begins with a prayer to God and quickly moves on to a long string of voces magicae, including the ones shown here, after which the spell, and the text as a whole, come to an end. Although this is a Christian text, it incorporates many practices and motifs of pre-Christian magical traditions, such as the practitioner's self-presentation as someone else (in this case, Seth the son of the biblical Adam; cf. no. 3: "I am Abrasax"), as well as many of the older voces magicae, such as the mutilated "sesengenbarpharangês" formula (for which see no. 40) at the second and third lines of p. 19, or the misspelled "ablanathanalba" (cf. no. 4, etc.) at the end of p. 19 and the beginning of p. 20. All the voces magicae on these two pages contain none of those Coptic letters which find no parallel in the Greek alphabet, and must have been copied literatim from a Greek original. Bibl.: Paul Mirecki, "The Coptic Wizard's Hoard," Harvard Theological Review 87 (1994), pp. 435-460 H.R. is recruiting, and will pay finders fees! 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You can find out more about HTML's <embed> tag at the Netscape site. tolerance touching internet hoax http://ciac.llnl.gov/ciac/CIACHoaxes.html#ibm 89. The same is true of scientists generally. With possible rare exceptions, their motive is neither curiosity nor a desire to benefit humanity but the need to go through the power process: to have a goal (a scientific problem to solve), to make an effort (research) and to attain the goal (solution of the problem.) Science is a surrogate activity because scientists work mainly for the fulfillment they get out of the work itself. 90. Of course, it's not that simple. Other motives do play a role for many scientists. Money and status for example. Some scientists may be persons of the type who have an insatiable drive for status (see paragraph 79) and this may provide much of the motivation for their work. No doubt the majority of scientists, like the majority of the general population, are more or less susceptible to advertising and marketing techniques and need money to satisfy their craving for goods and services. Thus science is not a PURE surrogate activity. But it is in large part a surrogate activity. 91. Also, science and technology constitute a mass power movement, and many scientists gratify their need for power through identification with this mass movement (see paragraph 83). 92. Thus science marches on blindly, without regard to the real welfare of the human race or to any other standard, obedient only to the psychological needs of the scientists and of the government officials and corporation executives who provide the funds for research. SOCIETY CANNOT BE REFORMED 111. The foregoing principles help to show how hopelessly difficult it would be to reform the industrial system in such a way as to prevent it from progressively narrowing our sphere of freedom. There has been a consistent tendency, going back at least to the Industrial Revolution for technology to strengthen the system at a high cost in individual freedom and local autonomy. Hence any change designed to protect freedom from technology would be contrary to a fundamental trend in the development of our society. Consequently, such a change either would be a transitory one -- soon swamped by the tide of history -- or, if large enough to be permanent would alter the nature of our whole society. This by the first and second principles. Moreover, since society would be altered in a way that could not be predicted in advance (third principle) there would be great risk. Changes large enough to make a lasting difference in favor of freedom would not be initiated because it would realized that they would gravely disrupt the system. So any attempts at reform would be too timid to be effective. Even if changes large enough to make a lasting difference were initiated, they would be retracted when their disruptive effects became apparent. Thus, permanent changes in favor of freedom could be brought about only by persons prepared to accept radical, dangerous and unpredictable alteration of the entire system. In other words, by revolutionaries, not reformers. 112. People anxious to rescue freedom without sacrificing the supposed benefits of technology will suggest naive schemes for some new form of society that would reconcile freedom with technology. Apart from the fact that people who make suggestions seldom propose any practical means by which the new form of society could be set up in the first place, it follows from the fourth principle that even if the new form of society could be once established, it either would collapse or would give results very different from those expected. 113. So even on very general grounds it seems highly improbably that any way of changing society could be found that would reconcile freedom with modern technology. In the next few sections we will give more specific reasons for concluding that freedom and technological progress are incompatible. In any technologically advanced society the individual's fate MUST depend on decisions that he personally cannot influence to any great extent. A technological society cannot be broken down into small, autonomous communities, because production depends on the cooperation of very large numbers of people and machines. Such a society MUST be highly organized and decisions HAVE TO be made that affect very large numbers of people. When a decision affects, say, a million people, then each of the affected individuals has, on the average, only a one-millionth share in making the decision. What usually happens in practice is that decisions are made by public officials or corporation executives, or by technical specialists, but even when the public votes on a decision the number of voters ordinarily is too large for the vote of any one individual to be significant. [17] Thus most individuals are unable to influence measurably the major decisions that affect their lives. Their is no conceivable way to remedy this in a technologically advanced society. The system tries to "solve" this problem by using propaganda to make people WANT the decisions that have been made for them, but even if this "solution" were completely successful in making people feel better, it would be demeaning. 118 Conservatives and some others advocate more "local autonomy." Local communities once did have autonomy, but such autonomy becomes less and less possible as local communities become more enmeshed with and dependent on large-scale systems like public utilities, computer networks, highway systems, the mass communications media, the modern health care system. Also operating against autonomy is the fact that technology applied in one location often affects people at other locations far away. Thus pesticide or chemical use near a creek may contaminate the water supply hundreds of miles downstream, and the greenhouse effect affects the whole world. 119. The system does not and cannot exist to satisfy human needs. Instead, it is human behavior that has to be modified to fit the needs of the system. This has nothing to do with the political or social ideology that may pretend to guide the technological system. It is the fault of technology, because the system is guided not by ideology but by technical necessity. [18] Of course the system does satisfy many human needs, but generally speaking it does this only to the extent that it is to the advantage of the system to do it. It is the needs of the system that are paramount, not those of the human being. For example, the system provides people with food because the system couldn't function if everyone starved; it attends to people's psychological needs whenever it can CONVENIENTLY do so, because it couldn't function if too many people became depressed or rebellious. But the system, for good, solid, practical reasons, must exert constant pressure on people to mold their behavior to the needs of the system. Too much waste accumulating? The government, the media, the educational system, environmentalists, everyone inundates us with a mass of propaganda about recycling. Need more technical personnel? A chorus of voices exhorts kids to study science. No one stops to ask whether it is inhumane to force adolescents to spend the bulk of their time studying subjects most of them hate. When skilled workers are put out of a job by technical advances and have to undergo "retraining," no one asks whether it is humiliating for them to be pushed around in this way. It is simply taken for granted that everyone must bow to technical necessity and for good reason: If human needs were put before technical necessity there would be economic problems, unemployment, shortages or worse. The concept of "mental health" in our society is defined largely by the extent to which an individual behaves in accord with the needs of the system and does so without showing signs of stress. TECHNOLOGY IS A MORE POWERFUL SOCIAL FORCE THAN THE ASPIRATION FOR FREEDOM 125. It is not possible to make a LASTING compromise between technology and freedom, because technology is by far the more powerful social force and continually encroaches on freedom through REPEATED compromises. Imagine the case of two neighbors, each of whom at the outset owns the same amount of land, but one of whom is more powerful than the other. The powerful one demands a piece of the other's land. The weak one refuses. The powerful one says, "OK, let's compromise. Give me half of what I asked." The weak one has little choice but to give in. Some time later the powerful neighbor demands another piece of land, again there is a compromise, and so forth. By forcing a long series of compromises on the weaker man, the powerful one eventually gets all of his land. So it goes in the conflict between technology and freedom. 126. Let us explain why technology is a more powerful social force than the aspiration for freedom. 