Minna Tarkka 1960 – 2023

Saddened to receive news from Andrew that friend, colleague, artist, researcher, producer, and facilitator Minna Tarkka had passed, far too young, on 27 August after a very brief illness.

Researcher Minna Tarkka received the state award for media art in December 2017, Helsinki, Finland. Photo credit: Martti Kainulainen / Lehtikuva.
Researcher Minna Tarkka received the state award for media art in December 2017, Helsinki, Finland. Photo credit: Martti Kainulainen / Lehtikuva.

I arrived in Helsinki, Finland, gritty-eyed, after an early morning flight from Reykjavík, in late August, 1994, on the first of many visits, sojourns, gigs, workshops, and residencies. After dropping my luggage at my friend Visa’s print-making studio on Jääkärinkatu, I made my way to Arabianranta and the University of Art and Design Helsinki (Taideteollinen korkeakoulu, or TAIK, now the Aalto University School of Arts, Design and Architecture), located then in the old Arabia porcelain factory on Hämeentie. I was in Helsinki for the International Symposium on Electronic Art (ISEA) and, later, for an international performance event (Fax You) at the Akademie Bookstore on Helsinki’s Night of the Arts with the Finnish artist, Visa Norros and others. ISEA was being hosted that year by the Media Lab at TAIK and directed by Minna Tarkka, a person who did things, who showed up, and who inspired others to show up and do things.

I first met Minna later that morning at the TAIK Arabianranta building on the 3rd Floor at the Media Lab—actually we collided in the hallway—auspicious and a bit embarrassing! She was dashing from Point A to Point B as Director during the very hectic symposium registration. After both of us proffered sheepish apologies and introduced ourselves, she took me around, introducing me to some of the media arts luminaries attending the symposium and to staff at the Lab. This was the first of many examples of her unsparing generosity. It was during the symposium that I fully entered her energized sphere of influence there in Finland, where we had a number of memorable dialogues around the ethics and creative possibilities of the rapidly expanding field of electronic media in which she was a thought pioneer. As Associate Professor at the Lab, she later facilitated my return in the spring of 1995 to teach a four-week course. And a few years following that, she was totally supportive of the course netculture that I developed and taught at the Lab in 2000-2001. Her parallel trans-disciplinary course, “Cultural Usability,” critically examined new media design that was inclusive of sociological, cultural, and technological perspectives. Years earlier in 1987, she was the founding Director of MUU, the ‘alternative’ arts organization that has since been a major international player in new media arts. And two years later, she was a founding member of AV-arkki yet another power-house media arts resource and artists’ association there in Finland.

In those earlier days of our acquaintance (and of the WWW itself), her research and art work around spatial metaphors in virtuality, the aesthetics of immersion, and the dynamics of interaction and consumption were of special interest to me, as she explored the fundamentals of human relation as mediated by this ‘new’ technology. She made some highly original and deep dives into the aesthetic and ethical dimensions in the design of spaces for interaction. And all the while, she worked as a facilitator of human encounter, organizing, producing, and participating in many subsequent events, culminating with the formation of another cultural NGO, m-cult in 2000. Right up to the present, m-Cult has exerted a strong influence on the international critical engagement of culture with technology, leading with a profound sense of humane social activism. Yet another influential expression of her energies.

I never made a portrait of her and there seem to be only a handful of poor digital traces. She was a bit shy and soft-spoken. I have a vague memory of the epic RinneRadio concert at ISEA and a huge crowd dancing away, Minna included. She knew how to have an expansive time! That she is gone is yet another loss to many of us who are still pacing about this stage. Minna you will be fondly remembered and deeply missed.

[ED: I will add any reflections and comments from others to this posting as they surface. I’ve been reaching out to friends and former colleagues from those former life-changing times.]

As if radio…

As if radio… is a collaborative radio space—created between the folks @ Soundcamp and )acousticommons(— in response to the 26th UN Climate Change Conference of the Parties (COP26) in Glasgow on 31 October – 12 November 2021.

Based on ideas and practices of ecological radio and acts of listening, this long-form broadcast will bring together contributions by climate activists and artists, both those gathering around the Conference in Glasgow and those individuals and communities around the world seeking to bring their voices to the collective demands for climate justice. Situated in Glasgow for the duration, As if radio (Air) will provide a platform for the voices less often heard at such events, interweaving these with ecological sounds combining live coverage and commentary from the COP and widening the soundfield to areas out with the official event. We anticipate a rich listening experience combining environmental streams from the Acoustic Commons network with a mix of reportage, radiophonic works, critical perspectives and environmental sounds, sonic interventions and untold stories of the climate crisis. There will be an emphasis on live content wherever possible.

neoscenes participates with an older, but still very much apropos composition, water fills the hall.

Running as an open radio studio at Civic House, Glasgow, AIR is dedicated to experimenting with ideas and practices of ecological radio and acts of listening. It will feature contributions by artists and climate activists in Glasgow and around the world, together with live environmental sounds on the LocusSonus open microphone network, real-time feeds and commentary from around and beyond the COP.

The open call invites diverse audio contributions by artists, activists, ecologists and other sound workers that engage issues of climate and ecological crises in their broadest sense. These might include live streams, soundscapes, field recordings, readings, environmental sound and transmission works – including live material wherever possible. We are also looking for live projects, performances, local reports and interventions over the COP that involve sound or can be adapted for radio.

We imagine the AIR station as a public platform for sharing work, learning about making radio, bringing remote places into conversation, organising, experimentation and acoustic commoning. The show will stream to a server at our broadcast partner, Wave Farm in Acra, New York, from where it will be available for other broadcasters to pick up.

We invite you to join us on-line or in the open studio at Civic House to find out more about ecological radio, for a streambox building workshop, performance or to join a broadcast.

