KIT intermedia

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    a programm for KIT intermedia by Nomeda & Gediminas Urbonas
looking for DE PLAYER January 28th, 2006

a: delistraat 42
post: delistraat 32-d, 3072 zl, rotterdam
t: 06.14577119

looking for DE-PLAYER PLAYER.jpg PLAYER.jpg

slow tv at Silent TV workshop, Rotterdam January 28th, 2006

slow tv took part at the Silent TV workshop, a tele-matic workshop on how to build your own TV, conducted by Tetsuo Kogawa and Adam Hyde.

tv transmitter workshop, Witte de With, Rotterdam 2006   tv transmitter workshop, Witte de With, Rotterdam 2006

tv transmitter workshop, Witte de With, Rotterdam 2006   tv transmitter workshop, Witte de With, Rotterdam 2006

tv transmitter workshop, Witte de With, Rotterdam 2006   tv transmitter workshop, Witte de With, Rotterdam 2006

Silent TV workshop, Rotterdam January 28th, 2006

slow tv takes part at Silent TV workshop.
You can watch the stream here:

tv transmitter workshop, Witte de With, Rotterdam 2006

slow tv interviews Algirdas Stravinskas, Rotterdam January 28th, 2006

slow tv meets Algirdas Stravinskas, Rotterdam 2006   slow tv meets Algirdas Stravinskas, Rotterdam 2006

slow tv meets Algirdas Stravinskas, Rotterdam 2006   slow tv meets Algirdas Stravinskas, Rotterdam 2006

slow tv meets Algirdas Stravinskas, Rotterdam 2006   slow tv meets Algirdas Stravinskas, Rotterdam 2006

slow tv meets Algirdas Stravinskas, Rotterdam January 28th, 2006

slow tv meets Algis Stravinskas, a pioneer of break dance in USSR, at the railway station in Rotterdam.
slow tv meets Algirdas Stravinskas, Rotterdam 2006

slow tv inetrviews cac tv, Rotterdam January 28th, 2006

slow tv at cac tv, Rotterdam 2006   slow tv at cac tv, Rotterdam 2006

slow tv at cac tv, Rotterdam 2006   slow tv at cac tv, Rotterdam 2006

slow tv meets cac tv, Rotterdam January 28th, 2006

CAC tv [] at HOT SPOTS program, IFFR, Off_Corso, Rotterdam

Fragment from the interview:

JASON: we have a question that has been running through all  the interviews that we have been taken. which is this question, whether a collaboration is actually possible between the different groups of people. Whether its possible to work together or its just a participation. Whether one group always takes presidency over another?

RAIMAY / CAC TV: I think in terms of collaboration, it should always come from some necessity to collaborate. Or this necessity could be based on animosity, like u hate another program, or its like your enemy. I am not using enemy as a productive term, but it could be something like an enemy.

Then I think collaboration could be based on cannibalism, cause in order to produce something good u have to eat another program, that you either hate. So u have to eat each other, then you can enjoy it and then u can produce something together.

slow tv at interview with cac tv, Rotterdam 2006

slow tv meets tv-tv, Rotterdam January 27th, 2006

tv-tv is a network of independent producers from Copenhagen]

slow tv at tv-tv, rotterdam 2006

slow tv interviews tv-tv, Rotterdam January 27th, 2006

slow tv at tv-tv, Rotterdam 2006   slow tv at tv-tv, Rotterdam 2006

slow tv at tv-tv, Rotterdam 2006   slow tv at tv-tv, Rotterdam 2006

slow tv interviews Heath Bunting, Rotterdam January 27th, 2006

slow tv meets Heath Bunting, Rotterdam 2006   slow tv meets Heath Bunting, Rotterdam 2006

slow tv meets Heath Bunting, Rotterdam January 27th, 2006

Heath Bunting is artist and activist from Bristol.

slow tv with Heath Bunting, Rotterdam 2006

slow tv interviews Bik Van der Pol, Rotterdam January 27th, 2006

Bik van der Pol, Rotterdam 2006   Bik van der Pol, Rotterdam 2006

Bik van der Pol, 2006   Bik van der Pol, Rotterdam 2006

slow tv meets Bik Van der Pol, Rotterdam January 27th, 2006

Liesbeth and Jos are artists from Rotterdam. ]

Fragment from an interview:

JASON: We can carry on that. My second question for you, is, I mean Gediminas has told us a little about what you do like you run this round tables discussions about artists publications and you make book fairs of artists publications, which aren’t necessarily books, but could be anything.
I don’t know if this is correct or not?

JOS: Well, more or less.

LIESBETH: it’s very description of what we do, I would say.

ERIK: What do you say? What?

LIESBETH: We are not organizers of round tables and book fairs.

JOS:  Square tables?

JASON: Square tables? OK. Well, I have got it completely wrong, maybe now you can correct me.

LIESBETH:  NO, I am trying to think  what he means with the round tables.

JASON: Round table means, You sit everyone round the table, it doesn’t actually mean that the table is round, its just the discussion about, getting people together to talk about what it is or what you are doing.

Bik van der Pol, Rotterdam 2006

note_3 January 18th, 2006

this is a summarize of the last two brainstorms we had on the TV project:

There are several practices of artists and cultural producers engaging with TV practice, broadcast and streaming. On one hand such developments since 5 years became expanding as there is certain convergence going on between Internet, mobile technologies and television, as well as since few year the bandwidth required is provided. On the other hand private enterprise gets a strong grip on these developments as well as on the TV implementing rigid politics of manipulation apparatus. So the past potential idea that TV has a future to constitute a public space is rapidly fading out. What can we do in this transitional situation on behalf of our artistic practices and research, being placed in such in a way privileged place as university for science and technology, which is one of a players in the recent developments of the convergence?

One of the first meetings with an inquiry to the possible dialogue with  NTNU was organized with Jorma from Medgaards media lab, who confirmed NTNU interest in a possible project that would result as “hybrid TV” or “TV in the expanded field”.
As a frame to continue dialogue it was decided to run informal round table discussions once a week (Fridays or Saturdays) at the SKY bar at KIT/NTNU, which partly could be added function of a experimental TV reading room, that would include hand made projector (production under supervision of Hans, Myskja and Morten), black board for instant notes, mapping wall tracing desires and references and library board with  collection of prints, copies, records and signs referring to the ideas investigated in the research. Such 3 dimensional research file (if you like) would be a meeting point and laboratory for brainstorming of the ideas. In parallel to this we should start a web log for such discussion to be continued as well as for the flow of after-thoughts.

