Archive To Be Deleted! 

Archive To Be Deleted!
Art.Teleportacia Clone 0100101110101101.ORG
algae rhythm 10
The Multi-Cultural Recycler
F0RWARDPUNK - How to crash a mailserver.
Redundant Technology Initiative
'Dead Media'
Enemy processing system
next future

The Archive To Be Deleted is the vacuum cleaner of the Internet. It is a testament to the waste of these End Times of the twentieth century. As the Real has become the Unreal, data substituted for matter, information overtaking knowledge, the rejected has now become the embraced, an Anti-Moderated mailing list, that sends no mail.

…Moderation rejects, filtered messages, virus hoaxes, stupid spam - the stuff that you - hate - getting in your in box. Send it in! We love it! 

Subscribe and send us your heart-felt (and/or acidic scorn of) ascii-art, poetry, cultural explorations, junk and spam mail, random line noise, thoughtful conversation , deformed HTML, antiorp mail, inoperable or hostile javascript, rants, outbursts, interesting information, tidbits, gossip, whatever, that has come into your mailbox or whatever you just plain don't care about.

We are building an autonomous database of digital refuse; the contents and history of e-mail discards indexed mapped and cross-referenced: an archive of absence!

This data will be accessible via a web interface starting in the year 2000 (y2k bug supplied free!). After the mail is received by the Archive To Be Deleted, it is deleted, but only after transfer to the 'Indelible Archive', which is found at http://autonomous.org/dev/null. The Indelible Archive is an essential tool for all those determined 'dataminers' of the culturo-technical detrius-sphere. Great for kids, demographers (just what do people chuck away?), cultural workers, essayists, sociological researchers and the just plainly curious (or self-interested)! A living evolving database of dead and discarded mail from the end of the millenium.

The Archive To Be Deleted, 'delete@autonomous.org', will only accept your data-trash if you subscribe! To transmit your 7-bit ascii or 8-bit mime send 'subscribe delete' to majordomo@autonomous.org Now! Reading outcast e-mail is available by sending 'subscribe delete-request' to majordomo@autonomous.org 

But it's not just a service for bored emailers or junk ascii afficionados; the Archive To Be Deleted can be used to make sure of what you DON'T see. In development - 'Kill list' matching template service. Benefit by co-operating with millions of others like you who despise e-mail time-wasters, or try our keyword matching service to find street cred pomo poetry, instant song lyrics, thesis titles, and band and product names! Use others experience of data trash to build killfiles and mail filters! Our search and categorization features allow for free, random, input: suitable for conversational cut'n'paste and spam-filters!
To have this devasting expose of 20th century trash on-line on 2000/01/01, we need your data trash now! 
Hit send.
Nb: if you send your own material, all posts received are copyright-free, what you send, is no longer owned by you, or anyone. We regard that e-mail sent out publically is given freely by the sender; there is no copyright in the texts. The database will be free to list subscribers, as were the inputs. Because of this restriction, please don't send actual personally addressed messages sent to you as 'letters', unless you have the permission of the sender.


sero /Joachim Blank & Karl Heinz Jeron/

A hybrid project of Joachim Blank and Karl Heinz Jeron on recycling Internet home pagers out of Internet.


The visitors of the site http://sero.org/dvt/ are offered to register their e-mail and their home page address. If you fill in the form, special program will copy the content of your home page. Texts and pictures are processed by filters using different samples of stone structure. As a result there is an imitation of stone slab with text and picture. As soon as the imitation is ready you will get an e-mail message. Besides, this picture-imitation is put into the lists of other registed visitors, so it becomes available for all Internet users.

It is possible to make it real. You fill in the form on http://sero.org/dvt/ and order your home page made of real stone. These slabs are made of granite or marble with inscribed home pagers in two copies. Their size is 40x60x2 sm. They are made in Blank and Jeron studio (Blank&Jeron e-mail sero@sero.org) and are sent to the customer after payment.
The results of the project look like headstones. The main idea of the project "Dump Your Trash" is in a simple question: What is the idea of Internet home pagers? The headstones witness the fact of existence. Could we say the same about home pagers?
"Dump Your Trash" is a project from series "Information. Recycling."