Mari Keski-Korsu’s program: Case Pyhäjoki

See what happened at this powerful human coming-together of (em)power-full people, Case Pyhäjoki. Should’a been there. Instead, half a world away on the Uncompaghre Plateau keeping an eye on the sky, actually, two eyes (sometimes with artificial attenuation). Getting to show some old friends around this particular region. At least, I find this place fascinating — given the similarity to Echo Park in some structural senses. Four of us old engineering-school house-mates have a very fine hike yesterday to a WWII strategic minerals (mica) mine. Into that Pre-cambrian basement rock. Mica crystals still bursting out of the cavity wall: some crystal complexes many square feet in area with the strange laminate layered crystals that can be split down to absolutely transparent sheets as thin as any paper. The crystalline lattice bonds generating laminar sheets of strongly connected atoms with weak ties between adjacent layers. Occasionally interspersed with sprays of black tourmaline up to 2 cm in diameter and 10 cm long. And the pink feldspar and cloudy white quartz matrix, pegmatitic. Quite dramatic. It’s hot in the canyon, but there are heavy clumps of cloud that keep ebbing and flowing shadows that cool the ground. Down-canyon there is a layer of > 2 cm chips of (shattered) white quartz that has come from some industrial mining process of crushing and sizing the chunks of stuff from the blast-face of the mine. They definitely had a full-on industrial process going on. And, as a strategic mineral reserve, did they even have some security/military presence, that’s one question I would have for the historians. Among others.

portrait, Chris, Bill, and Rick at the mica mine, Bangs Canyon, Colorado, August 2013

It is a pleasant outing into this intense landscape, environment. With three other quite intense people. Each in a particular way. That’s what’s nice about Mari Keski-Korsu’s collaborative art/activist project also, the one that just took place at a nuclear development site on the upper-mid-western Baltic coast of Finland. She has a talent for bringing intense people around her. It’s a powerful and important talent! Wished I coulda made it. There were two of my US students who claimed interest in going but neither ended up even putting in applications — apparently none of them understood this way of getting funding to experiment with their own creative practices in juxtaposition to some equally curious others — although I tried my best to open their eyes to this process. The rest of the students were absolutely deaf to the idea/offer that they participate in collaborative projects throughout the spring semester. As well as being hostile to the process of collaboration in general. (Or were hostile to the person who put them in the position of having to face the issues of active collaboration and collaborative thinking, sheesh, off-putting!)

Case Pyhäjoki looks good, as I had no doubts it would after talking with Mari in May at Pixelache. Great work!

hmmm?

Responding to Felipe’s thread on the bricolabs list:

Obviously, I’m not asking how serious lixoeletronico.org people are, because I’m one of them :P I meant the companies who say they are not using gold, coltan, tungsten etc any more.

sotto voce: If you want to dig (no pun intended) into this more, I’d highly recommend this audio/video panel at the Center for Strategic and International Studies:

https://csis.org/event/rare-earth-elements

It’s a good in-depth intro to this issue by a panel of three experts who look at the contemporary situation with rare earth elements (which do not include niobium and tantalum from coltan deposits). But it is basically the same idea/situation — in the sense of there being a rare resource, in demand by a multiplicity of large forces/powers, in places where local people are considered to be disposable commodities.

(I am not promoting their opinions, but they do describe the situation well from their point of view, both historical and today’s view)…

I believe it is worth it to consider the principle, not the details, in these areas of activism, as EVERY material that the techno-social system uses for re-forming matter causes a similar distortion of localized systems: That is, look around your home, what’s made out of metal, plastic, chemicals, paper, wood… etc etc, it all requires machines to make which require more metals, plastics, chemicals, etc. etc… which make necessary the entire range of the global extractives industry which is closely allied to WAR (of every kind — both aggressive overt weapons war as well as slow and equally deadly environmental degradation warfare).

Humans do this. It is not avoidable. The only factor that we have the power to influence is *how much* we use — of course, this *how much* does imply choosing one type of device over another. It also places the choice directly in our power. We can make choices, we can influence others to make choices. But as long as this discussion proceeds here on this (telecom-based) mailing list, we are being somewhat hypocritical. Of course, educating each other is paramount, but the best teaching methodology is to ‘practice what one preaches.’ Which puts us squarely in a very problematic position of having to implement radical change in our tele- lived lives or else continue to support large portions of this global system.

If you want to stop mining, then you have to stop telecommunications. You have to go back to an industrial base before rare earths and coltan were discovered and rendered fit for use. (1800 were the first discoveries, but little use came before the beginning of the 20th Century).

Otherwise, this process will simply continue and expand, along with demand, and along with all the horrific effects that the human struggle for control of resources entails everywhere…

hmmm. god that sounds bleak. sorry, but from this materialist approach to global problems, there are no solutions. It would seem that a Buddhist approach which posits that *all is change* and to try to grasp and manipulate or put off change is a futile process. We must simply move through this incarnation and while treating each other as best as we can, not get caught up in the grasping at illusion…

I don’t know. (I type on my laptop and stare at the letters string themselves across the screen…)

Migrating: Art: Academies: done

MigAA book cover (pdf download)

After eight weeks of intensive effort, sometimes re-writing almost from scratch a wide range of (English-second-language) articles, essays, and academic papers, the second and final book from the MigAA project is done and at the printers. Bravo to the Alfa60 designers, Joseph and Lina in Vilnius — perhaps this book will win awards like the last one did! And big kudos to El Jefe, miga, without whom, none of this would have come to pass, none of it!