Collaboration with Medgaards media lab
During the TV workshop week in March there is idea to invite experts from NTNU to present following ideas:

# streaming technologies and 3G phones: content / interactivity / standards / mobile devices / equipment side / etc.

# Digital rights management: benefits for the artists.

# working with DIGITAL Cinema, new digital film, possibilities for the artists.
possible participation at IMAGE: international workshop dealing with new digital film and digital media at cinema NOVA at the end of March. Possible screenings with 4K projector at NOVA, and possible collaboration in producing artistic content using hi-end facilities at NOVA HDTV and media studio.

Further we could discuss with Medgaards media lab plans of TV project
development in relation to DOKHUSET platform, that is scheduled to open in September 2006 with few back screen projections facing to Solsiden.


Questions and concerns
I will try to provide with those recently recorded lines, that could be formed in a near future as sub-themes of our TV project. Again those could be called as SKINS (embodiments), so TV would introduce different title during each / different launch, i.e. EACH TIME TV as identity would be re-constituted.

3G: Girls, Games, Gambling.
There was certain criticism expressed towards the 3G technologies and whether it makes sense engaging them within this project. Although I could still see the otential to question those famous 3G and look for a ways to subvert it.
In short: what can be made artistically or/and critically in those domains like Games, Gambling and Girls???

There were several concerns noted on one of “G’s”during last meetings:
Pornography. What is to be made in this field? Could we say something creative and unexpected? One thing that seems quite feasible could be interviews / chats / diaries with  sex workers. This would touch upon trafficking problematic and would probably unfold many hidden aspects in Norwegian society.
I do believe there are many foreigners sex workers in Trondheim and they also experience certain tensions (racism?) with local colleagues, with law, culture.

miss Norway’95. Trondheim marriage magazine is published by the beauty
queen of nineties. Isn’t it interesting material? I think maybe we should start from  interviews, and that’s how we get hands on a content. From that we could see how to build something further.

IDOL girl. One who was eliminated from a contest lives in Trondheim.
We were discussing whether it would make sense to re-habilitate her through our project?
Yes, why not to give her a second life?!? Maybe we should re-launch IDOL with  contestant who were dropped?

I mentioned El Gran Trueque / The Great Exchange project from Matthieu
Laurette, That was staged on TV in Spain offering viewers to bid who gives a highest price for thing offered every week, gradually diminishing value from a automobile to the set of pencils.
What games we could initiate or play, that would make sense to interact with  audience.

We were discussing idea of interactive TV. Think how you address that notion. What is interactivity, how does it work, how can we construct that conceptually, technologically.

Look at the commercials, advertisement, commix. How can we address and
employ into our project this aspect. Art without laughing is…sad.
It should be good. It should work like a clown, as clown is most serious
character in a whole history.

BTW just recalling Roy Andersson and his film: Songs from the second floor.

Look at his humor and…speed. His time is so extended, so slow…

Raimundas Malasauskas would be coming in March and working with us with workshow concept, which is merging workshop and talk show and introducing idea of one ingredient party.
For this we should prepare some archive footage, that shows ways of Nordic (Norwegian, Sami or Swedish ?) cooking and eating tradition.
Maybe it would make sense asking STATOIL people from Trondheim
headquarters to cook their recipes?
Maybe from this we could find a way working with STATOIL?

Statoil deserves I think separate section, as oil is reason of a national pride. Lets look at the canteen in Stavanger. Morten mentioned about their chef?

What TV would survive without advertisement? Maybe we should introduce a call for best commercials for other artists? This could be worldwide competition?

Stig Tommy has told that Japanese emperor fell in love with Trondheim and
wrote a poem that was broadcasted in Japan nationally. We should not skip the fact with  pilgrims or St.Olavs well. What’s about a black market for a holy water?

What is our role as commentators? Is the interview a feasible genre?
MC_Jason: master of ceremonies. What’s about the talk show format?


As a starting point to facilitate this interest into TV it was decided to go on a research trip to Rotterdam to kind of map recent practices, as part of IFFR  and Satellite of Love exhibition at WDW SATELITE OF LOVE

You will find more on  a research  trip in the second letter

W H A T  I S  T O  B E  D O N E :

Hans has mentioned open source forum?..
What are the options? We need a server space as well. Midgaards media lab is still repairing their server?

SKY bar space:

production of the hand made projector under supervision of Hans, Myska and Morten,
black board / mapping wall tracing desires and references in a form of instant notes;
library board for copies, books, magazines.
curtains: Ivar is planning to buy a curtains…

P R A C T I C A L  F O R  R O T T E R D A M :

As I understood the research group traveling to Rotterdam consist:
If there are any updates or changes please let me know,
as it is essential in many respects.

Waiting for the answer from  our friends in Rotterdam, although it would make sense if you book some decent place just in case.

Try to take ALL you might need for making recordings of still and moving
images and sounds: cameras, mics, cables. Take also computers, as we might be streaming or/and performing as DJ or/and VJ. Prepare so you are fully equipped during the trip.

Take some cables or wires with locks (if you have such to secure most valuable equipment: laptops and camcorders.

We will meet at the entrance of Witte de With, just before the opening of
Each day we meet for a working session to discuss current matters.
It is hard to say when (10.00 maybe), as we need to get there and see
all the program and how its organized and placed. So it will be much
improvisation, but what is certain, that we have from 15.00 each day talks and workshops that directly relate to the subject of TV. We ALL are already confirmed  at the SILENT TV workshop on Saturday 28th starting at 15.00.
We will be working in pairs, as they lack parts for all of us. Its free – coffee, biscuits, and transmitter parts supplied…They wrote: “you might wish to bring a camera for documentation” Do you hear Jason?
In the evenings (27/28/29) we would join with HOT spots program, but also leaving some options open if there valuable things going in other venues.


note_2 January 17th, 2006

Workshop on new ways of artists practice re-approaching TV.
It seems as if there are new developments nearly every day in and
around the medium that a few years ago was known simply as ‘television’.
There are lots of artistic activities an agencies engaging these days into new modes of TV production, that is transcending the TV DIY fashion known from sixties. On the other hand it comes with the development of technologies, as satellites, digital channels, new applications for cable connections, home cinema, reception via computer, mobile phone, PDA – the possibilities seem boundless, and are the cause of a perpetual turbulence in the media landscape.
What is the future of the talking and moving picture, and the way in which it is distributed. Can we reinvent the medium? Can we ourselves make a television?