127. A technological advance that appears not to threaten freedom often turns out to threaten freedom often turns out to threaten it very seriously later on. For example, consider motorized transport. A walking man formerly could go where he pleased, go at his own pace without observing any traffic regulations, and was independent of technological support-systems. When motor vehicles were introduced they appeared to increase man's freedom. They took no freedom away from the walking man, no one had to have an automobile if he didn't want one, and anyone who did choose to buy an automobile could travel much faster than the walking man. But the introduction of motorized transport soon changed society in such a way as to restrict greatly man's freedom of locomotion. When automobiles became numerous, it became necessary to regulate their use extensively. In a car, especially in densely populated areas, one cannot just go where one likes at one's own pace one's movement is governed by the flow of traffic and by various traffic laws. One is tied down by various obligations: license requirements, driver test, renewing registration, insurance, maintenance required for safety, monthly payments on purchase price. Moreover, the use of motorized transport is no longer optional. Since the introduction of motorized transport the arrangement of our cities has changed in such a way that the majority of people no longer live within walking distance of their place of employment, shopping areas and recreational opportunities, so that they HAVE TO depend on the automobile for transportation. Or else they must use public transportation, in which case they have even less control over their own movement than when driving a car. Even the walker's freedom is now greatly restricted. In the city he continually has to stop and wait for traffic lights that are designed mainly to serve auto traffic. In the country, motor traffic makes it dangerous and unpleasant to walk along the highway. (Note the important point we have illustrated with the case of motorized transport: When a new item of technology is introduced as an option that an individual can accept or not as he chooses, it does not necessarily REMAIN optional. In many cases the new technology changes society in such a way that people eventually find themselves FORCED to use it.) 128. While technological progress AS A WHOLE continually narrows our sphere of freedom, each new technical advance CONSIDERED BY ITSELF appears to be desirable. Electricity, indoor plumbing, rapid long-distance communications . . . how could one argue against any of these things, or against any other of the innumerable technical advances that have made modern society? It would have been absurd to resist the introduction of the telephone, for example. It offered many advantages and no disadvantages. Yet as we explained in paragraphs 59-76, all these technical advances taken together have created world in which the average man's fate is no longer in his own hands or in the hands of his neighbors and friends, but in those of politicians, corporation executives and remote, anonymous technicians and bureaucrats whom he as an individual has no power to influence. [21] The same process will continue in the future. Take genetic engineering, for example. Few people will resist the introduction of a genetic technique that eliminates a hereditary disease It does no apparent harm and prevents much suffering. Yet a large number of genetic improvements taken together will make the human being into an engineered product rather than a free creation of chance (or of God, or whatever, depending on your religious beliefs). 129 Another reason why technology is such a powerful social force is that, within the context of a given society, technological progress marches in only one direction; it can never be reversed. Once a technical innovation has been introduced, people usually become dependent on it, unless it is replaced by some still more advanced innovation. Not only do people become dependent as individuals on a new item of technology, but, even more, the system as a whole becomes dependent on it. (Imagine what would happen to the system today if computers, for example, were eliminated.) Thus the system can move in only one direction, toward greater technologization. Technology repeatedly forces freedom to take a step back -- short of the overthrow of the whole technological system. Imagine an alcoholic sitting with a barrel of wine in front of him. Suppose he starts saying to himself, "Wine isn't bad for you if used in moderation. Why, they say small amounts of wine are even good for you! It won't do me any harm if I take just one little drink..." Well you know what is going to happen. Never forget that the human race with technology is just like an alcoholic with a barrel of wine. lip service serious hat companys 1800 postcard http://www.yotarot.com/hanged_man/hanged_man.htm http://www.sufiorder.org/symbol.html http://memento.ieor.berkeley.edu/memento.html E-mail Mailing List Code: <CENTER><P> <FORM action="http://www.bravenet.com/elist/add.asp?usernum=601230955" method="post"> Join the mailing list, enter your e-mail address:<BR> <INPUT type="text" name="emailaddress" size="25" maxlength="100"> <INPUT type="submit" name="submit" value="GO"><BR> <INPUT type="radio" name="action" value="join" CHECKED>Subscribe      <INPUT type="radio" name="action" value="leave">Unsubscribe<BR> <A href="http://www.bravenet.com/"><IMG src="http://images.bravenet.com/pub/elistbutt.gif" border="0" width="100" height="35"> </A></FORM> </CENTER> Having problems? 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Try this version of code: <CENTER><P> <A href="http://www3.bravenet.com/forum/show.asp?usernum=601230955"> <IMG src="http://www.bravenet.com/brpics/viewfm.gif" border="0" width="100" height="35"></A> <A href="http://www.bravenet.com/"> <IMG src="http://images.bravenet.com/brpics/forumbut.gif" border="0" width="100" height="35"></A> </CENTER> bestfares.com better/ bargains berlin & londom symphanies 34-41 george zell The Creative Act http://members.aol.com/mindwebart3/marcel.htm paris air http://members.aol.com/mindwebart3/marcelpg1.htm box in a valise http://members.aol.com/mindwebart3/marcelpg3.htm THE CREATIVE ACT by Marcel Duchamp Let us consider two important factors, the two poles of the creation of art: the artist on the one hand, and on the other the spectator who later becomes the posterity. To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing. If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the esthetic plane about what he is doing or why he is doing it. All his decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out. T.S. Eliot, in his essay on "Tradition and Individual Talent", writes: "The more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material." Millions of artists create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity. In the last analysis, the artist may shout from all the rooftops that he is a genius: he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally, posterity includes him in the primers of Artist History. I know that this statement will not meet with the approval of many artists who refuse this mediumistic role and insist on the validity of their awareness in the creative act - yet, art history has consistently decided upon the virtues of a work of art thorough considerations completely divorced from the rationalized explanations of the artist. If the artist, as a human being, full of the best intentions toward himself and the whole world, plays no role at all in the judgment of his own work, how can one describe the phenomenon which prompts the spectator to react critically to the work of art? In other words, how does this reaction come about? This phenomenon is comparable to a transference from the artist to the spectator in the form of an esthetic osmosis taking place through the inert matter, such as pigment, piano or marble. But before we go further, I want to clarify our understanding of the word 'art' - to be sure, without any attempt at a definition. What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way that a bad emotion is still an emotion. Therefore, when I refer to 'art coefficient', it will be understood that I refer not only to great art, but I am trying to describe the subjective mechanism which produces art in the raw state .. .`a l'e`tat brut - bad, good or indifferent. In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle toward the realization is a series of efforts, pains, satisfaction, refusals, decisions, which also cannot and must not be fully self-conscious, at least on the esthetic plane. The result of this struggle is a difference between the intention and its realization, a difference which the artist is not aware of. Consequently, in the chain of reactions accompanying the creative act, a link is missing. This gap, representing the inability of the artist to express fully his intention, this difference between what he intended to realize and did realize, is the personal 'art coefficient' contained in the work. In other works, the personal 'art coefficient' is like a arithmetical relation between the unexpressed but intended and the unintentionally expressed. To avoid a misunderstanding, we must remember that this 'art coefficient' is a personal expression of art a` l'e`tat brut, that is, still in a raw state, which must be 'refined' as pure sugar from molasses by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict. The creative act takes another aspect when the spectator experiences the phenomenon of transmutation: through the change from inert matter into a work of art, an actual transubtantiation has taken place, and the role of the spectator is to determine the weight of the work on the esthetic scale. All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualification and thus adds his contribution to the creative act. This becomes even more obvious when posterity gives a final verdict and sometimes rehabilitates forgotten artists. (From Session on the Creative Act, Convention of the American Federation of Arts, Houston, Texas, April 1957) challenge Machine Art Group SEEMEN In a live Performance Sunday, July 9th 2000 at: Cell Space 2050 Bryant St. San Francisco, Ca. In the LOVELY Mission district 415.648.7562 Doors 8 PM performance at 10 PM $8.00 CHEAP no one turned away for lack o cash SEEMEN create situations where audiences are encouraged to Interact and operate their machines and robots. You get to run a machine that can kill you. IT'S FUN! Yeah, first FULL show in SF in a year!!! We have toured all over the US and Europe this year and are itchin to show you all what we have been up to. For more info go to: http://www.seemen.org AND OH, LOOK http://www.foxnews.com/etcetera/art/061400_machine_art.sml 26 22 53 hyden alberto lizzio berlin for mozart cristofer hogwood raymond leopard http://www.webzine2000.com/main_event.html http://www.skyboom.com/kleanking7/funnyshots.html http://www.hoboes.com/html/Politics/electednet/ Dadaism By Tristan Tzara From "Dada Manifesto" [1918] and "Lecture on Dada" [1922], translated from the French by Robert Motherwell, *Dada Painters and Poets*, by Robert Motherwell, New York, pp. 78- 9, 81, 246-51; reprinted by pernlission of George Wittenborn, Inc., Publishers, 10l8 Madison Avenue, New York 21, N.Y. *There is a literature that does not reach the voracious mass. It is the work of creators, issued from a real necessity in the author, produced for himself. It expresses the knowledge of a supreme egoism, in which laws wither away. Every page must explode, either by profound heavy seriousness, the whirlwind, poetic frenzy, the new, the eternal, the crushing joke, enthusiasm for principles, or by the way in which it is printed. On the one hand a tottering world in flight, betrothed to the glockenspiel of hell, on the other hand: new men. Rough, bouncing, riding on hiccups. Behind them a crippled world and literary quacks with a mania for improvement. I say unto you: there is no beginning and we do not tremble, we are not sentimental. We are a furious Wind, tearing the dirty linen of clouds and prayers, preparing the great spectacle of disaster, fire, decomposition.