This is the jacket blurb I wrote in ten minutes — the day Lina was sending the book to the printers! more “Migrating: Art: Academies: done”

tools to thrive

spend the afternoon at a meeting with a group of about 15 enthusiastic Mizzou students who are interested in fundamental issues around sustainability and social activism. the meeting (Open Sustainability Network Mid-Missouri, under the title Tools to Thrive. hosted by Richard Schulte, one of the founders of the Mid-Missouri group (which is connected to the umbrella Open Sustainability Network). OSN-MM is also the initiator of the Columbia Missouri Exchange Circle. Lonny Grafman, the featured presenter, is a lecturer at Humboldt State University and is the founder of Appropedia Foundation, the self-proclaimed sustainability wiki which provides a public platform for information on sustainable community practices along with pertinent knowledge-sets for implementation. Lonny is also the Executive Editor of International Journal for Service Learning in Engineering (IJSLE). He introduced some of his work in the form of a presentation Democracy Unlimited Humboldt County Rainwater: A Case Study in Open Source Community Action for Sustainability which explored community activism in deployment of sustainable (in this case, domestic rainwater gathering) systems. words: creation of human networks … the search for a deliverable … starts with a sonic ambient exploration a rainstorm … examples of rainwater sequestering … Bechtel in Bolivia … anthropocentric impurities … a lesson in rainwater catchments: free … local infrastructures generate independence / autonomy. Too many details at first. without the principles of appropriate technology use — public perception, policy situation, know-how, resources, initiative, currency in Humboldt … hemp paper, soy inks … Temporary Autonomous Zone break-out groups: creation and organization of more and better public art; bike-powered something; CSPAN (Columbia Sustainability Policy Action Network); local economy (in general); moving from thought to action; facilitating dialogue; sustainable creative activism; expanding the sustainability community; empathy and interconnectedness; rooftop gardens where possible on campus; community networking club celebrations, gardening; organizing / participating in one implementation workshop for a physically appropriate technology setup; less plastic use, healthy local food, teaching sustainability to children … sorry no more detailed notes, I had to leave right after the break-out sessions to meet Nick and Deb to look at houses. I cycle across downtown from campus to the Walgreens where I lock the bike and go in to buy a snack. when I come out I wander across the parking lot looking for Deb’s car. a chubby white woman gets out of a sedan and asks me if I need a ride. she says she normally doesn’t do that, but I looked like I wasn’t a killer and that she’d be happy to help me out. I say no, no thanks, I’m just waiting for friends to pick me up. mid-western courtesy? I’m wearing a black leather biker’s jacket, black jeans, black half-gloves and a baseball cap from Germany, and dark brown sunglasses. who’s she kidding? she must have been one of those mild-mannered mid-western serial killers. just then Deb pulls up. saved! Nick stayed with the kids, so we drive into the countryside to some small towns looking at houses. the area is really depressed, many empty storefronts on Main Street. and this area is relatively affluent compared to much of the rest of the state. it would be very interesting to travel through these areas and document what is happening. sustainability? indeed. things are not sustained here. help is needed.

dorkbot303

Jane also organizes a nice Denver dorkbot event along with the Denver Open Media crew live broadcast on community cable channel 57 and on KGNU. she invites me to do an hour talk/presentation on whatever—networking, projects, community activism—live. interesting dynamic, I’ll get a copy of it at some point. Mark Hosler from negativland does the hour after mine. later there is a small party upstairs.

A chaotic night, as it was also Dona’s photo exhibition opening at Sliding Door Gallery, only a block away. Very strange coincidence as I practically never had any engagements in Denver, ever. It was a First Friday street night, and the neighborhood was packed. Very nice to see such civil activities like that in the US, maybe there is a cultural renaissance about to fire up. Maybe in response to the collapse of consumer capitalism in the developed world. Folks had consumed enough of all that consumer crap on credit on loan on mortgage on plastic (now, is that hydrocarbon plastic we’re talking about?).

Dona had some photographic print work along with Camilla Briggs and her organic textile set-pieces. Dona’s images of the Dalai Lama which impressed themselves into works about Light were distracting, perhaps because of his iconic status, but more basically, to have a human form entering the field of radiative holy-ness of Light, well, either redundant or simply not necessary. Or maybe too obvious. Dunno, precise problem can’t be circumscribed without seeing all the images again. Were these stills from a movie? Why not. Fluid seeing. It seemed to miss the regularity of decisive format choices — sizing and positioning. A smaller panoramic cloud sequence, while not astonishing for those of us humans who fling ourselves about in metal tubes high in the air, was moving in its internal brilliance. Abstraction helps to refine expression of aesthetic. Unless the figuration is more personal — the opposite of iconic. Any body would do. Any body is holy enough for Light to play with.

Camilla’s wax-sealed rose petals needed intimacy, something played out right there in the middle of this civilian crowd. they needed to be touched, to be touching the participating humans in the room. the patio behind the gallery was funky.

And, otherwise, I especially enjoyed the DOM folks, lead by Directrice Ann Theis, and their real passion for what they were doing. Haven’t run across that too often—the last time, in Latvia, at the Cultural/Historical Museum dance party in 2001—and especially not among US cultural-industry sector folks. Usually there is a desperation and even irritated defiance in the air.

I was too distracted by observing the social scene and having rather intensive conversations and interactions with others. Very dynamic evening. Enjoyable.

Bravo!

thesis proposal :: Methodologies, Background, Timeline, Contexts

Concerning Particular Methodologies

Dialogues, Networks, and Collaboration — Much of my creative practice, research, and indeed, presence is built on the activation of robust and sustained dialogues with a wide range of Others both remote and local. These dialogues form a network. The most powerful situation I can imagine for creative research and production is an open human network. I am keen to engage on the ground with the Australian, Sydney-based, and UTS creative community. I am familiar with the milieu, having been in Sydney for six weeks in 2006 as a visiting artist at COFA, and I very much look forward to being there again. I have an extensive personal/professional network of Antipodal creatives which dates back to the early 1990s that I will be pleased to activate on a more face-to-face basis.