Manu Luksch

User's Manual

The programmes of ArchiVirus are not conventional automatic viruses, but tiny philosophical tools designed to recycle files. The text files will be deconstructed to its elements, letters and punctuation marks. Therefore the user receives the same amount of letters, but now in alphabetical order, ready to serve as raw material for new texts: ArchiVirus plays with the relation of the mental processes of FORGETTING and REMEMBERING to the computer processes of DELETING and SAVING. Superfically considered, these notions are related analoguely, but: we are able to remember, what we deleted and to forget, what we saved...

Since gigabyte-hardware is cheaper than a simple wooden bookshelf nowadays, we don't need to face the feeling of doubts or fear about which file should better be kept and which should be discarded in order to economize (computer-) memory. We can afford to keep all information, henceforth the main concern is how to find the saved information...

We are all surrounded by data trash.

Collecting and conserving are considered to be valuable cultural techniques and are socially supported, while forgetting passes for a deficit. Impressive buildings, palaces etc. are dedicated to REMEBERING: museums, libraries, archives, private and public collections. Information and dummy information spread and become obsolete faster and faster. ArchiVirus supports conscious deleting >and offers diverse rituals to get rid of useless data.



<zvrst3> is a trash collected for the"Trash-Art" - the International Net festival of art projects by <intima> in April 99.
- - - - -
"Ask not what you can do for your country - ask what your country can do for you!" (K.F.J.)

The story about <zvrst3>

SINGLE, structurally equal to ALL and endless in the microstructure is  showing the totality and breakness of <zvrst3> in her mirror image. ONE, split into TWO is compatible with the life of <zvrst3>. The magic structure of ONE and the obsession with the individuality inspires the ritual beauty of polarity which is shown on the altar of art. The story about <zvrst3> is 
presented by a mathematical microstructure.

The circle is drawn and in the circle there is a whole world.

There is a world of the UNIVERSE and a world of the ATOM, but <zvrst3> is the zone of their co-existence.


Wendy Vissar Lekso's 


ABOUT CODEBOX: Leksos Codebox explores the connection between the ways people interact in the real world and in the online world. The goal is to examine the influence that cultural and personal backgrounds and histories exert on how the online community is evolving through computer-mediated communication. To accomplish this, I have developed a web site that draws a direct link between my ancestors code of conduct and my own online behavior. Personal stories and family photographs illustrate this connection and aim to inspire the viewer to draw conclusions about his or her own life, both online and off.The foundation for this site is a medieval Albanian code of conduct known as The Code of Leke Dukagjini. It is a set of rules and obligations, passed down over the centuries by word of mouth but not put into writing until 1913. Also known as the Kanun, the code book places honor and hospitality above all else. While the code is no longer widely adhered to, its tenets influence the everyday lives of modern day Albanians. In hypertext form I use photographs, stories and sound files to illustrate several key aspects of the code and their relationship with my modern American-Albanian upbringing. I then have developed interactive pages at the end of each sequence so that the site viewers may contribute stories of their own. The enduring goal of my site is to provoke viewers to become aware of the codes they live their lives by and to examine which of those codes they embrace or abandon when they participate in Internet communication. I use a historical perspective to reveal how aspects of our unique and varied cultural backgrounds shape computer-mediated communication. Leksos Codebox was part of Prix Ars Electronica 98 as an Honorary Mention in the Net category.




algae rhythm 10

algae rhythm 10 is the second incarnation of the algae rhythm series.
the first, algae rhythm 1 is an audio CD of generated soundscapes, composed >and recorded sometime late in 1996*. This was my first excursion into digital sound manipulation... using director to play quicktime audio movies at random speeds direction and intervals.
algae rhythm 10 takes this aesthetic of random generative composition into the webspace, using javascript and html to create an experience of frustrated surfing..

the www in its infancy has done what most infants do well, it has been impressionable and taken on as much as it can to further develop. Corporate sites now set the standard for most surfers, both in content and navigational architecture mainly because of their frequency and marketing strategies. what is wow! one day is blah... the next. something is up...

why does a link have to go where you want?

why should it tell you where you're going?

what is this gui doing to humans, and their expectations of reality?

in answer to the question of the problem of cultural trash data, i can only point you to a remix of the trash art help page...
http://www.overlobe.com/trash while theoretical reasons for aesthetic expressions are good and well, I don't really know why i do most of what I do.. just that it feels right at the time, and that I get a kick out of it!