Focus on TV, could be framed as larger scale workshop, starting with
Raimundas MAlasauskas lecture and presentation on CAC TV and methods of making TV together. From this probably the first episode of KIT TV could be created. Lets see. First we should somehow frame group of participants or so called “correspondents” of possible KIT TV. So this is an open invitation to the intermedia group first, although it is not limited only within the group and could grow larger in the school or outside. But first of all and most importantly it is approachin you.

Some further reading sources:

Peter Watkins: introduction to media Crisis

Copenhagen Free University project TV-TV:
look at the down link “text”


note_1 December 11th, 2005

The TV research group is formed within a course “Media as constructed space: design, structures and navigation” as part of Intermedia program
(tutors Nomeda & Gediminas Urbonas) at KIT/NTNU Trondheim.
The TV research group is started from the emergency to re-read artistic
practices engaged with  TV, as constituent of public space.
The TV research group aims to form a pilot for a TV project at KIT/NTNU
Trondheim in a dialogue with other students and teachers ant KIT, NTNU and Medgaards media lab. 

Participants, mainly from Intermedia group, staged few brainstorm sessions in search of a group consciousness within the moment now, current time, that can constitute such (TV) project, unfolding in a process of collaborative work.

beta version
SLOW TV.ORG was suggested as a beta version title for a pilot project.
There is no manifesto written yet on what is SLOW TV about, but
the intentions and desires of participants lead to idea that SLOW TV would work with idea of multiskins, allowing project to be folded and unfolded, reconstituted and re-launched each time in different places with different titles and forms of broadcast, including internet streaming and local broadcast .

objective of the trip
experiencing the urge to map the current artistic practices engaging with new ways of producing and disseminating TV, the group of KIT students together with tutors will travel to Rotterdam during the days of IFFR-International Film Festival Rotterdam January 26 – 31 and join with the several events in the film festival as well as V2-Institute of Unstable Media,  and  WDW- Witte de With contemporary art center.

During the research trip participants of the project will hack the IFFR and WDW activities by installing SLOW TV.ORG stand within different venues of the festival, workshop at V2 and international exhibition at WDW, infiltrating, parasiting and finally joining with artists groups making television.
Participants of TV research group will be rapidly constructing the identity of SLOW TV during the days of the film festival by making interviews, recordings, cooking and performing Beta episodes of pilot project. The first skin (beta version) will be streamed online and back home re-launched at the SKY bar with a help of hand made wooden projector.

The TV research group consider Rotterdam trip as substantial point in an extended ongoing TV workshop that is planned in a dialogue with KIT, NTNU Midgaards media lab as well as with visiting professors and staff at KIT during this spring semester.

Evaluation of the archive cultures workshop October 26th, 2005

Participants: Anne, Cathrine, Hans Skovholt, Stig Tommy, Kristin Tarnes, Pernille, Ingvild, Nomeda, Gediminas, Thorbjorn gathered at the in a library KIT, Trondheim where the display featuring workshop process was installed. Jorge Blasco Gallardo connected live via SKYPE from Barcelona.

Gediminas made short introduction to the archive cultures project, archives as notion discussed during Documenta11, relationship with the city and working with local material;

Nomeda introduced her point on the role of archives in the artistic practice.

Jorge explained the invitation that came from school to discuss notion of the archive as site specific project and how it was analyzed during the workshop. The aim of the workshop was to involve participants into the given frame (archive cultures projects) to discover statements from  the artist, from the authors, collectors, makers of displays, makers of those who organize the information. As the archives are very complex way of working with information artist through their practice have developed different ways to decontextualized them.

In that sense this workshop was not open as it was set in a framework of archive cultures project, in this field of archive cultures project using this kind of specific statement and language.

after this introduction participants started to discuss:
INGVILD: to me it was a new method of artistic working. As at the beginning it was not clear what was the intention and what we gonna do then i relaxed, I was open and started to understand, which was a very good thing. I used to work with handicraft things and was interested to let these ideas go. I realized in the workshop that my work has certain aspect of archiving.

PERNILLE: the part of the concept that we had to go to archives in Trondheim was nice experience. I got nice ideas, was nice to see Trondheim from  different point of view.
On the other hand it was not a very new experience, cause I worked a lot in photography. But it was nice to get inspirations from these archives, environments as well as inspiration for making reference room.

KRISTIN: for me it was really interesting visiting the archives and to discover maps!!!! I could get an idea how to formulate questions for my desk project. I am used to work in discovery way, when i do not know how the project will end. So I could relate my method to this workshop.

STIG TOMMY: For me it was new to discover places in my hometown, I can use in my future work. It was nice to see how you work in relation to the group and people in those (archive) places.

HANS: I was not sure what to expect. I had some material in development, but I did not find the way to display it in this workshop and how to work further with it. It needs more time… There was a lack of time. I wish I had more time to prepare for this kind of workshop. On the other hand I spend much time for making layouts and working on promotion of the display exhibition, than on my own production.

PERNILLE: it was special for Hans to take it as his work. Hans had two tasks in fact!

Jorge was asked to give short summary on the work of participants:

JORGE ON INGVILD: I enjoyed very much that you were confused, that workshop provoked insecurity. This was exactly a good starting point! From this we can discuss it further and start working as an artist. Cause if artists want to discuss they have to be lost, and this state of being lost gave me a lot of energy to start the workshop. I am happy and proud of you and me, that you employed your background as journalist and discovered the roots of archivist. It’s not easy to find people that want to be lost for one week.

JORGE ON PERNILLE: it was important for me that you were working for this company Umbrella and that you were working on different projects in collaboration. The way you took over the room fits with concepts and the way archive cultures project functions. Working with labels you as an artist were able to detect the behavior of archives and appropriate the aesthetics in the reference room. For me it was very important experience as collaboration with Umbrella.

JORGE ON KRISTIN: you are very open person, so it’s very easy to collaborate with you, you are very easy to discuss what to do with that desk, that women object… not only to play the role of the teacher and pupil, but also discuss the problems as an artists. You can find very good points for your F.A.M.union and desk in the archives. What you were doing it was mental maps and it would be very helpful for you to look at how people described the world in other centuries. It fits to the idea what you describe as your personal situation as an artist looking for a place in other people belongings.

JORGE ON STIG TOMMY: I am very surprised that you discovered positive aspects and I am happy for your future project.