Distributed Performance — My own applied international research in distributed performance and tactical media over the last fifteen years is centered around synchronous live network-based social activities. Engaging a wide range of technical solutions, my work is a direct utilization of amplified digital networks as the locus for creative action. These areas of research experience include a variety of performance-based activities in theater, dance, sonic, and other expressive arts occurring in or augmented by collaborative networked situations. As a self-proclaimed networker, an area of core awareness in my research is the concept of presence — and how that human presence is directly and indirectly affected by any/all technologies that filter and attenuate that presence: how human expression across a network system is precisely formed and informed by the impression of the technologies used.
more “thesis proposal :: Methodologies, Background, Timeline, Contexts”

student protest

The workshop begins erratically. Thirty minutes late, time already runs down. The first impression is, wow, mostly young ladies attending — somehow a bit of a (nice) surprise, given the techiness of the subject.

We end up at a rather raucous student march through the city, well, not raucous, maybe noisy, around five hundred students. They marched from the Parliament to the University where they push their way into the administration building and barricaded the university professors in their offices. This for the fact that the professors did not oppose governmental changes to the free education system. I believe it all stems back to the Bologna Accord which seems to bring much harm to the system. Although as we later talked about, the system of standardization can bring systems lower than the standard up to a higher standard. It’s all relative. In general it appears that the Lithuanian system is a bit at a bottleneck, with younger students expecting more than their professors can offer in terms of open-ness and progressive thinking. And, following the lead of the Accord that is bringing all schools into a bachelors-masters-PhD sequence like the US, so the neoliberal ideology of the US is perhaps bleeding into these newly reconstituted and impressionable states.

Will reactions to the Bologna Accord finally bring back some serious student activism in opposition to its blatantly globalist/capitalist view on education? It’s not clear, forty years after the ’68 movement. They need a more effective theoretical platform to work from in terms of the broader view of what education should be, compared to what it actually is. so it goes.

In the evening we are brought to a hot gallery opening — clearly a scene, to be seen, to see. Brazen and blatant art market-ism at it’s very pretentious worst. I won’t even repeat the name of the gallery or the curator, for to name is to bring more attention to the blighters than they deserve. And clearly the local art/culture consumers are mesmerized by the imagination of London come to Vilnius. uff. This can only have a negative effect on the local cultural community.

around town

meet Josephine and Florian at Boekie Woekie for a sort-of opening for an Icelandic artists, or so the announcement said. then to the Kunstvlaai the alternative to for the afternoon of openings and then dinner at Josephine’s place. great to meet them both. Florian and I have many friends in common as he’s an old mail-art networker.

in the last few weeks, I have on a number of occasions been labeled a theorist in the course of reductive and brief introductions. hmmmm. makes me think back to an opening in Aachen when Hans Werner was introducing me for a gallery talk and he used the German word Pazifist for reasons I didn’t at the time quite understand, so I stopped him and said I was an activist, people smiled. but to fall under the label theorist seems way off, but probably comes directly from the lack of production of objects. so, it requires a long conversation about the traditional nature of art. and about the materialist framework for judging value.

Oog

finally getting around to a good look at Oog, a curatorial project by Dutch artist Nanette Hoogslags curates at Volkskrant, a major Dutch daily newspaper. I happened to meet her for the first time when I was in Amsterdam last March when I had dinner with she and her husband, network activist David Garcia, an acquaintance of mine. Nanette comments on the current state of the project:

Oog is a commentary and opinion platform for the online edition of De Volkskrant, a major Dutch daily national newspaper. It began in September 2004 as a platform where every week a different artist working in sound and image is asked to respond to news and current affairs. The selection of artists participating has grown into a varied group of national and international artists working with very different forms of expertise and approaches. In this way, artists are using their skills to become commentators on events in a news environment. After each week, the work is placed in the archives, making the Oog collection accessible as a whole.
more “Oog”

tech-no-madic pathways

our arts birthday stream goes down smoothly, though I never did succeed in tapping into the actual European Broadcasting System satellite output feed of the event. August recorded our output stream file on his Linux box:


(00:12:30, stereo audio, 12.3 mb)

Later, Wes invites me to jump into what turned out to be an excellent evening — cycled down to fishbon (see their blog) — a weekly salon for an eclectic group of cultural activists in Santa Barbara. the evening starts with a demo of the Wii by a local teen, then a Kung Fu demo advertising the establishment of some special courses starting in the fishbon space. Wes and a friend do a MAX/jitter visual/sonic performance, and after that I do a very short 15-minute improv with VDMX.

and shortly, my talk in the IHC:

tech-no-madic pathways: networks and sonic energy

This talk, framed in observations from 20 years in the Cultural-Industry Sector of Europe and North America, will look at the energetic intersection of body and sound in the midst of chaotic social systems and restless movement. It will doubtfully answer the following questions among a thousand others: What does it mean to be a sound artist? What is a sustainable creative practice? What are we doing here? How did it end up this way? Afterward, let’s talk!