* We will put an end to mourning and replace tears by sirens screeching from one continent to another. Pavilions of intense joy and widowers with the sadness of poison. Dada is the signboard of abstraction; advertising and business are also elements of poetry. I destroy the drawers of the brain and of social organization: spread demoralization wherever I go and cast my hand from heaven to hell, my eyes from hell to heaven, restore the fecund wheel of a universal circus to objective forces and the imagination of every individual. Philosophy is the question: from which side shall we look at life, God, the idea or other phenomena. Everything one looks at is false. I do not consider the relative result more important than the choice between cake and cherries after dinner. The system of quickly looking at the other side of a thing in order to impose your opinion indirectly is called dialectics, in other words, haggling over the spirit of fried potatoes while dancing method around it. If I cry out: Ideal, ideal, ideal, Knowledge, knowledge, knowledge, Boomboom, boomboom, boomboom, I have given a pretty faithful version of progress, law, morality and all other fine qualities that various highly intelligent men have discussed in so manv books, only to conclude that after all everyone dances to his own personal boomboom, and that the writer is entitled to his boomboom: the satisfaction of pathological curiosity; a private bell for inexplicable needs; a bath; pecuniary difficulties; a stomach with repercussions in life; the authority of the mystic wand formulated as the bouquet of a phantom orchestra made up of silent fiddle bows greased with philtres made of chicken manure. With the blue eye-glasses of an angel they have excavated the inner life for a dime's worth of unanimous gratitude. If all of them are right and if all pills are Pink Pills, let us try for once not to be right. Some people think they can explain rationally, by thought, what they think. But that is extremely relative. Psychoanalysis is a dangerous disease, it puts to sleep the anti-objective impulses of men and systematizes the bourgeoisie. There is no ultimate Truth. The dialectic is an amusing mechanism which guides us / in a banal kind of way / to the opinions we had in the first place. Does anyone think that, by a minute refinement of logic, he has demonstrated the truth and established the correctness of these opinions? Logic imprisoned by the senses is an organic disease. To this element philosophers always like to add: the power of observation. But actually this magnificent quality of the mind is the proof of its impotence. We observe, we regard from one or more points of view, we choose them among the millions that exist. Experience is also a product of chance and individual faculties. Science disgusts me as soon as it becomes a speculative system, loses its character of utility-that is so useless but is at least individual. I detest greasy objectivity, and harmony, the science that finds everything in order. Carry on, my children, humanity . . . Science says we are the servants of nature: everything is in order, make love and bash your brains in. Carry on, my children, humanity, kind bourgeois and journalist virgins . . . I am against systems, the most acceptable system is on principle to have none. To complete oneself, to perfect oneself in one's own littleness, to fill the vessel with one's individuality, to have the courage to fight for and against thought, the mystery of bread, the sudden burst of an infernal propeller into economic lilies.... Every product of disgust capable of becoming a negation of the family is Dada; a protest with the fists of its whole being engaged in destructivc action: *Dada; knowledge of all the means rejected up until now by the shamefaced sex of comfortable compromise and good manners: Dada; abolition of logic, which is the dance of those impotent to create: Dada; of every social hierarchy and equation set up for the sake of values by our valets: Dada; every object, all objects, sentiments, obscurities, apparitions and the precise clash of parallel lines are weapons for the fight: Dada; abolition of memory: Dada; abolition of archaeology: Dada; abolition of prophets: Dada; abolition of the future: Dada; absolute and unquestionable faith in every god that is the immediate product of spontaneity:* Dada; elegant and unprejudiced leap from a harmony to the other sphere; trajectory of a word tossed like a screeching phonograph record; to respect all individuals in their folly of the moment: whether it be serious, fearful, timid, ardent, vigorous, determined, enthusiastic; to divest one's church of every useless cumbersome accessory; to spit out disagreeable or amorous ideas like a luminous waterfall, or coddle them -with the extreme satisfaction that it doesn't matter in the least-with the same intensity in the thicket of one's soul-pure of insects for blood well-born, and gilded with bodies of archangels. Freedom: Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies: LIFE Ladies and Gentlemen: I don't have to tell you that for the general public and for you, tlhe refined public, a Dadaist is the equivalent of a leper. But that is only a manner of speaking. When these same people get close to us, they treat us with that remnant of elegance that comes from their old habit of belief in progress. At ten yards distance, hatred begins again. If you ask me why, I won't be able to tell you. Another characteristic of Dada is the continuous breaking off of our friends. They are always breaking off and resigning. The first to tender his resignation from the Dada movement *was myself.* Everybody knows that Dada is nothing. I broke away from Dada and from myself as soon as I understood the implications of *nothing.* If I continue to do something, it is because it amuses me, or rather because I have a need for activity which I use up and satisfy wherever I can. Basically, the true Dadas have always been separate from Dada. Those who acted as if Dada were important enough to resign from with a big noise have been motivated by a desire for personal publicity, proving that counterfeiters have always wriggled like unclean worms in and out of the purest and most radiant religions. I know that you have come here today to hear explanations. Well, don't expect to hear any explanations about Dada. You explain to me why you exist. You haven't the faintest idea. You will say: I exist to make my children happy. But in your hearts you know that isn't so. You will say: I exist to guard my country, against barbarian invasions. That's a fine reason. You will say: I exist because God wills. That's a fairy tale for children. You will never be able to tell me why you exist but you will always be ready to maintain a serious attitude about life. You will never understand that life is a pun, for you will never be alone enough to reject hatred, judgments, all these things that require such an effort, in favor of a calm level state of mind that makes everything equal and without importance. Dada is not at all modern. It is more in the nature of a return to an almost Buddhist religion of indifference. Dada covers things with an artificial gentleness, a snow of butterflies released from the head of a prestidigitator. Dada is immobility and does not comprehend the passions. You will call this a paradox, since Dada is manifested only in violent acts. Yes, the reactions of individuals contaminated by *destruction* are rather violent, but when these reactions are exhausted, annihilated by the Satanic insistence of a continuous and progressive "What for?" what remains, what dominates is *indifference.* But with the same note of conviction I might maintain the contrary. I admit that my friends do not approve this point of view. But the *Nothing* can be uttered only as the reflection of an individual. And that is why it will be valid for everyone, since everyone is important only for the individual who is expressing himself.--I am speaking of myself. Even that is too much for me. How can I be expected to speak of all men at once, and satisfy them too? Nothing is more delightful than to confuse and upset people. People one doesn't like. What's the use of giving them explanations that are merely food for curiosity? The truth is that people love nothing but themselves and their little possessions, their income, their dog. This state of affairs derives from a false conception of property. If one is poor in spirit, one possesses a sure and indomitable intelligence, a savage logic, a point of view that can not be shaken. Try to be empty and fill your brain cells with a petty happiness. Always destroy what you have in you. On random walks. Then you will be able to understand many things. You are not more intelligent than we, and we are not more intelligent than you. Intelligence is an organization like any other, the organization of society, the organization of a bank, the organization of chit-chat. At a society tea. It serves to create order and clarity where there is none. It serves to create a state hierarchy. To set up classifications for rational work. To separate questions of a material order from those of a cerebral ordcr, but to take the former very seriously. Intelligence is the triumph of sound education and pragmatism. Fortunately life is something else and its pleasures are innumerable. They are not paid for in the coin of liquid intelligence. These observations of everyday conditions have led us to a realization which constitutes our minimum basis of agreement, aside from the sympathy which binds us and which is inexplicable. It would not have been possible for us to found our agreement on principles. For everything is relative. What are the Beautiful, the Good, Art, Freedom? Words that have a different meaning for every individual. Words with the pretension of creating agreement among all, and that is why they are written with capital letters. Words which have not the moral value and objective force that people have grown accustomed to finding in them. Their meaning changes from one individual, one epoch, one country to the next. Men are different. It is diversity that makes life interesting. There