JORGE ON HANS: we had meeting about homeless artist and his personal archive you trying to deconstruct, but it obviously needs more time. I hope workshop was useful for the future of this project. So that was OK, that you decided NOT to contribute with this work. “Commission” or rather task for the workshop to manage and organize the reference room, which included whatever what they need for marketing of the project.
Somehow I have a feeling that you make a distance when you speak about your contribution as an artist and or as a collaborator, who made a design for instance.
My frustration is that I did not manage to make Hans to understand, that it is an artistic agenda, and it makes sense in the artistic development. It is not good to work with this distance.

HANS: I was part of the discussion and I thought the commission to design was interesting to do. In a way I put some effort into it… Yeah, I thought how to develop it…
In a way it was part of the workshop…  I do not see as strong division as it was discussed here.

PERNILLE: we all were busy when Hans worked with posters. I was disappointed that you Jorge did not say anything what was going wrong until it was ready.

JORGE: Since you – Umbrella commissioned Hans, I though it was too late for me saying anything. Anyway it was a deal between Hans and Umbrella. I did not have an opportunity to discuss. No time or choice for conceptual discussion. It was too late for this kind of discussions.

NOMEDA: it means that we have to find time to follow the process, to meet and discuss and make planning. It’s a new process and we have to leave space to discuss things in the process.

PERNILLE: maybe it is lack of time or lack of set appointments for discussions.

JORGE: we are discussing about the artistic pieces developed during the week. We had enough of communication or enough of appointments. I do not believe, that making hard planning is only the way.

INGVILD: we are working in a physical building within this reality and we are not aware, that we are interrupting library work. We realized that we live in a small society and we have to take this learning. But I would like to stress the use of pictures in the website now. We have to agree on the use, before the publishing it on the web.

NOMEDA: Jorge, participants have right to ask how this content of the workshop will be distributed and represented.

KRISTIN: we have to know what pictures are for the archive and if you put them on the internet. And on what conditions.

JORGE: it was important to visit the archives and get development of the process going, that would make reading how the picture galleries are build of archives cultures.
Now there are new galleries on this project and it was said, that this workshop works within the framework of the archive cultures project.

NOMEDA: but nevertheless the usage of the images should be discussed.

STIG TOMMY: I did not checked the archive cultures website yet. For me it’s not clear how these images will be used. I know that pictures are always abused and it’s not safe to be on the internet. I have to object my participation if I am a part of the ARA.

PERNILLE: I will talk about the reference room. We got inspired by the people that inspired mental boxes, where line goes between collecting and archiving and even becomes mania. The walls chart relationships between different things, it looks like a system but it’s not. It is inspired by the film “A beautiful mind”.

KRISTIN: I found a desk and in a drawer I found belongings of a one women and suddenly all  the questions came up to me. I decided that project would  be about the questions. I made a poster and those questions people can vote, what I should do with the desk. So this is a model for a web work.

JORGE: For me this is exactly the model for collaboration! It was a good idea not to develop too much for this time. I have an offer from Kristin to use archive cultures web to make these kind of pools and questions. To make another kind of step that would further your development on the different level.

about interview with Lian:
Stig Tommy: For me it was interesting that you saw this potential between three of us (Ingvild, Kristin and me) to engage with collaborative project and go to visit Lian. It made me more laid back I would say.

GU: is it any possibility to continue?

Stig Tommy: I have another project as priority now. I like Lian, but now it feels I have  to put this project a side to get distance, as it feels I do not want to work with  this material at the moment

Kristin: Myself, I do not see possibility working together in collaboration within this project.

Jorge: It would be very important to have the film and your questions at the archive cultures project.

about ARA used for the sign system:
Hans: the ARA as a title was suggested by Ingvild.
I kind of liked it, as it sounded like if its ARA doing archiving and inviting people to see the archive workshop display. It sounded not boring, but exciting, so we could hope to get people to see it.

Stig Tommy: if I would known it was a joke,  then… now it’s funny, I do not think it’s serious

Nomeda: So, maybe this disorder in a library could be considered
as conceptual thing arranged by ARA – archives revolutionary army, not by you? So then it’s OK with librarian?

Pernille: I agree that it is conceptual gesture.

Jorge: I admit I did not provoke discussion on poster and my joke on ARA – archives revolutionary army was understood in a literal way. So I have to be provocative even more in a future. BTW I liked Hans intervention, the warning tape around the door to give an alarm or sign for an emergency in a middle of organized library. It gives a sense to the room.

Nomeda: this discussion once again proves the necessity to discuss while we are all in the process of making.

Archive Cultures October 25th, 2005

Archive Cultures workshop by Jorge Blasco Gallardo.

That is the objective of the workshop

The warehouses of the museums, the archives in general, are visited by
investigators and commissioners looking for documents that illustrate
what exhibition they develop wants to narrate. But those structures –
archive, stores, etc.- already narrate something. The workshop
proposes its participants to approach without a preconceived discourse
to documentary groups. That cultural heritage is not the image that
illustrates the pretext, is the pretext of participants own work to
elaborate their own project.

The workshop:

1. – To describe the project as included in a genealogy of scientists,
managers and artists who have used these strategies as support. The way
in which usually exhibition removes documents and object from archives
and warehouses, the ideological implications of this act and the
possible alternatives to the habitual tendency.

2. – To describe the birth of the project, and his structure as a
project in course that, at the moment, receives orders of institutions
to exhibit its cultural files according with the project’s concept.

3. – To describe the structure of team of independent professionals
united in each edition of the project and how they work.

4. – To analyze the material edited by the project: bulletins, books
and last and future productions.

5. – To describe relation of the project with Internet and free
software collaborating with the artist Daniel G. Andújar.

The fundamental point of discussion in the workshop is election and
detection of possible spaces of collaboration in Trondheim, since the
participants are the main judges of their surroundings, as well as the
justification of that decision which is fundamental for the development
of the workshop.