Brooklyn meetings

walking down Bedford Street I meet the lady with the lime green brolly heel-toeing it briskly to the wine shop, kitty-cat in a tote bag, and stories about winning over the boys in the community garden. dinner with Amanda and Stephanie, at Amanda’s place in Brooklyn. along with Mr. Tiger, Amanda’s new cat who seemed easy-going and sociable despite battle scars from street life in Brooklyn.

earlier I was able to get together with Eric, a sharedj activist among his many other talents. at a cave-like cafe in Brooklyn he showed me some of his keyworx-based work which immediately brought to mind Stan Brakhage’s aesthetic which could easily be described as the precursor to much vj work in the present time (including my own). although my contact with Brakhage was, on a film-production level, limited, the discussions, and more importantly the simple exposure to his vision through screenings of his and other’s work was moving and formative to the inner eye. he had his little cubby-hole office next to and half the size of mine when I was a grad student, so we got to know each other better through informal chats — life is short art is long…

Imagine an eye un-ruled by man-made laws of perspective, an eye unprejudiced by compositional logic, and eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of ‘Green’? How many rainbows can light create for the untutored eye? How aware of variations in heat waves can that eye be? Imagine a world alive with incomprehensible objects and shimmering with an endless variety of movement and innumerable gradations of color. Imagine a world before the ‘beginning was the word.’ — Stan Brakhage

anyway, back to Eric’s output — he also collaborates as a tenor and lutenist on an entirely different plane in Asteria, a Medieval/Renaissance music duo. he passed on a copy of Soyes Loyal, their latest album featuring Burgundian chansons of courting and love from the 14th century. Eric’s divergent interests and skills are incongruous on the surface but stand as a strong example of how personal energy transmission does not have to be closely tied to form but rather to the efficiency with which one finds the projection of such energy through a chosen material mediation. Eric is attentive, concentrated, skilled, and definitely efficient transforming his energy into a variety of forms of inspiration.

you can test track their two albums at magnatune.

epsilonia

another streaming radio festival — epsilonia — looks pretty interesting…

Nuit blanche au poste, l’oreille collée au transistor ou connectée au streaming web. Epsilonia, la vaillante émission de Radio Libertaire, fête ses 20 ans et propose un festival radiophonique marathon tous les jeudis de mai, de 22 heures à pas d’heure. Fondée en 1986 par Jacques Perdereau, disparu prématurément, Epsilonia explore toutes les déviances des territoires pop : musiques industrielles, électro-acoustiques, bruitistes, improvisées, free-jazz, poésie sonore…

Le festival est éclectique et exigeant, avec des diffusions de raretés et d’oeuvres créées pour l’occasion, et des concerts en direct de la radio. «Comme on est les derniers sur la grille, on est libres de faire durer tant qu’on veut», s’amuse Nicolas, un des dix activistes aux manettes de l’émission. Ce soir, l’agitateur bruitiste Evil Moisture, le platiniste erikM, l’ambient core de Pigot, un live de Jérôme Noetinger, patron du label Metamkine, avec Fabrice Eglin, ou encore un relais musical exécuté par sept musiciens (Boghossian, Saladdin, Rivière, Madiot, Black Sifichi, Igor & Grischka).

Grâce au web, la radio parisienne émet jusqu’à Limoges, Bilbao, Tallin et Séoul, où des lieux alternatifs diffusent les sessions du festival, relayées par des radios hertziennes et des webradios. L’occasion de convertir de nouvelles oreilles à ces fourmillantes musiques de traverse. — LIBERATION

VisitorStudio

Furtherfield subset Furthernoise VisitorsStudio is the place. A Flash-based live-online visual-sonic collaborative platform developed at furtherstudio by Neil Jenkins. Roger Mills organized a test run with nine artists from Europe and US to come together today for a sequence of individual and collaborative performances in preparation for events later in June. Somehow, in the juggling of files in preparation, there are grim traces of current states of mind: in extremis.

Furthernoise is an online platform for the creation, promotion, criticism and archiving of innovative cross genre music and sound art for the information & interaction of the public and artists alike.

Furthernoise encourages new methodologies and practices in creating adventurous music and sound that is not bound by the constraints of historically experimental genres. We showcase artists work through critical reviews & features as well organising performances and events on the internet as well as public venues and galleries.

&

Furtherfield creates imaginative strategies that actively communicate ideas and issues in a range of digital & terrestrial media contexts; featuring works online and organising global, contributory projects, simultaneously on the Internet, the streets and public venues. Furtherfield focuses on network related projects that explore new social contexts that transcend the digital, or offer a subjective voice that communicates beyond the medium. Furtherfield is the collaborative work of artists, programmers, writers, activists, musicians and thinkers who explore beyond traditional remits.

node relations

Back to the iDC list — consistently marvel how the topics on the list draw me out, especially when I am so overwhelmed with the local in-ma-face reality. The following in response to Josh Levy’s comment (which one in a series of comments under the subject — undermining open source: iTunesU):

> i think Apple has been let off the hook for a long time especially by cultural
> activists. Bill Gates and Microsoft have been an easy bugbear, but Apple are
> monopolists too and have been since they first started making an OS that works
> only with their own hardware.

sotto voce: every social institution seeks to guide (a polite term) the relational expressions and impressions of participating nodes (humans) in discrete reductive pathways which may or may not suit each individual node: adopt or become a non-participating node in that social structure.

Acquiesce to that dominating worldview and participate.

Resist (or simply turn ones back on that whole system) and create new pathways: be prepared for those who are heavily invested in the dominating social institutions to ‘not get it.’ Only those who have the ‘bandwidth’ to leave personal input channels open for other than the dominant pathways will be able to receive alternate expressions and impressions.

Every social structure of any scale greater than two nodes will be reductive because of the need to correlate three or more distinct view-points (points-of-view) — that requires a system of observational/experiential interpolation (protocols) to identify fundamental likenesses between the points-of-view. This correlation process — the development of a mediative ”technology’ to carry (shared) impressions and expressions between nodes — is a fundamental (and necessary) process of social development. It leads to the exemplary structures as are mentioned above. The two examples differ only in scale, though the organizing principles and goals of each are similar (the same!). That is to induce the greatest number of nodes to acquiesce to their protocol-of-relation.