is no common basis in mens minds. The unconscious is inexhaustible and uncontrollable. Its force surpasses us. It is as mysterious as the last particle of a brain cell. Even if we knew it, we could not reconstruct it. What good did the theories of the philosophers do us? Did they help us to take a single step forward or backward? What is forward, what is backward? Did they alter our forms of contentment? We are. We argue, we dispute, we get excited. The rest is sauce. Sometimes pleasant, sometimes mixed with a limitless boredom, a swamp dotted with tufts of dying shrubs. We have had enough of the intelligent movements that have stretched beyond measure our credulity in the benefits of science. What we want now is spontaneity. Not because it is better or more beautiful than anything else. But because everything that issues freely from ourselves, without the intervention of speculative ideas, represents us. We must intensify this quantity of life that readily spends itself in every quarter. Art is not the most precious manifestation of life. Art has not the celestial and universal value that people like to attribute to it. Life is far more interesting. Dada knows the correct measure that should be given to art: with subtle, perfidious methods, Dada introduces it into daily life. And vice versa. In art, Dada reduces everything to an initial simplicity, growing always more relative. It mingles its caprices with the chaotic wind of creation and the barbaric dances of savage tribes. It wants logic reduced to a personal minimum, while literature in its view should be primarily intended for the individual who makes it. Words have a weight of their own and lend themselves to abstract construction. The absurd has no terrors for me, for from a more exalted point of view everything in life seems absurd to me. Only the elasticity of our conventions creates a bond between disparate acts. The Beautiful and the True in art do not exist; what interests me is the intensity of a personality transposed directly, clearly into the work; the man and his vitality; the angle from which he regards the elements and in what manner he knows how to gather sensation, emotion, into a lacework of words and sentiments. Dada tries to find out what words mean before using them, from the point of view not of grammar but of representation. Objects and colors pass through the same filter. It is not the new technique that interests us, but the spirit. Why do you want us to be preoccupied with a pictorial, moral, poetic, literary, political or social renewal? We are well aware that these renewals of means are merely the successive cloaks of the various epochs of history, uninteresting questions of fashion and facade. We are well aware that people in the costumes of the Renaissance were pretty much the same as the people of today, and that Chouang-DsI was just as Dada as we are. You are mistaken if you take Dada for a modern school, or even for a reaction against the schools of today. Several of my statements have struck you as old and natural, what better proof that you were a Dadaist without knowing it, perhaps even before the birth of Dada. You will often hear that Dada is a state of mind. You may be gay, sad, afflicted, joyous, melancholy or Dada. Without being literary, you can be romantic, you can be dreamy, weary, eccentric, a businessman, skinny, transfigured, vain, amiable or Dada. This will happen later on in the course of history when Dada has become a precise, habitual word, when popular repetition has given it the character of a word organic with its necessary content. Today no one thinks of the literature of the Romantic school in representing a lake, a landscape, a character. Slowly but surely, a Dada character is forming. Dada is here, there and a little everywhere, such as it is, with its faults, with its personal differences and distinctions which it accepts and views with indifference. We are often told that we are incoherent, but into this word people try to put an insult that it is rather hard for me to fathom. Everything is incoherent. The gentleman who decides to take a bath but goes to the movies instead. The one who wants to be quiet but says things that haven't even entered his head. Another who has a precise idea on some subject but succeeds only in expressing the opposite in words which for him are a poor translation. There is no logic. Only relative necessities discovered *a posteriori*, valid not in any exact sense but only as explanations. The acts of life have no beginning or end. Everything happens in a completely idiotic way. That is why everything is alike. Simplicity is called Dada. Any attempt to conciliate an inexplicable momentary state with logic strikes me as a boring kind of game. The convention of the spoken language is ample and adequate for us, but for our solitude, for our intimate games and our literature we no longer need it. The beginnings of Dada were not the beginnings of an art, but of a disgust. Disgust with the magnificence of philosophers who for 3ooo years have been explaining everything to us (what for? ), disgust with the pretensions of these artists-God's-representatives-on-earth, disgust with passion and with real pathological wickedness where it was not worth the bother; disgust with a false form of domination and restriction *en masse*, that accentuates rather than appeases man's instinct of domination, disgust with all the catalogued categories, with the false prophets who are nothing but a front for the interests of money, pride, disease, disgust with the lieutenants of a mercantile art made to order according to a few infantile laws, disgust with the divorce of good and evil, the beautiful and the ugly (for why is it more estimable to be red rather than green, to the left rather than the right, to be large or small?). Disgust finally with the Jesuitical dialectic which can explain everything and fill people's minds with oblique and obtuse ideas without any physiological basis or ethnic roots, all this by means of blinding artifice and ignoble charlatans promises. As Dada marches it continuously destroys, not in extension but in itself. From all these disgusts, may I add, it draws no conclusion, no pride, no benefit. It has even stopped combating anything, in the realization that it's no use, that all this doesn't matter. What interests a Dadaist is his own mode of life. But here we approach the great secret. Dada is a state of mind. That is why it transforms itself according to races and events. Dada applies itself to everything, and yet it is nothing, it is the point where the yes and the no and all the opposites meet, not solemnly in the castles of human philosophies, but very simply at street corners, like dogs and grasshoppers. Like everything in life, Dada is useless. Dada is without pretension, as life should be. Perhaps you will understand me better when I tell you that Dada is a virgin microbe that penetrates with the insistence of air into all the spaces that reason has not been able to fill with words or conventions. . http://www.findagrave.com/pictures/1233.html sanity guide http://www.hoboes.com/pub/Role%2DPlaying/Fantasy/AD&D/Sanity%20Guide http://www.hoboes.com/pub/Role%2DPlaying/Fantasy/AD&D/Sanity%20Guide http://adbusters.org/campaigns/ rcollison@pacificcolor.com Subject: SQUID [7/22] Webzine 2000 Date: Wed, 19 Jul 2000 10:04:05 -0700 From: Scott Beale <scott@laughingsquid.net> Organization: Laughing Squid [http://laughingsquid.com] To: Squid List <squidlist@laughingsquid.com> _______________________________________ Laughing Squid presents: The Squid List _______________________________________ INDEPENDENT INTERNET CREATORS UNITE AT WEBZINE 2000 Webzine makers discuss personal, creative and alternative expression on the web SAN FRANCISCO, California -- Allies of independent publishing on the internet will gather on July 22nd in San Francisco for an exhibition, forum, and party to celebrate those who create and hope to create for the new medium. WEBZINE 2000 will showcase the web's finest non-commercial projects and host over 50 speakers and panelists throughout the 10 hour summit. Young and old are invited to join some of the web's most radical creators to discuss the future and current state of homespun web projects. The world's media landscape has exploded with the onset of affordable desktop computers and access to hi-speed internet connections. Millions of people join the internet revolution every day, but are totally unaware of the meaningful ways they can contribute. Modern computer users own the tools used to create and present films, radio stations, newspapers, journals, and television shows. WEBZINE 2000 hopes to raise awareness about the importance of independent voices being heard on the internet. "The online audience is huge now, but imagine what it will be like in five to ten years. Millions of people that use the Internet are sharing their voices, ideas, and dreams with others for the first time through this phenomenal two-way mass communications medium. Individual voices are an extremely important part of the evolution of the internet. It's a very exciting time to participate in the web!" says event organizer Ryan Junell. That is why WEBZINE 2000 exists. Many of the event's participants work day jobs at dot.coms to fund their late nights working on personal creative projects for the web. The speakers will share personal experiences and critique the state of the internet through moderated panels. There will also be performances, a webzine-making workshop, and interactive art. In addition, a party will feature live experimental digital music performances using laptop computers and other electronic devices. "It is refreshing to have the WEBZINE conference to balance out the dot.com energy. In fact, I think it is critical. The time has come to reclaim the Web for our own purposes. WEBZINE 2000 is the training camp for the Web Insurrection." says Julie Chiron, editor of Awaken.org. WEBZINE 2000 is a grassroots event that is organized completely by volunteers. While their websites and experiences are extremely diverse, all of the organizers are passionate about the importance of independent voices being heard on the internet. They hope to remind web users that the internet offers far more than a convenient way to shop. "Even if the thought of publishing an entire website seems overwhelming, there are other ways that the internet can add some creative spice to our lives" says Iskip.com's Kim Corbin. "I'm involved with Webzine because I want to help people realize that the internet is a great outlet for living our passions and exploring new hobbies. No matter what you are into, you can find others people who are just like you. I think that is the true value of the internet." The