Frederic Madre 

The psychiatrist is seated behind her desk. In front of her, a plate. She talks to the patient and points to the gelatinous ovine mass on the plate "this is your brain", she says calmy. She grabs a green bottle on her desk and pours the cheap red wine on the freshly butchered organ. The patient looks at his brain on the plate, raw, fragile and burned. "This is what alcohol does to your brain", the psychiatrist says. 

m.s.t. is a constructed ruin.

The woman is sitting in front of him, at the restaurant, she is finishing the strawberries and talks to him, "We need to talk". He pays the bill as the cells begin to rearrange, adapting to the new situation. They walk out and part forever. Give him a great big kiss. It's a song, that he sings to himself. He thinks, to eat, to sleep, without you. 

m.s.t. was built on the remnants of a japanese pornographic site. Its hard tissue was opened, cracked like a lobster. The good stuff, the flesh, is in the inside. It's all soft inside, all white and defenceless. When it's empty, the shell can be reused and stuffed again, animated like a puppet. Made to walk and talk.

He thinks "with you" and the rot sets in, small pieces of memory disappear, vast areas of souvenirs are rendered meaningless, the rest is detached and astray. Rust never sleeps. It feasts on the tears. To eat, to sleep. The sex, your shrine, burns. A blurred image of the sex, your shrine, burns. The joy of burning flesh, to eat, to sleep "sans toi" means without you. 

m.s.t. is a happy piece. The joy of burning raw flesh. The destruction that love brings exists during the joyous idyll, it is love itself. The best part of breaking up is being yourself again. Without you, it's me. It's a kick.

He is a happy man. Here are pictures of her. She has big black made up eyes. She has dark hair. She works in a clothes shop in Kassel. Through the shut window door, he took a picture of her vacuuming the floor of the shop. She looked up at him and they smiled at each other. Do you like your work? They went to the movies, and that was enough of what he wanted to remember. Emptying his pockets on the table, she was there again.

m.s.t. is a one sided story that you can click at in search of the lost part. She was there, a kick.


Amy Alexander
The Multi-Cultural Recycler

"In the future everyone will be famous for fifteen minutes." Andy Warhol

If Warhol could experience the recent explosion of influence that the World Wide Web has had on contemporary culture - and vice versa - he would probably say, "I told you so." Warhol's prediction of the dispersion of celebrity is played out throughout the web, on computer users' homepages. On a homepage, you can be as flamboyant, banal, eccentric, or straightforward as you want, and, through the magic of search engines, someone, somewhere, will find you. Having found you, people can discover, scrutinize, and discard you, without your even knowing.... and thus you become a star - of sorts. Alas, we've become a culture focused on images, so in order for you to be a real star we've got to see you through the lens of a camera. 

Fortunately, many on the web have conquered this minor technological hurdle and have connected live video cameras to their web servers. These cameras can be aimed at anything within shooting distance of their owners' computers, twenty-four hours a day, be it interesting, banal, or even barely visible. Some of the cameras function as surveillance devices (one web camera points at the ice rink in New York's Rockefeller Center, many point at bus stops, street corners, beaches, etc.) Other cameras are clearly the result of their subjects' exhibitionist whims (officecams, feetcams, name-of-owner-cams, etc.) A third group of cameras falls somewhere in between, and involves some sort of unwitting subject belonging to, or associated with, the camera owner (babies, animals, inanimate objects.) All of the cameras depict a reflection of their owners or their owners' environments as reinvented for the web public. No matter what the subject, we faithful of the web will point our browsers at these webcams, to see what the traffic's like in Tokyo, whether that dog is sitting on the couch, does anyone ever use that toilet? Perhaps we are like the proverbial early television viewer watching the test pattern for hours because it was the only thing on, but we keep tuning in to these sites, and sure enough, they achieve a measure of fame - at least within the ever-growing culture of the web. One of the earliest webcam sites - a camera pointed at a coffeepot sitting in a university in Cambridge, England has achieved pioneer status and affectionate renown, reminiscent of that bestowed upon comedic actors of the early days of television. As these webcams and their subjects achieve fame, they become part of the culture of the web and, if past patterns hold true, they will become subject to cultural recycling. With this decidedly tongue-in-cheek idea in mind, and with a desire to create a dynamic website in which something unique to the moment happens during each visit, I created The Multi-Cultural Recycler.
Getting back to Warhol's prediction of fifteen minutes of fame for everyone: is the web truly the fulfillment of this prophecy? Not entirely - at least not yet. First of all, the famous of the web currently stay famous for much longer than fifteen minutes. More significantly, the web still does not reach numbers even approaching 'everyone,' and it probably never will. Still, it has at some level 'democratized' fame, a byproduct of the democratized means for personal expression the web provides - certainly a commendable thing. So, let's hope that continues. And if web culture gets too clogged up, we can always Recycle....