Afterwords, a project based on the material selected from local archives
is to be done.
The resultant material will be suitable to be consulted in a reference
table, so that it can be donated to collaborating institutions as
future consult material.

grandma dessert October 24th, 2005

a recipe of grandma dessert by Stig Tommy first tested during KIT fish party

KIT fish party October 24th, 2005

2 recipes on how to cook a very big fish, mixed by Rina Charlott and Morten N.

whale_party   whale_party

whale_party   whale_party

whale_party   whale_party

Posted in KITfish || No Comments »
Staats arkiv Trondheim October 17th, 2005

Archive Cultures workshop at Staats arkiv Trondheim

staats arkiv Trondheim

Archive Cultures workshop at Staats arkiv October 17th, 2005

Archive Cultures workshop visits Staats arkiv Trondheim

staats arkiv Trondheim   Staats arkiv Trondheim

staats arkiv Trondheim   staats arkiv Trondheim

staats arkiv Trondheim   staats arkiv Trondheim

staats arkiv Trondheim  staats arkiv Trondheim

Police archive October 16th, 2005

Archive Cultures workshop at police archive in Trondheim.

police archive

Police archive October 16th, 2005

Archive Cultures workshop visits Police archive in Trondheim

police archive   police archive

police archive   police archive

AC at police archive   AC at police archive

police archive   police archive

Reference room October 15th, 2005

Reference room at the library of KIT, NTNU

reference room   reference room

reference room   reference room

Archive Cultures lecture October 14th, 2005

lecture by Jorge Blasco Gallardo on Archive Cultures project
[ ]

Archive Cultures lecture   Archive Cultures lecture

Carnival at pro-test lab September 24th, 2005

Carnival at pro-test lab Vilnius by Cathrine, Linda, Hans Christian, Morten N.

carnival at pro-test lab

Carnival at pro-test lab September 24th, 2005

Last supper by Cathrine and Linda and streaming between Vilnius and Falmouth by Hans Christian and Morten N., visuals by Rut Rut [Vilnius]

last supper at pro-test lab   last supper at pro-test lab

last supper at pro-test lab   streeming at pro-test lab

last supper and streeming at pro-test lab   last supper and streeming at pro-test lab

Carnival at pro-test lab September 24th, 2005

Carnival at pro-test lab, Vilnius. Last supper by Cathrine and Linda and streaming session between Vilnius and Falmouth by Hans Christian and Morten N., visuals by Rut Rut [Vilnius]

carnival at pro-test lab   carnival at pro-test lab

carnival at pro-test lab   carnival at pro-test lab

carnival at pro-test lab   carnival at pro-test lab

carnival at pro-test lab   carnival at pro-test lab

pro-test lab workshop in Vilnius September 20th, 2005

Thursday Sept.22 – Monday Sept.26
Workshop Trip to Vilnius: Pro-test Lab, BMW, Siren…

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About Workshop Trip to Vilnius

It is a trip that is organized as an open framework offering DIY possibilities, encounters, meetings and discussions. It very much up to you and us how we organize it. What Vilnius site offers to you is much more than being flaneur in a turbulent merge of Soviet baroque and baroque baroque, meeting of utopian modernism, wild nature and agriculture in the city. It the encounter with post-soviet condition enlightened with of wild west and social democracy, at last it is the last chance to take part in the privatisation process of the city. Pro-test lab at the cinema “LIETUVA” will be your home during the exploration of cultural and political life in Vilnius, that would offer you during the weekend vertex of realities from opening of the BMW: The 9th Baltic Triennial of International Art to closing down the biggest cinema in the country “LIETUVA”.
Pro-test at the cinema “LIETUVA” suggesting place for screenings, talks, cooking, presentations, relaxing, sound or visual sessions, performance, taking the breaks and doing manifestations not yet mentioned here or elsewhere.

About the Pro-test Lab
Pro-test Lab project initiated by Nomeda & Gediminas Urbonas is conceived as a site that generates artistic production with a strategy to intervene the privatization process and the spekuliation of the real estate in Vilnius. Working with idea “reclaiming the public space” Pro-test lab is aiming to preserve one of the last public and cultural spaces in the city by launching the support campaign through the art project. Organized with a joined efforts of various groups, individual coming from neighbourhoods, architecture and film circles, art schools and universities, underground and independent culture Pro-test lab raises the voice of solidarity between the people.

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The Lithuanian artists Nomeda and Gediminas Urbonas, have worked together since 1997 on projects which all deal with Lithuanian society in the post-communist age. Through an interview made by the Dutch critic and activist Geert Lovink, they introduce the context of their on-going project Pro-Test Lab and give an insight into the multifaceted experiments carried out within this bustling laboratory. Pro-Test Lab
addresses the current brutal privatisation process of public spaces in Lithuania. It aims to save the last independent cinema in Vilnius, Cinema Lietuva, from demolition by generating all available forms of protests and actions.

READ MORE: An interview of Nomeda and Gediminas Urbonas by Geert Lovink
READ MORE: Pro-Test Lab Actions: Summer schedule –>

About the BMW
The 9th Baltic Triennial of International Art entitled “BMW” will open on Friday Septmeber 23 from 18.00.
Curators: Sofia Hernández Chong Cuy, Raimundas Malasauskas, Alexis Vaillant.
Highly profitable black markets not only – paradoxically – emerge within the economy as a result of enforcing strict sanctions in trade politics but are also the shadowy underside of legal economics and in this sense constitutive for the “official” economic system. The Triennial intends to explore artistic practices referring to the topic of the project. It aims to discuss the links between authorized and forbidden economic exchange and with that the interventions between marginalized and “official” fields. The structure of the Triennial adapts to the model of double structures. The main exhibition will take place the Contemporary Art Centre (CAC) in Vilnius while a second exhibition parallel in time will be presented in the Institute of Contemporary Art (ICA) in London and will correspond with that in Vilnius. The project will invite around 50 artists from more than 15 countries. In order to open up a new field of discussions about the topic, artists or collaborations of artists are encouraged to produce site-specific work for both of the exhibition venues, which shall enter dialogue and offer different perspectives on the phenomenon of black markets. The Triennial includes different formats and sites of presentations: Exhibition of art works, artistic interventions in the city of Vilnius as well as screenings of artists’ films in CAC’s own TV program (broadcasted on TV1 television channel in Lithuania). Debates, lectures and a seminar as well as a printed publication accompany the exhibition and will provide further background information and theoretical discussions about the artistic practices and the topic of the Triennial.
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Extra to this there are two meetings considered with:
Peter Watkins, most neglected major filmmaker at work today
More info at:

Raimundas Malasauskas, curator of BMW and producer of CACtv
A talk or TV/dinner?
More info at:

workshops September 10th, 2005

during 2006 following workshops are planed:
Teaching the teachers,
Archive Cultures by Jorge Blasco Gallardo,
Regina Moller,
tv workshow by Raimundas Malasauskas

The War Game September 2nd, 2005

16.00 – 18.00 film screening program
Peter Watkins “The War Game”.
Reading of a Peter Watkins’  critical media statement

scallops May 14th, 2005

a recipe by Gunnila

Ingredients for raw, marinated scallops with herb salad:

For 4 people you need 6 scallops

1 sjalott onion
½ teaspoon finely chopped garlic
½ teaspoon finely chopped red chili
1 lime
½ dl good olive oil
1 tablespoon walnut oil
salt and a little pepper
fresh coriander
fresh herbs, e.g. parsley, coriander, dill
lettuces e.g. lollo rosso, roccola or crispie

What to do:
Open and clean the scallops. Only the white muscle is used. Leave in cold water for 15 minutes, dry on kitchen paper. Keep cool until ready for use.