event will be held on July 22nd from 4pm until 2am at 2050 Bryant Street in San Francisco, California. Admittance is $5 - 10 sliding scale and people under the age of 18 will be admitted free of charge. A live webcast will be available during the event and will be archived on the event website at http://www.webzine2000.com WEBZINE 2000 PROGRAM OF EVENTS July 22nd, 2000 - 4pm til 2am 04:20pm Opening Announcements emcee: justin hall http://www.links.net 04:30pm W.W.W. (women, webzines, and the weather) what's up with self-published womenfolk ----------------------------------------------- caterina fake http://www.wench.com emily hancock http://www.moxiemag.com simone ellis http://www.cyberchiks.com/lunch rebecca eisenberg http://www.bossanova.com moderator: heather gold http://www.subvert.com 05:00pm THE AGE OLD PRINT vs. WEB ARGUMENT the pros and cons of publishing in the two mediums ----------------------------------------------- amy young http://www.screechmagazine.com cynthia gould http://www.ihaveasecret.com ryan holsten http://www.liftingfaces.com karrin vanderwal http://www.squirrelbait.com kathleen munnelly http://www.cometmagazine.net andI zeisler http://www.bitchmagazine.com mod: kim corbin http://www.iskip.com 05:30pm WHEN PIGS FLY the realities of getting a webzine started and running ----------------------------------------------- jeff diehl http://www.gettingit.com sarah bunting http://www.tomatonation.com emira mears http://www.raisedeyebrow.com darren mckeeman http://www.gothic.net robert delamar http://www.spark-online.com mod.: carly milne http://www.moxie.ca 06:00pm THE MESSAGE IS THE MESSAGE redefining the content of webzines ----------------------------------------------- marc vogl http://www.killingmylobster.com matt patterson http://www.ooze.com charles anders http://www.godhatesfigs.com cameron barrett http://www.camworld.com patrick kalyanapu http://www.introversion.com tomas clark (NY) http://www.word.com mod: tim cavanaugh http://www.suck.com 06:30pm THE SEEDY UNDERSIDE OF WEBZINES the realities of the internet's technology and infrastructure ----------------------------------------------- adam powell http://www.angrycoffee.com john shiple http://www.shiple.com allen whitman http://www.fezguys.com jon luinI http://www.fezguys.com evan williams http://www.evhead.com eric wittmershaus http://www.flakmag.com mod: josh fouts http://www.dangerousmonkey.com 07:00pm UPLOAD AND FIGHT! using the web for social change ----------------------------------------------- andy cox http://www.twcdc.com dave gross http://www.syntac.net/hoax/ lisa swenson http://www.tiltmedia.org phil kaplan http://www.fuckedcompany.com mod: eddie codel http://www.eddie.com 07:30pm FRIENDS IN THE FOLD experiences from non-web independent media ----------------------------------------------- zane blaney http://www.sfctc.org victor miller http://www.sfmission.com allan horrocks http://www.aquariusrecordsSF.com ramsey kanaan http://www.akpress.org stephen dunifer http://www.freeradio.org mod: ryan junell http://www.webzine2000.com 07:45pm - 10pm FEATURED SPEAKERS (5 - 10 minutes each) ----------------------------------------------- john labovitz http://www.meer.net/~johnl tate hausman http://www.alternet.org michael gosney http://www.radiov.com joshua karliner http://www.corpwatch.org jennifer sullivan http://www.projectlens.org stephen dunifer http://www.freeradio.org FILMS & VIDEOS (in the sub-room) ----------------------------------------------- The Integrity of Web Journalism (5 min) chris gore http://www.filmthreat.com Shakedown In Seattle (8 min) jeff perlstein http://www.indymedia.org A Film History of Technological Propaganda (45 min) by stephen parr http://www.oddballfilm.com Zines (20 min) by ? Webzine Makers Speak Out (20 min) webzine 99 http://www.webzine99.com 10:00pm - 2am PARTY, PERFORMANCES, & MUSIC ----------------------------------------------- Terbo Ted Kill the Robots D-84 Fresh Robots Crispus Wobbly Lesser Kid 606 event website: http://www.webzine2000.com event schedule: http://www.webzine2000.com/event_program.html event sponsors: http://www.webzine2000.com/event_sponsors.html _________________________________________________________________ Subscribe: send an email to squidlist-request@laughingsquid.com with the word "subscribe" in the body Unsubscribe: send an email to squidlist-request@laughingsquid.com with the word "unsubscribe" in the body (you need to make the unsubscribe request from the same email address you are subscribed under) Questions & Submission Guidlines Squid List FAQ: http://laughingsquid.org/squidlist/faq.html _________________________________________________________________ Laughing Squid http://laughingsquid.com underground art & culture http://laughingsquid.org Laughing Squid Web Hosting http://laughingsquid.net * 100Mb for $20/month, no setup charge * park your domain name for free * discounts artists, non-profits & multiple domains _________________________________________________________________ Attention event producers, artists & performers! http://www.bearworld.com/ intention rules the world people can get along if they want to, it’s not that they can’t, they just don’t want to. laura shappel Bond_Beat_Bass_Compilation-Bond DJ_Food-Kaleidoscope-5-The_AgeI Louis_Armstrong-An_Evening_With all the future does is spoil the present shuttle confirmation 7303473 COLE I need to make a telephone call. JEFFREY A telephone call? That's communication with the outside world! Doctor's discretion. Hey, if alla these nuts could just make phone calls, it could spread. Insanity oozing through telephone cables, oozing into the ears of all those poor sane people, infecting them! Whackos everywhere! A plague of madness. (suddenly sly and confidential) In fact, very few of us here are actually mentally ill. I'm not saying you're not mentally ill, for all I know you're crazy as a loon. But that's not why you're here. Why you're here is because of the system, because of the economy. (indicating the TV) There's the TV. It's all right there. Commercials. We are not productive anymore, they don't need us to make things anymore, it's all automated. What are we for then? We're consumers. Okay, buy a lot of stuff, you're a good citizen. But if you don't buy a lot of stuff, you know what? You're mentally ill! That's a fact! If you don't buy things...toilet paper, new cars, computerized blenders, electrically operated sexual devices... (getting hysterical) SCREWDRIVERS WITH MINIATURE BUILT-IN RADAR DEVICES, STEREO SYSTEMS WITH BRAIN IMPLANTED HEADPHONES, VOICE- ACTIVATED COMPUTERS, AND... <CENTER><A href="http://counter7.bravenet.com/index.php?id=310146" target="_top"> <SCRIPT language="Javascript"> document.write('<IMG src="http://counter7.bravenet.com/counter.php?id=310146&ref='+escape(document.referrer)+'" width="1" height="1" border="0">'); </SCRIPT></A></CENTER> <CENTER><A href="http://counter7.bravenet.com/index.php?id=335791&cpv=1" target="_top"> <SCRIPT language="Javascript"> document.write('<IMG src="http://counter7.bravenet.com/counter.php?id=335791&ref='+escape(document.referrer)+'" width="1" height="1" border="0">'); </SCRIPT></A> </CENTER> new home <CENTER><A href="http://counter7.bravenet.com/index.php?id=335359&cpv=1" target="_top"> <SCRIPT language="Javascript"> document.write('<IMG src="http://counter7.bravenet.com/counter.php?id=335359&ref='+escape(document.referrer)+'" height="1" width="1" border="0">'); </SCRIPT></A> </CENTER> cybershaman <CENTER><A href="http://counter7.bravenet.com/index.php?id=335370&cpv=1" target="_top"> <SCRIPT language="Javascript"> document.write('<IMG src="http://counter7.bravenet.com/counter.php?id=335370&ref='+escape(document.referrer)+'" height="1" width="1" border="0">'); </SCRIPT></A> </CENTER> 1544 oakleaf court auburn ga 30011 Guerrilla Quer Bar : Hustler Night in the Polk Gulch http://www.guerrillaqueerbar.com Party: Thursday August 31st, 8:30pm Hustler Night in the Polk Gulch Here's your chance to let your inner whore or pimp run free. Grab your trashiest (or pimpiest) outfit and join us for Hustler Night in the Polk Gulch. Our theme for this party is "Pimping For Your Friends." The target for this week's takeover is a chic straight bar/lounge in the heart of the Polk Gulch neighborhood. We walked into this bar and it was love at first sight. Because of the location and customer demographic, we also thought this was a perfect site for hustler night. Note to the women on our list: we'd love to see some people show up in zoot suits, fur coats, and other pimp-like attire. Here's your chance to help your more introverted friends score by introducing them with lines like "Look over there. Now isn't that just a fine piece of ass. Yours for the price of a drink..." The crasser the icebreaker, the better. This week's party will be Thursday evening at 8:30 at the Bohemia Lounge (California near Polk St). We also have a nearby backup plan (Tango Tango) just in case we freak people out and get eight-sixed as a result. This should be a fun party, and a great way to start the holiday weekend, so tell your friends. See you Thursday, Barney Schlockum over and out... shaman http://www.cybershaman.co.uk/html/shamanism.html third counter <CENTER><A href="http://counter7.bravenet.com/index.php?id=335638&cpv=1" target="_top"> <SCRIPT language="Javascript"> document.write('<IMG src="http://counter7.bravenet.com/counter.php?id=335638&ref='+escape(document.referrer)+'" height="1" width="1" border="0">'); </SCRIPT></A> </CENTER> new mail list code <CENTER><P> <FORM action="http://pub7.bravenet.com/elist/add.asp" method="post"> <INPUT type="hidden" name="usernum" value="601230955"> <INPUT type="hidden" name="cpv" value="1"> Join the mailing list, enter your e-mail address:<BR> <INPUT type="text" name="emailaddress" size="25" maxlength="100"> <INPUT type="submit" name="submit" value="GO"><BR> <INPUT type="radio" name="action" value="join" CHECKED>Subscribe      <INPUT type="radio" name="action" value="leave">Unsubscribe<BR> <A href="http://www.bravenet.com/"><IMG src="http://images.bravenet.com/pub/elistbutt.gif" border="0" width="100" height="35"> </A></FORM> </CENTER>  <a href="http://www.addme.com"><img width="88" height="31" src="http://www.addme.com/link8.gif" alt="Add Me!" border="0"></a>  Touch-Tone Commands You can easily access your eVoice account from a touch-tone phone. Once you've accessed your account, use the commands listed below to make your way through your messages. Menu Press Details Listen 1 Listen to the current message from the beginning. Save 2 Store your message in your eVoice account. Delete 3 Permanently delete the current message. Reply 4 Reply to the message originator. Send 5 Record and send a new message up to 2 minutes long to as many as 20 people at once. Forward 6 Forward a message. Rewind 7 Rewinds the message 10 seconds at a time. Fast Rewind 7+7 Rewinds the message to the beginning. Tone Street 8+8 Information directory. Advance 9 Advance 10 seconds at a time. Fast Advance 9+9 Advance to the end. Mailbox Settings 0 Change your preferences, including your greeting, PIN, personal profile, and more. Skip a Message # Skip to the next message. Exit/Escape * Back up one step. opening <CENTER><A href="http://counter7.bravenet.com/index.php?id=335676&cpv=1" target="_top"> <SCRIPT language="Javascript"> document.write('<IMG src="http://counter7.bravenet.com/counter.php?id=335676&ref='+escape(document.referrer)+'"height="1" width="1" border="0">'); </SCRIPT></A> </CENTER> pets.com <IMG SRC="http://service.bfast.com/bfast/serve?bfmid=1946520&siteid=33468929&bfpage=promo1" BORDER="0" WIDTH="1" HEIGHT="1" NOSAVE > <A HREF="http://service.bfast.com/bfast/click?bfmid=1946520&siteid=33468929&bfpage=promo1" TARGET="_top"><IMG SRC="http://www.pets.com/associates/images/50off_100x100.gif" BORDER="0" WIDTH="100" HEIGHT="100" ALT="Pets.com"></A> simple pets HREF="http://service.bfast.com/bfast/click?bfmid=1946520&siteid=33468929&bfpage=promo1" TARGET="_top">Pets.com, becuse pets can’t drive !