When a visitor accesses the Multi-Cultural Recycler website, the Recycler selects two to three sites from an assortment of web camera sites, and downloads the most recent image from these cameras. Alternately, the visitor can assume responsibility for the selection of cameras by choosing the "Make your own Cultural Compost" option. This option also provides the opportunity for visitors to re-recycle images generated by previous visitors, who, by exhibiting their work in the Multi-Cultural Recycler Gallery, have submitted themselves to the web culture, thus giving tacit approval to becoming objects of cultural recycling. After the cameras and/or images are selected and obtained, the Recycler performs digital image processing on these images to create the 'recycled' image. Visitors to the website can also view the source images, and link to these images' original sites to learn their original context.

The Recycler Gallery holds only six images: each time a visitor posts a new image, the oldest image on the page is deleted to accommodate the new one. When I speak with Recycler visitors, I've been surprised to discover that many of them are dismayed with this lack of permanence; many people ask me if I maintain an archive of past Gallery images. Again, my initial reaction to this was, "Why would anyone want to keep these?" I've always felt that the constantly-changing nature of the piece and the ephemeral nature of the images created are significant aspects of the Recycler - as with popular culture itself, presence in the Recycler is short-lived. Web art has the advantage of being able to change constantly, to connect with the world outside the piece at any moment - but in the process, permanence can lose significance.


Mindaugas Gapsevicius

>The project has been started on the mailing list 7-11. It was based on HTML
>(Hypertext Markup Language) document source what usually people don't look at
>while surfing the net. Afterwards the project was adapted for internet users.
>The goal of the project is incorrect (i.e. written with mistakes) HTML document,
>which at first sight looks like a trash. Though every trash could have its own
>'philosophy'. Here spectator follows notices which comes while navigating the
>"7-11@mila.ljudmila.org" project. These notices are given by Internet system -
>would it be web server notice (for example Document not found) or browser notice
>(alert). Spectator can also find very 'professional' composition of java scripts
>or tags used in unusual way.



about://404.jodi.org%Print in SMALL Font size !!