The greater the personal acquiescence, the greater the general feeling of alienation.

The Energy Dynamics of Technologically-Mediated Human Relation within Digital Telecommunications Networks

A proposal by John Hopkins for Doctoral Thesis research at the University of Bremen, Department of Computer Science (Informatiks) [editor’s note: this initial proposal never was submitted following the accident of 04 July 2005 that set life on another trajectory.]

1.0 Statement of Problem

1.1 Introductory note

Beginning with a series of broad general statements that converge to frame the trans-disciplinary space of my inquiry, I will move to proposals that are more specific. This approach is an important feature of the research itself — where the applicability and efficacy of a model is best challenged when looking from absolute specific cases to increasingly general situations and vice versa. In framing this essentially divergent research, I would suggest that the proposal first be considered as a whole — as I understand that the depth of my knowledge-base varies across some of the disciplinary spaces. more “The Energy Dynamics of Technologically-Mediated Human Relation within Digital Telecommunications Networks”

jd

John Douglas and I met virtually back in 1995 or so, as a result of the PORT MIT exhibition. his creative feeds to my inbox are a hard-hitting deLight to bring solid soul back into life when psychic drift and political psyop-subduction are rife.

falling

loop loop loop. the eye is taken in, the eye is taken in. the mind is numbed, the mind is numbed. replay.

I end up using the phrase “ancestral home” though I have little connection to such a reality. heading to Scotland for the first time ever. where on the Isle of Skye that generations of clan MacKenzie lived and died. I know next to nothing about them, except for the geographic proximity. and the name. and a few clouded memories of those old ones that I met as a child, ones who still could speak Gaelic, and who had been born in that land, only to come to the West of the Atlantic when life got too hard in the East. sailing west, south and west to find a new place to be. immigrants. like everybody, as though the change from immigrant to native would erase all. land without pasts. more “falling”

decisions

decisions, decisions, decisions. floating in the grand scale of living. letting pathways open before me, rather than seeking to walk a certain way. remember when, at the opening of a photography exhibition I had in Aachen, back in December 1988, when Hans Werner was introducing me to the opening-night schwartz-lederhosen crowd, he said I was a pacifist (in German), and I immediately countered, saying I was an Activist! but, in retrospect, he was right. another fragment of evidence lies deep in writings I make — where I constantly use the passive voice in constructing sentences. passivity can be a strong position if it is grounded in flexible action (not rigid re-action). can’t say I am so flexible under most circumstances, despite the outward impression of being a resourceful and observant traveler. who cares? the teaching this time falls flat — for what reason? well only flat by measuring reactions. still have not gotten comfortable with silence. when putting ideas out on the table. understanding what it is, but being unable to expect less as an interactive component of a classroom dialectic — did Socrates conduct his sessions among Arabs? joke. but can the Socratic method function in a second-language situation? who cares. not even a theoretical issue. (funny, I am not even interested in what I am writing, it seems so far away from … me). dialectic energy exchange presupposes a same-language situation. unless both students and teacher are in a highly tuned state of sensitivity — something I have not attained (and may never). my comfort lies in language. and to rise above that would be … leaving school after dark, Polaris straight overhead, Venus setting, Jupiter rising, Mars rising, too, maybe? plenty of stars. cycling the 3 kilometers from school, stop to take some photos of the rapids that run through the middle of the town, or, perhaps it is the town that is built around the rapids. most likely. they are dry, a dry rocky chasm a few tens of meters wide, and perhaps 300 meters long. upstream is a dam, downstream, on the east bank in the old hotel, built for the Czar, evidently. the entire scene is brightly lit in the dark. right after making those images, I am cycling to the grocery store, crossing the street, I have to accelerate to get across ahead of some cars, but the bike is old, and the chain slips, dropping my foot, almost sending my flying, somehow, computer on my back, and Nikon around one shoulder, nothing happens except I hit my upper left ribcage, hurts like hell, and I wonder if I cracked a rib like back in judo class in Golden. taking a deep breath is uncomfortable, stretching is not.

next five minutes 3 review

© Steve Cisler 1999. Non-profit servers and archives may distribute this document, as long as it is not on the same page as annoying banner ads or animated gif files. Others may contact the author. [Ed: sadly, networker and friend Steve passed away in 2008, as this text doesn’t seem to be floating around anywhere else, I decided to extract and revive it from my archive!]

“Tactical media” refers to the use of old and new media to achieve non commercial goals and to emphasize “a plethora of potentially subversive political issues.”


In spite of all the electronic connectivity, there is still a hunger to meet in one place. The more we communicate online, the greater the number of real world conferences and meetings. People realize they still need to get together, no matter how smoothly a video conference or email exchange may be. In March 1999, I took part in a multi-ring circus of activities called Next Five Minutes 3 (N5M3) in Amsterdam. It followed several years of my online participation.

Background

In April of 1996, Bruce Sterling started a discussion topic in the Wired magazine conference on The WELL, an online site where I had been hanging out since it started. The topic was entitled “Goofy leftists sniping at Wired [magazine]” and included a lot of posts from the nettime mailing list that Sterling found amusing or outrageous. I joined nettime (www.nettime.org) the source of most of the pieces and found it was quite a bit more varied and interesting than the wired conference had been. It’s hard to typify the kind of messages you see on nettime, but it includes criticism of the current trends in Internet growth, reports from hot spots in Eastern Europe, innovative art exhibits and experiments, meeting reports, and controversies ranging from the provocative use of new media to the role of George Soros and his Open Society Institute. There are also text experiments and word plays plus weekly calendars and announcements for obscure journals, literary web sites, and new media experiments. The strength of it, the lure of it for me is that many worlds intersect, and through the distributed moderation by people in North America and Europe, just about the right mix of messages reaches the readers who number less than 1000. Originally, many were from Holland, Germany, and eastern Europe. Now, people from Asia, North America, Africa, and Australia take part. more “next five minutes 3 review”