</A> ***************************** CREATIVE MUSIC THURSDAYS @ The Luggage Store Gallery San Francisco California USA ***************************** **Thursday - September 7 8pm Waveman Duval - drums and saxophone The duo will explore the wave particle duality within the feelings of the heart. 9pm Ryan Francesconi/Dan Cantrell Duo Music of the Balkans, as played by strings, accordions, saws, and electronics. **Thursday - September 14 8pm relocated from Chicago, Bob Marsh's Low Down String 4tet with Damon Smith, Adam Lane and Danielle DeGruttola 9pm Philip Gelb/Abbie Conant duet Improvised music for shakuhachI and trombone. **Thursday - September 21 "An evening of the ironic, the pre-ironic, and the post-ironic," curated by Steev Hise 8pm Detroit-residing, Bob Boster (audio collage, sound processing) This performance includes work a new work of collage which moves the trope into a surprising new transmission vector. "manage(s) to achieve a sublimely disorienting collage that stands alone as mind-expanding experimental music." --Charlie Bertsch 9pm Matt Davignon (audio equipment and a crate of thrift store records and CDs) In this show Matt will be playing Turntable and CD player with loopers. 10pm M3t@ (recursive conceptualizing) At this event M3t@ will be presenting a brief site-specific time-based work entitled "Luggage Store Site-Specific Time-Based Work." "Uh, Meta? No, haven't heard of them." -Greil Marcus **Thursday - September 28 A night of free jazz and ecstatic music. 8pm Jim Ryan's "Forward Energy" Jim Ryan alto/tenor sax, flute; Alicia Mangan tenor sax; Ron Heglin trombone/tuba; Scott Looney keys; Donald Robinson drums 9pm Marco Eneidi/Spirit duo (sax/dums) with very special guests. THE LUGGAGE STORE GALLERY 1007 Market Street (2nd Floor) at 6th St., one block from Powell Street BART, San Francisco. It is a non-profit corporation funded by the City of San Francisco, grants, and your contribuitions. We ask that you contribute 6-10 dollars. All Ages welcome, no one refused for lack of funds. Info: 415.255.5971 or luggagestore509@hotmail.com; booking email: itzat@earthlink.net “spy” tshirt 4200 Mitchell Street, Philadelphia, PA 19128-3593 USA 800-443-8278 or 215-487-7700 fax 215-487-7728 email: sales@CompExpress.com  <a href="http://www.addme.com"><img width="88" height="31" src="http://www.addme.com/link8.gif" alt="Add Me!" border="0"></a>  http://www.hoboes.com/jerry/bookmarks.html ecards <CENTER><P> <FORM action="http://pub7.bravenet.com/postcard/pickup.asp" method="post"> <INPUT type="hidden" name="usernum" value="601230955"> <INPUT type="hidden" name="cpv" value="1"> <A href="http://pub7.bravenet.com/postcard/post.asp?usernum=601230955"> <B>Click Here to Send an Internet Greeting Card</B></A><BR> <B>Enter Card ID Number to Pickup Your Greeting Card: </B> <INPUT type="text" size="12" maxlength="15" name="id"> <INPUT type="submit" name="submit" value="GO"><BR> <A href="http://www.bravenet.com/"> <IMG src="http://images.bravenet.com/pub/postcard.gif" border="0" width="100" height="35"></A> </FORM></CENTER> http://www.rodni.com/clean.htm http://www.rodni.com/weme.htm http://www.rodni.com/pgd.htm__heart http://www.rodni.com/pgb.htm__kid http://www.rodni.com/pg2.htm__ngu http://www.rodni.com/pg3.htm__itmatters http://www.rodni.com/pg3.htm#more__theMouse If you enjoy watching 16mm films outdoors, cold beer, bbq-salmon or cheap popcorn, come on by and see: NEW YORK UNDERBELLY A program of shorts by New York filmmakers-a tribute and affectionate indictment of the city’s inhabitants and the excesses to which they are prone. And person, and all the way from Williamsburg, Brooklyn, Ocularis Programmer & Curator Jonathan Howell! Date: Wednesday, Sept 13 (every 2ND Wed month) Time: 8:30 pm Where: Zeitgeist Bar - courtyard (Must be 21+ yrs) Address: 199 Valencia St. (cross st Duboce) S.F. Tel: 415.255.7505 Cost: $5 COME AT 7:30PM FOR DINNER, DRINKS & FRESH POPCORN! HAPPY HOUR UNTIL 8PM *BBQ SALMON, VEGGIE BURGERS & SPARE-RIBS AVAILABLE 5:30PM-10PM ($5-$8) DRESS WARMLY BECAUSE WE CARE ABOUT YOU You will see some of the following films: Rube and Mandy at Coney Island By Edwin S. Porter 13m/1903/b&w I Remember By AvI Weider & David Chartier 17m/1998/color Dervish Machine By Bradley Eros & Jeanne Liotta 10m/1992/b&w Altair By Lewis Klahr 8m/1994/color Avenue X By Leslie McCleave 16m/1993/b&w Yours By Jeff Scher 4m/1997/color The Moschops By Jim Trainor 13m/1999/b&w Cardiac By Philip Dolin 10m/1995/color Po Mo Knock-Knock By Greg Pak 3m/1998/b&w Thanks to Jonathan Howell of Ocularis for programming and curating New York Underbelly. Ocularis curates bi-weekly film programs at Galapagos Art Space in Brooklyn, and has been screening on Williamsburg rooftops since 1996. Cricket Moon Cinema is an outdoor film series co-sponsored in September by Zeitgeist bar and Ocularis. The film series is produced by Kim Hawkins with help from Zan, Kara Herold, Kevin & Molly O'Reilly, Gary Goddard, Vicente Fuentes & John Fabela. For questions on film screenings please contact Kim at info@oaklandfilm.org http://www.idleidol.com/gag/mq.html http://www.friends-partners.org/oldfriends/spbweb/lifestyl/ind_surv.html#MONEY MATTERS http://www.webtrance.co.za/webtrance.html "Our zeitgeist may be creative dreaming in the presence of technology, a place haunted by genies which wrap us in the blanket of their mysterium and lead us forward" - Terence Mckenna http://profiles.yahoo.com/rodnidrone Hetro Bash 1998 Monday, August 24 The Tip Top Tavern corner of 26th and Mission San Francisco Free sour mash: 9:30 to 9:31 pm, SWING DOWN with the hetros, greet and beat the lesibians, greet and beat the heteros. MOSH BEAT 10:00 pm to last call Bi-sexual symposium and group sexual mixer to follow the chaos. Heterosexual reorientation seminar to follow after hours outside the TipTop Inn at 2:01 am. Dental Dams courtsey of WIDE OPEN MIC Inc. BYOB penis and vagina. Lesibians bring your knives. Queers bring your baseball bats. It's the hetero bash. They're so smug and so straight and always bitching about GAYs. Free to get in if you bring a bomb or a pool cue or an anvil or something heavy to beat the living shit out of heteros. They're a dying breed in San Francisco. BYOB odes to the gender of your choice; poetry and rants. Sponsered by HETERO PRIDE Ltd./GAY PRIDE Assoc., an affliation of Unisex International - "Bridging the Gap Between Hostile Sexuality" Please direct all questions, complaints, insults, baby talk, and general flamage to: fuckup@malice.org { fray day four } Storytelling open mic and interactive art. Friday September 22. 7pm to midnight. Cellspace: 2050 Bryant St. (between 18th and 19th), SF The fourth birthday of the digital storytelling site fray.com, featuring a real life storytelling open mic, performances by the fray authors, and interactive art exhibits. Come join the fray! Admission: $5 - $10 sliding scale. More info at http://www.fray.org/4/ David (bushman) Johnson oct6-7 reunion fri-sat mon-2 Multimedia Art Collective presents <<<<<<<ONE NIGHT SATISFIED>>>>>>> September 18,1999 8:30pm PEACOCK LOUNGE 552 Haight Street at Steiner/Fillmore San Francisco, CA 94110 $5 21/over A night of music, performance, and art -- visual and otherwise, awaits you at the Peacock Lounge in San Francisco for the first installment of One Night Satisfied by the San Francisco based Multimedia Ats Collective. Inspired by life in the greatest City on earth, the night promises a sweeping look into the creative forces that mold our rapidly changing City. Relying on numerous forms, the collaborators work in a variety of media to express, impress & distress. Musical offerings: Sounds of the Barbary Coast The Church Steps Performances (live/video): Phantom Patient Bob Linder/Will Rogan Raul Sanchez/Andrew Burmester Paintings/Sculpture/Installations: Josh Berkowitz Sheila Buchanan Jennifer Mattson Scott Campbell Paul Allan Anthony Albert Hayyim Sanchez Angela Clement Jo Jackson Todd Schulte Micke Tong Photography/Slides: Damon Sneed Lea Carsman Laura CiapponI For more info, contact: ksogabe@jamsadr.com WhatISit? The Bastard Chronicles WhoISit? Banana Bag and Bodice WhatFestivalISitin? The FRINGE festival Where? @ EXIT Stage Left: 156 Eddy Street, San Francisco When? 2 shows left: Wednesday 9/15 at 7pm & Saturday 9/18 at 8:30pm Price? $7.99 Why am I supposed to care? Because the theater, man, it's ALIVE! The 5 performers in Banana Bag and Bodice, who are all members of the Popcorn Anti-theater re-form school of dramaturgical delinquency, have assembled The Bastard Chronicles from a formidable blend of the kind of dark, sticky, unrefined humor that has gotten lesser theatrical ensembles either arrested or famous. There's something for everyone: clowns, pennies, wheelchairs, eggs, dogs, bread, bananas, and, of course, an accordion. As one actual fringe-goer put it--"Of the five shows I've seen in two days, I must say I remembered this one the most." Join host Andforever Wilby for a slow race that you won't soon forget. For more info on the performers, the performances, and a RealVideo sample of what you can expect at the show, check out our website: http://www.evenings.org/bbb/ <META NAME="TITLE" CONTENT="rodni.com; steal this image; cybershaman"> <META NAME="DESCRIPTION" CONTENT="Cybershaman, updated Daily; steal this imge; free obnoxious flowers"> <META NAME="KEYWORDS" CONTENT="psychic reader tarot fortune dada exquisite corpse cybershaman flowers images graphics free artificial virtual obnoxious success beast sale"> <META NAME="OWNER" CONTENT="hipp@rodni.com"> <META NAME="AUTHOR" CONTENT="rodnI hipp"> <META HTTP-EQUIV="EXPIRES" CONTENT="Mon, 31 Dec 2001 00:00:01 PST"> <META HTTP-EQUIV="CHARSET" CONTENT="ISO-8859-1"> <META HTTP-EQUIV="CONTENT-LANGUAGE" CONTENT="English"> <META HTTP-EQUIV="VW96.OBJECT TYPE" CONTENT="Magazine"> <META NAME="RATING" CONTENT="Mature"> <META NAME="ROBOTS" CONTENT="index,follow"> <META NAME="REVISIT-AFTER" CONTENT="2 weeks"> bravenet affiliate <CENTER> <A href="http://www.bravenet.com/"> <IMG src="http://www.bravenet.com/affiliate/affiliate.php?aff_num=601230955&picture=br1" alt="Free Webtools for Webmasters" height="60" width="468" border="0"><BR>Check out the Top Rated Site for Webmaster Tools!</A> </CENTER> http://www.snaggletooth.net/ <FORM ACTION="http://www.onlinetrans.com/link.cgi" METHOD=POST> <INPUT TYPE=SUBMIT VALUE="Translate to"> <input name=partner value=SystranSoft TYPE=hidden>  <input name=urltext value="----CHANGE-THIS-TO-YOUR-URL----" TYPE=hidden> <SELECT NAME=lp> <OPTION VALUE=en_fr>French <OPTION VALUE=en_de>German <OPTION VALUE=en_it>Italian <OPTION VALUE=en_pt>Portuguese <OPTION VALUE=en_sp>Spanish </SELECT> <A HREF="http://www.systransoft.com/"> <FONT face=Verdana size=1><STRONG>Powered by</STRONG></FONT> <FONT color=#0000a0 face=Verdana size=4><STRONG>SYSTRAN</STRONG></FONT><FONT color=#0000a0 face=Verdana size=1><STRONG>.</STRONG></FONT> </A> </FORM> The following phrases are searches that brought people to http://www.rodni.com/pgca.htm : from who knows where. ambiguous sex