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lst_ m nms_ lstdntfrgtth_ lstdnt_ lst_ lst__ wht th fck r ppl dng
hr?___nd th psswrd__23_23 tj_ wht th fck r ppl dng hr?__blstd_wnt
_hrm_nd th psswrd_23 tj_23_lstdntfrgtthns wr_ lstdntfrgtth_lstdnt_
lst_ lst_m nm s mrk_gfhfg_23232323_23_ ths plc s wst f tm!!!!!_
wht th fck r ppl dng hr?_ </bsss>_ </wrk> _h_ 123_ xXxxxxxxxx_ xXxxxxxxxx_
xXxxxxxxxx_ xX_xX_x_nd_sntnd_snt_
clr_Sdsd_S_-c_c_/crp>))_/crp>_/crp_pls_fck ff drt whr!_fck ff drt
whr!_grt!!!!!_ chmd ht kn drmchm_chrtf_slbr schld!!!_Hh
stfn!!!_Hh_Hh_Hh_Hh_Hh_lv_fdj_ dddd_w_h_jbkhjkhll_ jbkhjk_g_
van3d11.dial.uniserve.ca:Robert anton Wilson, it's only a kitten. Ya'
like sonic youth? van3d11.dial.uniserve.ca:selket guards the tomb
van3d11.dial.uniserve.ca:it is the twenty-third and cirius is in the skies
redwards.dialup.access.net:mommy dt0c5n13.san.rr.com:gnfhnb
redwards.dialup.access.net:sex 18-ppp-a.tnt04.agis.net:hhhh
dialc111.ppp.lrz-muenchen.de:so...was dieseproteus.cantech.net.au:hellooooo???
proteus.cantech.net.au:hellooooo??? dialppp-5-14.rz.ruhr-uni-bochum.de:23
i & youaiI & YOU!!!YOU A_E _00!!! _YE!!! ye! _o_e_ __i_!!! :)i & you ! oei! I
& YOU!!!i & you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I &
YOU!!! i & you ! oei! I &YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I &
YOU!!! i & you ! oei! I & YOU!!! i & you !oei! I & YOU!!! i & you ! oei! I &
YOU!!! i & you!oei!I&YOU !!!:))))))))))))))))))))))))))))))))))i & you ! oei! I
& YOU!!! i & you ! oei! I & YOU!!! i & you !‡oei! I & YOU!!! i & you ! oei! I &
YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i &you ! oei! I &
YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I
&YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I &
YOU!!! i & you !oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I &
YOU!!! i & you ! oei! I & YOU!!! i &you ! oei! I & YOU!!! i & you ! oei! I &
YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I &YOU!!! i & you ! oei! I &
YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you !oei! I &
YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I &
YOU!!! i &you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I &
YOU!!! i & you ! oei! I &YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I &
YOU!!! i & you ! oei! I & YOU!!! i & you !
oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you !
oei! I & YOU!!! i &you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you !
oei! I & YOU!!! i & you ! oei! I &YOU!!! i & you ! oei! I & YOU!!! i & you !
oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you !oei! I & YOU!!! i & you !
oei! I & YOU!!! i & you ! oei! I & YOU!!! i & you ! oei! I & YOU!!! i &you !
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ai?a' oio?ee i e oea1 http://404.jodi.org


Rachel Baker

>PDF or, personal data fairy, collects surveys and questionnaires found
>from the web. It then sucks the data posted by the user into a database
>and replaces it with the personal data trash of Rachel Baker.
>The idea being that my data trash is sent to swamp other people's
>databases through the web.
>It's quite a vampiric and aggressive method of increasing
>my data presence in an overt challenge to the paranoia of privacy on the net.

F0RWARDPUNK - How to crash a mailserver.

F0RWARDPUNK is consisting of 11 mail-addresses, and each will send it Os mail to the next one, without knowing what happened before and where it will be sent after. A loop has developed. Each of the mail-systems is doing what it has to do.
E-mails consist of the body, including the message and the header, that is written by the sendmail-programs. Headerlines can look like this:
Received: from zebra.marketsite.ru (zebra.marketsite.ru [])
by linux167.dn.net (8.9.1/8.9.1) with ESMTP id NAA31994
for <forward@caryon.com>; Fri, 4 Jun 1999 13:30:14 -0400
While a mail is in the loop, headerlines will repeat, except the time, that alters. While a mail is in the loop, it will enlarge as much as headerlines are added. The transport information is bigger than the message that shall be transported. This way also the file-size is growing. If the mail has reached a significant size by circling e.g. 10000 byte, it is forced by a small script at student2@hgb-leipzig.de to leave the loop. It is send to another (outside) adress to be later saved on harddisk.
Saturday June, 19th this has crashed the HGB-mailserver. After leaving the loop, the mail was sent by the script to a given outside-mailadress (francis@geocities.com), that should save it for documentation reasons. This adress didnOt work and replied the mail automaticly to student2@hgb-leipzig.de with "user unknownO-error . There the script decided that this mail is bigger than 10000 byte and sent it once again to francis@geocities.com and so on. Each time headerlines where added and failure-messages copied into the body. After 5 hours the sendmail-program had no swap/temp-space and stopped working. These are the three last lines of the sendmails error-log:
Jun 19 10:59:44 media18 sendmail[17487]: KAA17484: to=francis@geocities.com, ctladdr=student2 (1007/100), delay=00:00:06, xdelay=00:00:01, mailer=esmtp, relay=mail.geocities.com. [], stat=User unknown
Jun 19 10:59:45 media18 sendmail[17475]: KAA17475: SYSERR(student2): putbody: write error: No space left on device
Jun 19 10:59:45 media18 sendmail[17475]: KAA17475: SYSERR(student2): savemail: cannot save rejected email anywhere
Think of F0RWARDPUNK as a sculpture. It is formed by vectors, which are described by the computers configuration, operating-system, time and timezone as well as itOs geographical coordinates. F0RWARDPUNK is not interactive.