next five minutes 3 – tactical education

into the NextFiveMinutes conference. I have been burned out for much of the time for some reason, almost catching a cold yesterday evening, then this morning, spraining my back with the most minimal movement zipping up my suitcase, I wasn’t even bending over. scared the shit outta me. my panel presence (Tactical Education/Media Competence) was shortly after, and that went quite well, but by mid-afternoon I hobble back the the hotel, barely able to walk because of the sciatic pain. missed an appointment with Nan which I was quite looking forward to, not to mention several dialogues with new contacts. really don’t believe it, that I have done something serious. been stretching all afternoon and evening between bouts resting in bed. nothing else to do! Faugh! miss a dinner with an interesting artist. following are notes for the Tactical Education presentation (on the neoscenes occupation project):

sotto voce: introduction: start by restating my conviction that:

venues like this can, by their nature, only mirror or document what is happening “out there” — and although this precise venue here — me speaking to you is probably not anyone’s first choice of interaction — but I was eager to participate in this part of nextfiveminutes as an opportunity to open some dialogues on methodologies and experiences. I would wish that the expressions here will represent ideas so vital that there will be nothing to do after our brief time together but to ACT. but I suppose that the most one can hope for is that some of these thoughts would be on a level fundamental enough that some of you might share these dialogues at future times. or at least be entertained by my ignorant display of polarized generalizations.

put neoscenes occupation within a larger context of praxis, personal philosophy, and reality. more “next five minutes 3 – tactical education”

next five minutes 3 participants

Bijlagen.

a. Volledige gastenlijst van Next Five Minutes 3

Abdallah, Mogniss + Abels, Fred + Ackers, Susanne + Alam, Shahidul + Alksnis, Arvids + Andujar, Daniel Garcia + Aristarkhova, Irina + Armstrong, Franny + Arns, Inke + Aziz, Afdhel + Baker, Rachel + Bangert, Diederik + Barnes, Steve + Bassett, Caroline + Basuki, Tedjabayu + Beamer, Emer + Becker, Konrad + Belle, Guy van + Beothy, Balazs + Beryll, Emerald + Biemann, Ursula + Blazic, Larisa + Blom, Erwin + Boeschoten, Robert van + Bosma, Josephine + Both, Jaap + Boyadijev, Luchezar + Brienen, Kees + Bronac, Ferran + Buholtz, Edgar Um + Byfield, Ted + Celakoski,  + Chanel, Lola + Chang, Shu-Lea + Chemillier, Marc + Choulguine, Alexei + Cisler, Steven + Cisse, Madigjene + Convex TV + Coronel, Sheila + Cosic, Vuk + Cruijssen, Walter van der + D’Amaro, Zoe + Danner, Gary + Davis, Richard Pierre + Delhaas, Rik + Dixit, Kunda + DJ Fat + Douglas, Noel + Doument, Tony + Dowling, Kevin + Dragosavac, Dejan + Duijnhoven, Serge van + Eeden, Michael van + Eisenmenger, Michael + Elsenaar, Arthur + Engler, Veronica + Es, Andree van + Fassotte, Karel + Fernandez, Maria + Flor, Micz + Fountain, Allan + Fox, J + Freeman, Andi + Frelih, Luka + Fuller, Matthew + Gaberman, Denise + Galatas, Eric + Garancs, Jaanis + Garcia, David + Garrin, Paul + Gonggrijp, Rop + Gouriotcheva + Grassmuck, Volker + Gray, Vicki + Grigg, Ian + Grootheest, Tijmen van + Gutmair, Ulrich + Hagdahl, Peter + Halleck, Deedee + Hamman, Robin + Har, Anna + Hartmann, Maren + Harwood, Graham + Hegener, Michiel + Het Fort van Sjakoo + Heteren, Adrienne van + Hillenius, Gijs + Hirsch, Jesse + Hobijn, Erik + Holder, Helen + Hoof, Peter van + Hopkins, John + Hutnyk, John + Hyde, Adam + Hyndman, Marilyn + Isanc, Tomaz + Jacobi, Manse + Jankovic, Vesna + Jarman, Mervin + Jelic, Borja + Kain, Gylan + Karschnia, Alex + Keenan, Thomas + Kelha, Jude + Kelmendi, Aferdita + Kepplinger, Gabriele + Kidd, Dorothy + Kimelis, Peteris + Kireev, Oleg + Kleiner, Dmytrik + Kluitenberg, Eric + Kogawa, Tetsuo + Kopernik-Steckel, Christina + Koster, Patrick + Kousbroek, Daniel + Kuchma, Sergiy + Kurtz, Steven + Ladd, Mike + Leidloff, Gabrielle + Leong, Apo + Lialina, Olia + Lilley, Patricia + Loo, Babeth van + Lovink, Geert + Luarasi, Iris + Lubbers, Eveline + Lucas, Marti + Luksch, Manu,  + Luther Blissett + Luyten, Marcia + Maas, Rens + Magnan, Nathalie + Malkic, Kiko + Manoljovic, Becha + Mansfield, Roddy + Markovic, Igor + Marroquin, Raoul + MauzZ + McCarty, Diana + Medosch, Armin + Mejia, Silvia + Melendez, Papoleto + Metzger, Gustav + Milicic-Davic, Branka + Mirchovic, Sasa  + Muka, Arben + Mulder, Kees + Muller, Nat + Nuhanovic, Hasan + O’ Connor, Paul  + O’ Donnel, Sheila + Oldenburg, Helene von + Panoussis, Zenon + Pantic, Drazen + Pasquinelli, Matteo + Peljhan, Marko + Peter, Claudia + Petrus, Corrine + Pierce, Julianne + Ploeg, Rick van der + Poole, Thomas + Porter, Andy + Puchen, Danny + Puto, Artan + Quijano, Agustin de + Radenkovic, Sonja + Ratniks, Martins + Redundant technology Initiative + Reiche, Claudia + Rhizome + Rich, Kate + Richter, Judith + Roelvink, Huub + Rogic, Sinisa + Romic, Marcell + Rose, Elisa + Rosenzweig, Jed + Rowell, Andy + RTMark + Sag, Dave + Salomon, Deborah + Samphel, Thubten + Sandler, Richard + Sandor, Szabo + Santen, Marieke van + Saracini, Eugen + Sarker, Partha Pratim + Sassen, Saskia + Scha, Remko + Schans, Wil van der + Schilling, Thorsten + Schneider, Florian + Seidl, Markus + Seidler, Gisela + Sengmuller, Gebhard + Sengupta, Shuddhabrata + Shulgin, Alexei + Silva, Sam de + Skelton, Pam + Smite, Rasa + Smits, Raitis + Sollfrank, Cornelia + Soukup, Katarina + Spaink, Karin + Spek, Jo van der + Spirovan, Suncana + Stevens, James,  + Sundaram, Ravi + Tangens, Rena + Tatic, Sava + Tatomir, Biljana + Thoens, Barbara + Thomas, Sue + Tijen, Tjebbe van + Tralla, Mare + Tschudin, Patrik + Tsuchiya, Yutaka + Tsuchya, Yutaka + Ueno, Toshya + Varona, Rex + Vasiljevic, Nebojsa + Vllahiu, Arber + Volkart, Yvonne + Vukovic + Waites, Will + Wallbank, James + Warschawski, Michael + Wehner, Stephanie + Wessling, Maurice + Whitehurst, Ann + Wilding, Faith + Yokokoji, Matsuko + Zeldenrust, Ineke + Zoekende, Therese