Put the chili in a dish along with the sjalott onion and the garlic. Grate the green lime peel into the same dish as the sjalott onion, the garlic and the chili. Squeeze the lime and add the lime-juice, the olive oil and the nut oil to the onion and chili mixture.  Add salt and pepper to taste and fresh coriander.

Herb salad
Wash a selection of lettuce and fresh herbs, shake well and  place on kitchen paper to absorb the water. Slice the scallop muscles into thin strips and put the portions onto plates. Drip a little of the marinade over the scallops and the rest over the salad. Serve in portions. Grind fresh black pepper over the scallops just before serving.

Steamed scallops with cream sauce and fried broccoli

For 4 people you need

6 scallops
1 finely chopped sjalott onion
1 tablespoon butter
1 dl white wine
1 dl water
salt and pepper

Fried broccoli
250 gr. Broccoli in small bouquets
3 teaspoons of salt
1 ½ l. Water
½ finely chopped garlic clove
1 finely chopped sjalott onion
½ teaspoon finely chopped red chili
1 tablespoon butter
1 dl cream
1 teaspoon chives

what to do
Open and clean the scallops, in this dish you use the spawn/milt and the white muscle. Place these in cold water for 15 minutes and dry on kitchen paper. Keep cool until ready to serve.
Fry the sjalott gently in butter until soft
Add white wine and boil half away, add water
Add the scallop muscles and the spawn/milt and cover.
Soak carefully at low heat for 2-3 minutes
Remove the scallops and the ‘caviar’/melke and keep warm.
Add the cream to the stock and heat until thick.
Add salt and pepper to taste, a few drops of lime and finely chopped chives

Boil the broccoli for one minute
Cool rapidly in cold water
Simmer the garlic, sjalott onion and chili in butter, add the broccoli and fry for 2 –3 minutes
Add salt and pepper to taste.
Cut the scallops into two or three strips and serve with the spawn/milt, sauce and broccoli. Decorate with chives.

Harun Farocki. The Creators of the Shopping Worlds April 21st, 2005

Glad to present the second film from a series of Harun Farocki screenings.
This film works with psycho mechanisms of the repressive system, in this case the object of the search is…the shopping world.

“I shop therefore I am” : what rhetoric and logic are imbedded into this vicious script. tomorrow, FRIDAY from 5pm. at the seminarrom.

The Creators of the Shopping Worlds
a film by Harun Farocki / 2001  / 72 min.

when: from 17.00, Friday, April 22, 2005

nomeda & gediminas urbonas : a film screening program: open for ALL

Shopping is an everyday cultural act; it is inevitable, taken for granted. Entering into the world of shopping – the world of shopping malls – can be a Dantean voyage into hell or a redeeming ceremony of Communion. Everyone is familiar with this experience and knows what a mall looks like. This self-evident phenomenon is, however, the result of a highly complex process. The designing of shopping malls is
overseen by an army of planners, managers and scientists: there are consultants, re-launch analysts, a central association, mall magazines.
6000 guests and laboratories attended an annual convention in Las Vegas at which such questions were investigated as where the gaze of a customer falls and how a “spontaneous” purchase can be induced. Farocki shows how mall producers look at malls when they want to find out, for example, how passers-by move, where they stop and where they reach for an article. He adds these images to the everyday ones – and gives them a magical charge.

1944: born in Novy Jicin (Neutitschein), in German-annexed Czechoslovakia.
1966-68: attended the Deutsche Film- und Fernsehakademie Berlin (DFFB).

After teaching posts in Berlin, Düsseldorf, Hamburg, Manila, Munich and Stuttgart Farocki took up a visiting , professorship at the University of California, Berkeley from 1993-1999.

Farockis has made close to 90 films, including three feature films, essay films and documentaries. Produced numerous publications, exhibitions and installations in galleries and museums.
1974-1984: editor and author of the magazine Filmkritik (München).

Since 2004 visiting professor at the Akademie für Bildende Künste,

I Thouht I was Seeing Convicts April 20th, 2005

screening of the film “I Thouht I was Seeing Convicts”
by Harun Farocki / 2000 / 25 min.

It is part of a seria of Harun Farocki films, that are on the way to be presented at the screening series organized as part of “intermedia input:open for ALL”.

WELCOME to the screening! more info below.


“I Thouht I was Seeing Convicts”
by Harun Farocki / 2000 / 25 min.

from 17.00, Wednesday, April 20, 2005


Gediminas Urbonas


1944: born in Novy Jicin (Neutitschein), in German-annexed

1966-68: attended the Deutsche Film- und Fernsehakademie Berlin (DFFB).

After teaching posts in Berlin, Düsseldorf, Hamburg, Manila, Munich and Stuttgart Farocki took up a visiting , professorship at the University of California, Berkeley from 1993-1999.

Farockis has made close to 90 films, including three feature films, essay films and documentaries. He produced numerous publications, exhibitions and installations in galleries and museums.

1974-1984: editor and author of the magazine Filmkritik (München).

Since 2004 visiting professor at the Akademie für Bildende Künste, Vienna,Austria;

ON FILM: I Thouht I was Seeing Convicts

Images from the maximum-security prison in Corcoran, California. The surveillance camera shows a pie-shaped segment: a conrete-paved yard where the prisoners, dressed in shorts and mostly shirtless, are allowed to spend a half an hour a day. A convict attacks another, upon which those uninvolved lay themselves flat on the ground, their arms
over their heads.

Thy know what comes now: the guard will call out a warning and the fire rubber bullets. If the convicts do not stop fighting now, the guard will shoot for real. The picures are silent, the trail of gun smoke drifts across the picture.