Ian Campbell

CV: Ian Campbell is a digital artist who lives and works on Vancouver
Island, Canada.

I took the idea of Imperialism
symbolized by a radio with no tuning dial
broadcasting poor quality digital non-sense
as a kind of joke on the poor people
unlucky enough to labour
under a foreign domain

I recycle your cultural products
for you
I destroy your language
as a benevolent dictator
I invite you to do the same
to mine
which is trash
which is fair

see also – http://www.islandnet.com/~ianc/imp/info.html


Redundant Technology Initiative

What is Redundant Technology Initiative?                         

                 RTI is an arts project based in Sheffield, England. It started in                                                                                     1997 with a group of artists who wanted to get involved with                                                                                     information technology, but didn't have the resources to buy                                                                                     computers. So instead they went about getting their hands on                                                                                    trash computers, finding new ways to be creative with old                                                                                     technology, then exhibiting the results.                                                                                                    Now RTI has accumulated hundreds of machines and has                                                                                     raised money to open a media lab, called "Access Space",                                                                                     where other people will be able to create and communicate                                                                                     using trailing-edge technology.

                RTI continues to exhibit trash technology art around the UK                                                                                     and now in Europe, and campaigns to advocate low cost                                                                                     access to information technology. RTI is still hungry for                                                                                     obsolete machines and runs an ongoing campaign that asks                                                                                     businesses and individuals to donate computers that they no                                                                                     longer use.

                What are computers for anyway? Just to work and buy                                                                                                  stuff? Low cost computers can communicate all over the                                                                                                  world, we're more interested in expressing ourselves.                                                                                                   There's been a lot of media attention given to art that                                                                                                  makes use of the newest, most expensive computers. But                                                                                                  a lot of these creations seem less like artworks than                                                                                                  sales demonstrations for the latest technology.

                RTI is an arts organization, here to generate art. We intend                                                                                     the images that come out of the project to catch the                                                                                     imagination and focus the attention of organizations much                                                                                     bigger than ourselves about the unresolved issues of                                                                                     accelerating decrepitude, inbuilt redundancy and techno-waste.                                                                                     In this way we will have helped to make those organizations                                                                                     that dispose of very large numbers of redundant computers                                                                                     more likely to donate some computer equipment directly to                                                                                     you.

                What's the thinking behind the project?

             Access Space is part of the ongoing activities of arts group                                                                                  Redundant Technology Initiative. With their exhibitions and                                                                                  publicity campaigns RTI encourages people to ask some                                                                                  awkward questions about our relationship with information                                                                                  technology:

            Are expensive computers really obsolete after two or three                                                                                                years?  

                Why does information technology cost so much?                                                                                                                 Who gets access to powerful new information systems?                                                                                                                 Do computers give too much power to governmental and                                                                                                corporate systems?                                                                                                 

                Is the Internet really about communicating, or is it a new                                                                                                way to sell products?



VinylVideoTM - an invention by Gebhard Sengm
in Cooperation with G
ьnter Erhart, Martin Diamant and Best Before

VinylVideoTM is a fake archaeology of media.
 We designed a device that retrieves videosignals (moving image and sound) stored on a conventional Vinyl (LP) record. Even though television, the electronic transmission of moving images, had been feasible since the late 1920s, storage of these images became possible only after development of the video recorder in 1958. Recording images for private use did not become available until the mass introduction of the VCR in the early 1980s (!). Before, the average consumer was confined to use Super-8 film, a technology dating back to 1900, usually without sound. Recording of television was not possible at all.
The discontinuity in the development of electronic film technology constitutes the historical background for this fictitious video disc technology.