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economics of telepathy cybershaman images are new daily “music cd” 1. enigma+deep forest “myth” 2. “You know how I feel” 3. bjork “human nature” 4. http://204.254.113.253/atf/ Friday September 22 7:42 PM ET Universities Rebuff Call to Ban Napster By Andrew Quinn SAN FRANCISCO (Reuters) - Saying open access to information trumped copyright fears, several major U.S. universities including Stanford and the Massachusetts Institute of Technology have rejected a lawyer's demand they bar students from using the Napster (news - web sites) song-swap software, officials said on Friday. Los Angeles attorney Howard King, who represents recording artists Metallica (news - web sites) and Dr. Dre in copyright infringement lawsuits against Napster, sent letters to about a dozen U.S. universities this month asking them to ban access to the wildly popular service from campus computers. But officials at a number of major universities declined the request, saying while they do not condone copyright infringement, they would not take the step of limiting access to the Internet. ``As an educational institution providing its community of users with Internet access, we do not monitor or bar access to use of the Internet,'' James D. Bruce, MIT's vice president for information systems, said in a letter to King. A spokesman for the University of California system said it would be overbroad to bar Napster outright. ``Just as a copying machine can be used to reproduce written works illegally, so can Napster be used for illegal purposes. However, both also serve many valuable and legitimate purposes,'' U.C.'s assistant vice president for information systems and computing James Dolgonas said in a statement. Stanford said it ``was unaware of any requirement that it invade and monitor specific usage by its faculty, students and staff of such online services,'' although it promised to take action if alerted to any specific incidents of copyright infringement. Several other major universities, including Harvard and the University of Wisconsin, said they needed more time to determine their position. Napster, in a brief statement, hailed the universities' decision ``to allow students to continue participating in the Napster community.'' The suit brought by Metallica and Dr. Dre is separate from a larger legal action against Napster Inc. by the Recording Industry Association of America (news - web sites) (RIAA), which represents some of the top recording companies in the nation, including Seagram Co. Ltd.'s (Toronto:VO.TO - news) Universal Music, Bertelsmann AG's (BTGGga.D) BMG, Sony Corp.'s (6758.T) Sony Music and Time Warner Inc.'s (NYSE:TWX - news) Warner Music Group and EMI. But they both revolve around the question of technology and copyright infringement and have focused in part on college campuses, where students have thronged to online services that allow them to trade personal collections of recordings stored in MP3, a digital compression format used to convert music on CDs into computer files. A recent study by research firm Gartner Group Inc. (NYSE:IT - news). found that 34 percent of 50 U.S. colleges and universities surveyed had banned students from using Napster. But other song swap services continue to proliferate. University administrators have taken different approaches to the issue. Some, including Yale and the University of Indiana, banned access to Napster earlier this year after they were named as co-defendants in the rock musicians' suit against the service. But others are resisting, saying they should not be forced to police students' computer use. ``This is not a statement of support for Napster, nor are we condoning copyright infringement,'' said Bob Harty, a spokesman for Georgia Tech. ``To unilaterally block access to a site is an overly blunt response to this issue and we believe that it constitutes an unwise policy.'' While the universities' rebuff marked a temporary setback for Metallica, Dr. Dre, and other recording artists opposed to Napster, the larger question of the song-swap services' future will head back to court soon. Opening arguments in the RIAA's Napster case have been set for Oct. 2 after the 9th Circuit Court of Appeals in San Francisco stayed a judge's order that would have pulled the plug on the service. Hilary Rosen, the RIAA's president and CEO, said the organization remained committed to ensuring that copyrights are protected. ``While we certainly respect a university's decision as to how copyright laws are enforced on the campus computer network, we will continue to work with Metallica to ensure that our the rights of artists and other copyright holders are respected,'' Rosen said in a statement. What information will I need to complete the merchant application? To complete the merchant application, you will need to have the following information available: General Information: Legal and DBA (Doing Business As) name, Business address, and name and title of legal business signer, Business telephone number, fax number (if applicable), and contact name, Yahoo! store/Auctions Order Manager Identifier, E-mail address, and Internet site address. Business/Storefront Information: Zoning and physical store location, Type of ownership, state incorporated, and federal tax ID, The date your business began, number of employees, and what your business sells. Sales Data & Business Information: Totals of annual cash and credit card sales, and percentage of credit card sales by mail order, telephone order and in-store purchases, Sales tax percentage, Credit card refund and submission policies, Delivery information., Method of Advertising. Businesses with credit card volume over $150,000 will be required to fax the signed Terms and Conditions agreement, along with additional financial data. Current credit card processing information: Name, address and phone number of current bankcard provider, Merchant number. Business Owner Information: Names, addresses, phone numbers of first/second owner, partner, or officer, Title and social security number of person(s) listed. Banking Reference Information: Bank name and address, Contact name and phone number, Date the banking relationship opened and average daily balance of the account, Total dollar amount of credit available, Total dollar of business and Personal accounts. Funding information: ABA and DDA numbers (have a voided or blank business check available to retrieve this information). Card Type Information: You will (upon approval) will be able to offer MasterCard, Visa, American Express and Diners Club. If you are a current American Express merchant, please provide your Service Establishment number provided by American Express (Please note: We are in the process of adding Discover Card and JCB to the credit cards available to you.) The information you provide on the merchant application is encrypted and secured. No information will be provided to third party vendors. Main Entry: ar·ti·fact Pronunciation: 'är-ti-"fakt Function: noun Etymology: Latin arte by skill (ablative of art-, ars skill) + factum, neuter of factus, past participle of facere to do -- more at ARM, DO Date: 1821 1 a : something created by humans usually for a practical purpose; especially : an object remaining from a particular period <caves containing prehistoric artifacts> b : something characteristic of or resulting from a human institution or activity <self-consciousness... turns out to be an artifact of our education system -- Times Literary Supplement> 2 : a product of artificial character (as in a scientific test) due usually to extraneous (as human) agency - ar·ti·fac·tu·al /"är-ti-'fak-ch&(-w&)l, -'fak-shw&l/ Main Entry: ar·ti·fact Pronunciation: 'är-ti-"fakt Function: noun Etymology: Latin arte by skill (ablative of art-, ars skill) + factum, neuter of factus, past participle of facere to do -- more at ARM, DO Date: 1821 1 a : something created by humans usually for a practical purpose; especially : an object remaining from a particular period <caves containing prehistoric artifacts> b : something characteristic of or resulting from a human institution or activity <self-consciousness... turns out to be an artifact of our education system -- Times Literary Supplement> 2 : a product of artificial character (as in a scientific test) due usually to extraneous (as human) agency - ar·ti·fac·tu·al /"är-ti-'fak-ch&(-w&)l, -'fak-shw&l/ Main Entry: tal·is·man Pronunciation: 'ta-l&s-m&n, -l&z- Function: noun Inflected Form(s): plural -mans Etymology: French talisman or Spanish talismán or Italian talismano; all from Arabic tilsam, from Middle Greek telesma, from Greek, consecration, from telein to initiate into the mysteries, complete, from telos end -- more at TELOS Date: 1638 1 : an object held to act as a charm to avert evil and bring good fortune 2 : something producing apparently magical or miraculous effects - tal·is·man·ic /"ta-l&s-'ma-nik, -l&z-/ adjective - tal·is·man·i·cal·ly /-ni-k(&-)lE/ adverb
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Main Entry: 1cu·rate
Pronunciation: 'kyur-&t also 'kyur-"At
Function: noun
Etymology: Middle English, from Medieval Latin
curatus, from cura cure of souls, from Latin, care
Date: 14th century
1 : a clergyman in charge of a parish
2 : a clergyman serving as assistant (as to a rector) in a
parish