The camera and the gun are right next to each other. The field of vision and the gun viewfinder fall together…

fish soups April 14th, 2005

2 recipes of fish soup executed simultaneously by Cathrine and Marieke

“La Commune (Paris 1871)” March 10th, 2005

20.00-02.00 Film screening at the SKYBAR:
“La Commune (Paris 1871)”.
Dir. Peter Watkins. 1999, 375 min.

note: film is 6 hour (its on French revolution, therefore cannot be short) so bring your drinks, mattresses, blankets or sleeping bags.
Against the will of director we gonna have breaks.

FUTURO March 9th, 2005

16.00-17.30 Film screening at the Seminaarom:
“FUTURO: tomorrow’s house from yesterday”.
Dir. Mika Taanila. 1998, 29 min.

Future is not what it used to be March 8th, 2005

16.00-17.30 Film screening at the Seminaarom:
“Future is not what it used to be”.
Dir. Mika Taanila. 2002, 52 min.

extra note February 15th, 2005

The Yesmen. we find interesting in relation to infiltration strategies
and critique of corporations (Hans?)


Laura’s eyes, the film, was the story of any woman predicting the
immediate of people she regarded. “Laure’s eyes” a book by Jacques Lacan
(reminding of Bataille’s Laure’s eyes)… on transfer in psychoanalysis :
regarding Laure’s eyes crying it does not tell really about the suffering of
the patient to the psychoanalysis. Laure’s eyes in George Bataille works is
the real regard of Laure – Colette Peignot who died cause tuberculosis – or
sacrifice ?

Hello, I am Laura, a security guard at the Vancouver Art Gallery. Through work,
I have access to a lot of security cameras. I hacked a way to put one of …

Coming Attraction: Between Synopsis and Trailer by Constanze Ruhm

Here is an abstract in citylights bookstore site (at Cisco)

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teaching the teachers February 14th, 2005

It’s an ongoing series of workshops in the kitchen.

Seinfeld & Animated Superman AmEx Internet Webisodes Air on NBC and Net January 27th, 2005

Seinfeld & Animated Superman AmEx Internet Webisodes Air on NBC and Net

May 20, 2004

Look up on NBC and the Internet, it’s a bird, it’s a plane – no it’s comedian Jerry Seinfeld and an animated Superman. Seinfeld and Superman return to the Internet May 20, 2004 with a second “webisode” for American Express while the first animated campaign airs tonight at 8:54to 9:00 pm on the NBC network before the encore performance of the FRIENDS finale. The first webisode, A UNIFORM USED TO MEAN SOMETHING, set in New York City, debuted on the American Express Website March 29 and drew enough attention to get a timeslot on TV in primetime.

The new four-minute webisode, entitled, HINDSIGHT IS 20/20, launched today exclusively at HINDSIGHT IS 20/20 is the second installment from “The Adventures of Seinfeld and Superman.” Both webisodes were co-written by Seinfeld and directed by acclaimed film director Barry Levinson (DINER, RAIN MAN). The animation was produced by Unplugged Studio in Toronto (

The sequel, shot on location in Death Valley, California, follows Superman and Seinfeld as the two set out on a cross-country road trip in one of Seinfeld’s legendary vintage cars. As in the first installment, the two continuously banter, engaging viewers in a hilarious snapshot of the unique friendship between comedian and Kryptonian. While Superman nears his wit’s end trying to open a pesky pistachio and deflects questions from tourists about Green Lantern, Seinfeld tries to get The Man of Steel to reveal the origin of his moniker. When trouble ensues Seinfeld saves the day by employing Roadside Assistance, one of many services provided to American Express cardmembers.

“I love taking road trips and thought it would be fun to invite Superman along for the ride – I’m sure he misses a lot of scenic spots when flying at super-speed,” said Seinfeld. “I’m excited to debut HINDSIGHT IS 20/20 – we had a fantastic time making it, and I think our fans will really enjoy it.”

“The first webisode proved to be a great way to build consumer interest in our brand, and demonstrate our card benefits in a lighthearted way,” said John Hayes, American Express’ chief marketing officer. “We are excited to present the sequel so fans can enjoy more comedic adventures of Seinfeld and Superman.”

Visitors to will once again be treated to a unique interactive experience. Viewers return to the cozy living room of a New York City apartment, complete with a view of the Empire State Building, candid snapshots of Seinfeld and his superhero pal, a clickable Broadway show program and more. In addition to viewing HINDSIGHT IS 20/20, visitors will find the first webisode, “A UNIFORM USED TO MEAN SOMETHING, plus behind-the-scenes footage from the making of both webisodes.

American Express Co. is a diversified worldwide travel, network, and financial services provider founded in 1850. It is a leader in charge and credit cards, Travelers Cheques, travel, financial planning, investment products, insurance and international banking. For more information, visit

interaction, postproduction and relational esthetics January 26th, 2005

Sum up of the second week: thoughts and links.

We started addressing notions of social interaction, postproduction and relational esthetics discussed by the French theorist Nicholas Bourriaud, a curator at the Palais de Tokyo in Paris in his “Relational Aesthetics”, where he discusses intervention,
provocation, documentary, archives, uncanny, hybridity.

links to consider:

we wanted to stress the notion of encounter of art & public-
“Art Meets Everyday Life”.

Next to this we mentioned Jakob Jakobsen and Manifesto of
The Copenhagen Free University:

check the KLARTEXT! symposium in Berlin that stages discussion on relationship between art and politics, politicization or art and issues of activism.
You can find some interesting people.
Look for “Yes Men” (their new DVD comes out next week so I try to get hold of it):

look at the links of participants, as some of the theorist/artists might be useful to consider: Chantal Mouffe, Brian Holmes, Simon Sheikh, Irit Rogoff, Chto delat?, Francesco Jodice/Multiplicity;

look at the Russian recent initiative, publication and website:

in this context I proposed you not to forget the opportunity to take part at RAM7:Models of Collaboration
web is on (!):
this workshop-event is from series
contact Kristin Bergaust about that.


we introduced our interest in script as part of a convex apparatus of media (again relational mechanism) and how it is employed by institutions/corporations. To illustrate this i “borrowed” few “webisodes” with comedian Jerry Seinfeld and an animated Superman as part of ad campain for American Express:

look at the link this example builds with project line based on Ann Lee, a character from Japanese animation (anime) whose  rights were acquired  by artists Pierre Huyghes and Phillipe Parreno to create a new life for the manga, under the title “NO GHOST, JUST A SHELL”.

We introduced notion of the “script”, which is employed not only in our work and language, but is crucial part of cultural discourse at large. We would suggest to look
at this reference in the discussions and construction of the works.