VinylVideoTM reconstructs a homemovie technology of the late 40s – early 50s and thus bridges a gap in the history of consumer technology. The images are stored on a conventional analogy record, with a running time of ca. 15 min / side  (Singles 54 min / side). These records are played on a standard turntable with an ordinary diamond needle, the signals are then processed by a "Black Box" into a videosignal that is displayed on a black and white TV-set.

 Lack of bandwidth poses the main problem for the mechanical storage of film on a record: unlike TV with a bandwidth of 3-5 Megahertz, LP's hardly provide capacity for 1/200 of this, ca. 25 Kilohertz. To accomplish the storage of film, radical data reduction has to be used: the number of frames per second and resolution were drastically reduced, storage of color is not possible. But this is not enough: switching from frequency modulation, that delivers stable signals but takes up a lot of bandwidth,  to amplitude modulation results in additional data reduction. The downside of this is a loss in the quality of the stored images, the pictures become more sensitive to disturbances, like imperfections of the LP. The difference in quality can be compared to the difference between FM and AM radio broadcasting, the latter being much more sensitive to interferences.
 Instead of building a circuit based on vacuum tubes, VinylVideoTM uses a computer program developed by Onelineloop/G
ьnter Erhart and Martin Diamant for real-time processing of the video data.

 At the exhibition we will show a console television (home entertainment unit) with integrated turntable and television tube. The visitor may select among available videodiscs and enjoy the new medium in a relaxed atmosphere (lounge chairs).
 Another important intention is to supply veejays for the first time with the possibility of real video scratching. This means that it is possible to jump around in the visual material simply by moving the turntables pickup. Also, the picture can be manipulated by changing the records speed. In this context we are planning to cooperate with deejays and party organizers.
 The video discs can also be played on a regular audio turntable, which will result in acoustic signals (especially when played with extremely reduced speed), caused by the constantly changing visual content.

 The first pressings of  video discs  (8/98) were successful. The frame rate was increased from 3 frames/sec (state 5/97) to 8 frames/sec, achieved through a new kind of modulation. On top of that, synchronized sound (phone quality) was integrated.



Bruce Sterling & Richard Kadrey
'Dead Media'
<www.well.com/user/jonl/deadmedia >

The DEAD MEDIA Project: A Modest Proposal and a Public
by Bruce Sterling

Our culture is experiencing a profound radiation of
new species of media. The centralized, dinosaurian one-
to-many media that roared and trampled through the 20th
century are poorly adapted to the postmodern technological
environment. The new media environment is as warm with
lumbering toothy digital mammals.
We have no idea in hell what we are doing to ourselves with these new media
technologies, and no consistent way even to discuss the
subject. Something constructive ought to be done about
this situation.
We need a book about the
failures of media, the collapses of media, the
supercessions of media, the strangulations of media, a
book detailing all the freakish and hideous media mistakes
that we should know enough now not to repeat, a book about
media that have died on the barbed wire of technological
advance, media that didn't make it, martyred media, dead
media. THE HANDBOOK OF DEAD MEDIA. A naturalist's field
guide for the communications paleontologist.
If media make it past their Golden
Vaporware stage, they usually expand wildly in their early
days and then shrink back to some protective niche as they
are challenged by later and more highly evolved
competitors. Radio didn't kill newspapers, TV didn't kill
radio or movies, video and cable didn't kill broadcast
network TV; they just all jostled around seeking a more
perfect app.
But some media do, in fact, perish. Such as: the
phenakistoscope. The teleharmonium. The Edison wax
cylinder. The stereopticon. The Panorama. Early 20th
century electric searchlight spectacles. Morton Heilig's
early virtual reality. Telefon Hirmondo. The various
species of magic lantern. The pneumatic transfer tubes
that once riddled the underground of Chicago. Was the
Antikythera Device a medium? How about the Big Character
Poster Democracy Wall in Peking in the early 80s? Never heard of any of these? Well, that's the
If we can somehow
convince the current digital media community-at-large
that DEAD MEDIA is a worthwhile project, we believe that
we may be able to compile a useful public-access net
archive on this subject. We plan to begin with the DEAD
MEDIA World Wide Web Page, on a site to-be-announced.
Move on, perhaps, to alt.dead.media.
Kadrey and I are going to start
pooling our notes. We're gonna make those notes freely
available to anybody on the Net. If we can get enough
net.parties to express interest and pitch in reports,
stories, and documentation about dead media, we're willing
to take on the hideous burdens of editing and system
administration - no small deal when it comes to this
supposedly 'free' information.
If you yourself want to exploit these
notes to write the DEAD MEDIA HANDBOOK - sure, it's our
'idea,' our 'intellectual property,' but hey, we're
cyberpunks, we write for magazines like BOING BOING, we
can't be bothered with that crap in this situation. Write
the book.
If there's room for 19,785 "Guide to the
Internet" books, there has got to be room for a few useful
tomes on dead media.