Main Entry: com·mod·i·ty
Pronunciation: k&-'mä-d&-tE
Function: noun
Inflected Form(s): plural -ties
Etymology: Middle English commoditee, from Middle
French commodité, from Latin commoditat-,
commoditas, from commodus
Date: 15th century
1 : an economic good: as a : a product of agriculture or
mining b : an article of commerce especially when
delivered for shipment <commodities futures> c : a
mass-produced unspecialized product <commodity
chemicals> <commodity memory chips>
2 a : something useful or valued <that valuable
commodity patience> b : CONVENIENCE, ADVANTAGE
3 obsolete : QUANTITY, LOT
4 : one that is subject to ready exchange or
exploitation within a market <the sensitive female
singer-songwriter as a viable pop commodity -- Elysa
Gardner>

Main Entry: 1oc·cult
Pronunciation: &-'k&lt, ä-
Function: transitive verb
Etymology: Latin occultare, frequentative of occulere
Date: 1500
: to shut off from view or exposure : COVER, ECLIPSE
- oc·cult·er noun

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Tuesday, October 10, 2000

Bulgarian Women's Choir "Angelite"
(the choir formerly known as "Le Mystere des Voix Bulgares")
$27.50 advance, $27.50 at the door.

The Great American Music Hall
859 O'Farrell Street, San Francisco
415-885-0750
http://www.musichallsf.com

Doors open at 7:00 pm, Showtime is 8:00 pm.

The spine-chilling sound of these world-renowned vocalists continues a
musical tradition which has remained in isolation for more than a thousand
years. Finally emerging from behind the "Iron Curtain" in 1989, the
extraordinarily haunting sound of Bulgarian vocal music became an
international sensation and was embraced by such artists as Kate Bush,
Stevie Wonder and Frank Zappa as well as becoming popular with several
sampling/dance remix artists.

Now in support of a rare concert tour in America and Canada this amazing
choir returns with Voices of Life, a remixed and 24-bit remastered
collection of some of their finest recordings and featuring several tracks
previously unreleased in North America.

Once again, the choir has been discovered by music's elite. Pioneering
musician Eddie Jobson (Roxy Music, UK, Frank Zappa, Jethro Tull, Yes) has
created several new compositions for the choir. Using state-of-the-art
digital equipment, Jobson recorded the choir in Bulgaria in 1999 for a 2001
Globe Music album release and full-length film documentary. Voices of Life
includes three preview tracks from this collaboration featuring Jobson,
Bill Bruford (Yes, Genesis, UK King Crimson) and Tony Levin (Peter Gabriel,
John Lennon, Seal, King Crimson) along with the City of Prague Philharmonic
and outstanding performances from these 20 phenomenal women.

This will be a seated show.
The kitchen will be open.

Sponsored by KUSF

“4 hits a week from my page is pathetic, really. actually it's like my
page doesn't exist anyway, therefore I shouldn't have told you I was
gonna ditch it, as it really doesn't exist.
see my point?”

I guess the point is that 3 or 4 people coming into your store is so “pathetic” that they don’t deserve any effort on your part. I will note your virtual death when your links die on my site. I mentioned before my appreciation of each new person coming from your site but of course I am not depending on just you. I have many, one of my favorites is:

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It seems the real point is that virtual suicide is the answer; “ i’m not getting enough attention”. This is ironic to me because I get more support for my creative acts in virtual space than the physical.

You may get this latter when I send it out on my mailing list ( to unsubcribe go to http://www.rodni.com/enteractive.htm) but here’s a preview just for you.

DESTROY YOUR COMPUTER
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BEFORE IT’S TOO LATE

_________________

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Every 5 minutes the images change. So just start it up, leave it up; it does not repeat for over 2 hrs. The black and white pieces change every 24 hrs.
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To my surprise, I found myself listed in a “category” that I feel somewhat comfortable with (at least for the time being). Check out some of these people and let me know if any of them are interesting...
http://dmoz.org/Arts/Digital/Net_Art/Artists_and_Projects/

billy
dot-c0mbiz.com

kent
http://www.mango7.com/index.html
http://www.mango7.com/hawaii.html

webring from billy
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<B>The Everyday Web SiteRing</B><BR>
<BR>This site owned by<BR>
<A href="mailto:astrots@aol.com">Babba Shabu</A>
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Face it, your computer is the primary source of frustration in your life ! Destroy it Now !

surf

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http://www.cittadellarte.it/virtual/firstbox.html

http://www.artcontext.org/

pong
http://www.digitalthreat.com/version2/pong.html

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webshaman
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digital studies
http://www.altx.com/ds/

ship to:
rodnI hipp
915 franklin st #208
san francisco, ca 94109

looking forward to the package...

http://www.rodni.com

http://www.steveallenonline.com/main_page/main_display.htm

http://www.foxnews.com/etcetera/art/061400_machine_art.sml

sony crx100e

This window starts a slide show that shows an image for as long as 5 minutes; 5 minutes can seem like an eternity sitting in front of the computer. So fill your screen with your browser's window and STEP AWAY FROM THE COMPUTER. To view the show without it's "frame" start here or do nothing, this page changes in One minute.

THE CREATIVE ACT

by Marcel Duchamp

Let us consider two important factors, the two poles of the creation of art: the artist on the one hand, and on the other the spectator who later becomes the posterity.

To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.

If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the esthetic plane about what he is doing or why he is doing it. All his decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out.

T.S. Eliot, in his essay on "Tradition and Individual Talent", writes: "The more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material."

Millions of artists create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity.

In the last analysis, the artist may shout from all the rooftops that he is a genius: he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally, posterity includes him in the primers of Artist History.

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On Van Ness Avenue in San Francisco where O’Farrell crosses Van Ness, 50 feet or so north of the AMC Theaters is the most beautiful butterfly. Scratched into the once wet concrete by “KB” this brave butterfly inspires in spite of it’s concrete home.

http://www.rodni.com/pass.htm
http://www.motley-focus.com/~timber/mysteryschool97.html

ADVENT OF THE BUTTERFLY RAINBOW MILLENIUM
"In Memory of Hazel Koals"

By Rose LibertÃ© @ 2000

Once upon a time there was a Butterfly Gardener named Alpha with a wife named
Omega.

They found a fertile field and called it Earth, filling it with caterpillar
larvae. As the larvae multiplied and spread over the earth and grew, they
formed little caterpillar cities and villages, towns and metropolI covering
the earth, a whole caterpillar civilization with caterpillar rules,
caterpillar values and caterpillar laws.

One day the first caterpillar on earth went into his cocoon, and came out as
a beautiful shimmering Monarch butterfly. The caterpillars gathered around
and did not know what kind of creature he was.

"I AM a Butterfly!" he said, "Know ye not that ye are Butterflies?"

"For now you identify with your body terrestrial, your caterpillar body,
but soon you will awaken from the darkness of your cocoons and discover that
you are beautiful butterflies with bodies light as gossamer, free to fly
through the universe!"

"What I AM, you shall be also!! Your true nature is as a Butterfly, not as
the caterpillar self you identify with, sloshing around in the mud. You are
truly your Higher Butterfly Self. I know this is hard for you to believe,
but you must have faith in the Truth of your being. You are a Glorious
gossamer shimmering butterfly of light!"

Some caterpillars rallied around this new messenger "of the gods", but
others felt totally threatened by this Butterfly Presence in their midst.

"Not only are you Butterflies" he taught, "But you are beautiful
butterflies of all the rainbow rays; some are blue butterflies of leadership
and power; some are pink butterflies of love and the arts; some are yellow
butterflies of wisdom; some are white butterflies of purity and harmony; some
are green butterflies of science and healing; some are ruby butterflies of
service and self-sacrifice; some are violet butterflies of ritual and
freedom. All of you have great Butterfly contributions to make to the
universe, if you'll only go into your cocoons and pray for divine direction
and get in touch with your true inner Butterfly nature."

The caterpillars who refused to believe the Butterfly shouted "Crucify Him!"
Others felt that he would make a good political leader to overthrow the whole
caterpillar civilization that enslaved them so they waited for him to lead
armies. Others believed that he was a great example of their true Butterfly
Nature that would soon be born within them, so they worshipped him.

And many rallied around this Butterfly to learn Butterfly secrets and
transform their caterpillar lives into Butterfly lives. Together they
dreamed of a new world, a Golden Age Butterfly Civilization , which would
follow Butterfly rules instead of Caterpillar rules.

The New Millenium came, 2000 years after the birth of the first Butterfly
they'd seen, and one by one, hundreds had become the shining glory of their
Butterfly natures, teaching and demonstrating by example the joys of
Butterflyness.

After 2000 years, many caterpillars began to believe their Butterfly
teachers and realize that their inherent nature was to become Butterflies,
and their purpose on earth was not to merely abide by caterpillar
civilization's rules, regulations and laws. Their purpose on earth was to
demonstrate Butterfly principles and make the Butterfly Golden Age
Civilization come to life on Earth.

The blue Butterfly Caterpillars began to lead, the Pink ones to write
stories and draw pictures, the green ones to heal, the yellow ones to teach,
the white ones to fast and pray for World Peace, a World Peace based on a
New Butterfly Rainbow Millenium, not on old outdated caterpillar rules. The
ruby Butterfly caterpillars served others and the violet butterfly
caterpillars started new rituals, organizations that reflected the new
freedom to become Butterflies as they believed was their True Destiny.

It became a major revolution on the planet. Did you believe you were to
become a Butterfly, your inherent nature? Or did you believe you would
forever be a caterpillar and that the caterpillar civilization was the only
correct type of world civilization?

Some believed that there was only one Butterfly and He would return one day,
but that was all that would happen. Others had different names for their
Butterfly diety. But some recognized the truth that all previous Butterflies
had been demonstrating on earth - the essence of their "Butterflyness&q