For a beginning few links, that might give you a fresh insight (and fun as well), work by Norman Klein / Lev Manovich (1998):

and the other links you with the
seminal text by Mark Rakatansky “Spatial Narratives”, (1991)

think about it!
it could be a great fun and smart thing if you do it.
stage a group meeting next week just yourselves and discuss.
we need to know your feedback by the end of next week.

as an example you may look at web documentation
of Dutch artists Bik van der Pol:

1_st_screening_”Derrida” January 25th, 2005

the series of weekly screenings
every Thursday at the Seminarrom

This series as part of Nomeda & gediminas Urbonas teaching
in-put@intermedia, charts a territory emerging at the intersection of artistic and cinematic models and discourses.

The shift from being “on cinema” to drawing on a different modes of production articulates the structures, forces, and subjects at work in the relations between society, cinema, and culture.

The character of this screening series contributes structurally, a parallel to the development of the works and pursuing objectives during spring semester at KIT.


“Derrida”, by
Dir: Kirby Dick and Amy Ziering Kofman, 2002, 84’

at Seminar Room, KIT – January 27, from 14:00

“What if you could watch Socrates, on film, rehearsing his Socratic dialogues? What if there was footage of Descartes, Thoreau, or Shakespeare as themselves at work and in their daily life? Might we now look at these figures differently, with perhaps a deeper understanding of their work and lives?”
From Derrida the movie website.


“The very condition of a deconstruction may be at work in the work, within the system to be deconstructed. It may already be located there, already at work. Not at the center, but in an eccentric center, in a corner whose eccentricity assures the solid concentration of the system, participating in the construction of what it, at the same time, threatens to deconstruct.
One might then be inclined to reach this conclusion:
deconstruction is not an operation that supervenes afterwards, from the outside, one fine day. It is always already at work in the work. Since the destructive force of Deconstruction is always already contained within the very architecture of the work, all one would finally have to do to be able to deconstruct, given this always already, is to do memory work. Yet since I want neither to accept nor to reject a conclusion formulated in precisely these terms, let us leave this question suspended for the moment.”
Jacques Derrida, Mémoires, pour Paul De Man, read by Amy Ziering Kofman

From Derrida the movie website
What if you could watch Socrates, on film, rehearsing his Socratic dialogues? What if there was footage of Descartes, Thoreau, or Shakespeare as themselves at work and in their daily life? Might we now look at these figures differently, with perhaps a deeper understanding of their work and lives?

Filmmakers Kirby Dick and Amy Ziering Kofman asked themselves these questions, and decided to team up and document one of the most visionary and influential thinkers of the 20th century, a man who single-handedly altered the way many of us look at history, language, art, and, ultimately, ourselves: the brilliant and iconoclastic French philosopher Jacques Derrida.

For over five years, Dick (“Sick: The Life and Death of Bob Flanagan, Supermasochist”) and Ziering Kofman (Producer, “Taylor’s Campaign”) played Plato to our own modern day Socrates. The filmmaking team shadowed the renowned philosopher, best known for “deconstruction,” and captured
intimate footage of the man as he lives and works in his daily life.
They filmed Derrida on his first trip to South Africa, where — after visiting President Mandela’s former prison cell — he delivers a lecture on forgiveness to students at the University of the Western Cape. The filmmakers travel with him from his home in Paris to New York City, where he discusses the role of biographers, and the challenges that are faced when one attempts to bridge the abyssal gulf between a historic figure’s work and life. They capture Derrida in private moments, musing reluctantly, about fidelity and marriage, narcissism and celebrity, and the importance of thinking philosophically about love.

Yet DERRIDA is in no way a talking heads movie or conventional biographical portrait. Its bold, visual style, mesmerizing score by Oscar-winning composer Ryuichi Sakamoto, and novel editorial approach create a rich, lively cinematic experience, at once provokes, amuses and entertains. In resisting any predictable, formulaic approach, they make Derrida a living, informal demonstration of “deconstruction” – a system of thought which up to now has otherwise eluded cinematic capture. The result is not only thought provoking, but ground-breaking.


we suggest we would run it on behalf of Intermedia
and it would be open for ALL. It’s important that it has
consequent screenings, so if its fine we stick to proposed date:
each Thursday from 14.00 at Seminarrom.

so the program we suggest:

27.Jan. “Derrida”.Dir. Kirby Dick and Amy Ziering Kofman. 2002
03.Feb. “Future is not what it used to be”. Dir. Mika Taanila. 2002
10.Feb. “The War Game”. Dir. Peter Watkins. 1966
17.Feb. “BaadAsssss Cinema”. Dir. Isaac Julien. 2002
24.Feb. “Frantz Fanon: Black Skin, White Mask”.  Dir. Isaac Julien. 1996
03.Mar. “The Battle of Orgreave”.  Dir. Jeremy Deller. 2001
10.Mar. “La Commune (Paris 1871)”. Dir. Peter Watkins. 1999
17.Mar. “I Thought I was Seeing Convicts”, Dir.Harun Farocki. 2000

under consideration (in case if 3 last films are not here in time):
“Consolation Service”. Dir. Eija Liisa Ahtila. 1999
“Marat/Sade” Dir. Peter Brook.  1966
“Punishment Park”. Dir. Peter Watkins. 1971
“Looking for Langston”. Dir. Isaac Julien. 1989
“Reminiscence of a Journey to Lithuania”. dir. Jonas Mekas. 1972

we would love if you would bring your suggestions.
We could either “mix” them showing the same day 2 films during
Thursdays screenings starting from 14.00 to 17.00;

Or we could “split” into two weekly sessions, lets say yours
is on Tuesdays after group meetings???
You decide how you plan to do it.

we will provide you (during next weeks) with .pdf files
for posters, so you could distribute info about sreenings.

links_activism, networking, open source January 14th, 2005

sum up of the first week ideas unfolding space of activism, networking, project based on the philosophy of open source:

first it was mentioned RAM: re-approaching new media,
series of workshops organized by partners-media
labs around the Baltic sea:

initiators of this project:

LAB in Riga, cool for their sound events and net radio

our initiative in Vilnius (not much stuff on web yet)

some personalities hosted for RAM6 in Vilnius:
Kim Cascone (for those interested in sound)

Geert Lovink, one of the most interesting new media theorists,
writing on the internet culture and networks:

Creative Commons, alternative version to copyright.
this u all take into consideration
if ever distributing your creative content:

and finally film archives,
take a look at Prelinger archives:

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