Think of it this way. How long will it be before the
much-touted World Wide Web interface is itself a dead
medium? And what will become of all those billions of
thoughts, words, images and expressions poured onto the
Internet? Won't they vanish just like the vile lacquered
smoke from a burning pile of junked Victrolas? As a
net.person, doesn't this stark realization fill you with a
certain deep misgiving, a peculiarly postmodern remorse,
an almost Heian Japanese sense of the pathos of lost
things? If it doesn't, why doesn't it? It ought to.



Olia Lialina/0100101110101101.ORG 
Art.Teleportacia Clone 0100101110101101.ORG

0100101110101101.ORG : Cloning Art Teleportacia 0100101110101101.ORG brought down all the
presuppositions of the gallery, the contradictions which this way ofthinking runs into became evident. 
Olia Lialina: Making a parody on Art Teleportacia 0100101110101101.ORG brought new clients to the gallery and good publicity for itself.
0100101110101101.ORG: Technically, whoever visits a site downloads automatically, in the cache, all the files he sees. In fact s/he already owns them, therefore it is non-sense to sell pages already being in the hard disks of millions of people. 
Olia Lialina: This I already heard from media curators who wanted to have my works for nothing and to earn money on them. But its an illusion.
0100101110101101.ORG: It would be more useful to tell the public the fastest way to download the whole website. We must keep in mind that net-art is digital, it is binary code, everything is reproducible to infinity without losing quality... just numbers! - finally, we entered the "age of its technical reproducibility" - and every copy is identical to the 'original' one. The concept itself of an 'original' is now meaningless. 
Olia Lialina: No, now it is meaningful as never before. I will explain in the end why.
0100101110101101.ORG: And even the concepts of false and plagiarism don't exist any longer. If it's obsolete to talk about 'originals' in the real world, it becomes absolutely paradoxical in the web. 
Olia Lialina: I'm not very much involved in real world business, but if this issue would be obsolete you, Luther, won't be able to get money from your publishing house.
0100101110101101.ORG: We wish to see hundreds of 0100101110101101.ORG repeating sites of net-artists endlessly, so that nobody realizes which was the 'original' one, we would like to see hundreds of Jodi and hell.com, all different, all original, and nobody filing lawsuits for copyright infringement, there would be no more originals to preserve.
Olia Lialina: Are you really familiar with net-art or net in general? If yes you should know that copying is not a big deal. You can make hundreds of Art Teleportacia galleries, but next day they will be only hundreds of outdated pages with not actual information and broken links, because I will update only ftp://ftp.teleportacia.org. The same with all on-line art and not art works. What is done on the net is not a book or CD or tape kind of product. It is not complete, not frosen, but can be changed every
moment. And this moment is a difference between copies and originals.


Namniyas Ashuratova
Enemy processing system
This site radically breaks principles of political correctness
and can be interpreted as a rousing of racial, religious and national hatred.
For adults with stable state of mind only.
Crude, vulgar language is used.
The unique photogallery of enemies.
The most famous stereotypes which correspond to ideas about enemies.
Satisfy a little bit of your hatred with a light mouse click on the bastard.
The convinient form allowes you to precisely define what and whom you hate and fear
and allow you to make your contribution to the portrait of a statistical enemy.
Visit statistics and indefinite history of hatred.
Your enemy will be exhibited as an unique masterpiece
till the moment as the next visitor fills in the form.


Kostja Mitenev
next future

The project is seen as an interface, which leads the user to an event, taken place on the 21st of December 2012: starting-point of the era of the unlinear time.
Page links navigate the user to models of positive context.
Next future is now - it becomes real with the help of the Net.