e. Het uiteindelijke programma

CONFERENCE VENUES

De Balie
Kleine Gartmanplantsoen 10
1017 RR Amsterdam

Paradiso
Weteringschans 6-8
1017 SG Amsterdam

De Waag (Theatrum Anatomicum)
Nieuwmarkt 4
1012 CR Amsterdam

V2_Organisatie (Rotterdam)
Eendrachtsstraat 10
3012 XL Rotterdam

Virtual conference venues:
https://www.n5m.org, hosted by The Digital City: https://www.dds.nl
more “next five minutes 3 participants”

walls of academia

hike with Mark and Loki. first we drive from Boulder up through Gold Hill and on to Wild Basin. I suddenly realize that since Wild Basin is actually within the boundary of Rocky Mountain National Park, there will be a ten dollar use fee which is just too much to deal with, so we turn around and head for Brainard Lake which ends up having a five dollar use fee. both these developments are new — at least within the last five years. things change. we do a leisurely circuit of Long Lake before having to race back for dinner with

EJ, Bridget, and Eliott. ice cream and a stroll on the pedestrian mall. Colorado has this possibility of massively splendid scenery within a short drive from urbanity. the big weakness is the absolute cultural vacuum. and too many Californians moving into the state. ah hmmm. and the University suffers from the following malaise:

Institutions of higher education have not taken advantage of the resources and energies circulating beyond the walls of the academy. As a result, cultural analysis is separated from the very condition of its own possibility. To overcome the isolation of the intellectual critic, it is necessary to enter the mainstream of culture by leaving the confines of print. — Taylor and Saarinen

is startling to me because the telematic event described in their book Imagologies takes place in 1992-3. it makes what I am attempting as educator/activist/artist seem dated and lacking an experimental edge (a feature of much of my creative work — it appears retro and staid somehow). of course, I stand by my thesis that the being of dialogue is a condition that is regenerated or reborn in each successive moment, a condition that gives the edge of immediacy and presence to all communicative attempts, but what about the actual results of what I am doing? With the knowing that success in telepresence is predicated on attention, concentration, and focus, events that I facilitate directly address these factors and push the envelope.

breaking the glass

I send a proposal to Christa for the Ars work coming up:
word-dialogue-Light-revolution-action: breaking the glass

The history of mediation is also the history of humans seeking to lessen the impact of raw nature and human aggression on their physical being. Language may be thought of as a primal mediating technology, and in that sense, the further mediations imposed on communications between humans — those mediations that are more commonly referred to as technology, are merely additional obstructions to understanding that overlie language. None-the-less, in this moment, it is still possible to speak, and to listen. At the very same moment that mediation stresses our attempts of attentive presence with the Other, it becomes more imperative to engage in Dialogue and in the creation of spaces in which Dialogue might flourish. Dialogue stimulates genesis, transformation, and revelation in life — it is a revolutionary art itself when in critical juxtaposition to silence. Dialogue, as pure expression of heart and soul, is the core of all meaningful activism.

This talk will explore the be-ing of Dialogue, the stresses of mediation, and our presence in the noumenal world.

Fela’s son

Part of the waking-up city, there is an international cultural festival all weekend where I was able to catch the son of the great Nigerian band leader, musician, and political activist, Fela Anikulapokuti. Word has it that the Nigerian government simply does not allow Fela to leave the country as he is well known for his vocal anti-governmental stance. But his son has been touring for a few years now and is a musical talent of his own. Third World, the roots Jamaican band, also played, but it seemed that what small edge they had fifteen years ago was worn to a rather thin and pop-ish love-groove.

going around, coming around

At lunch today, MB comes home and we go together down to some official state office here and finalize our divorce which has been simmering (well, hardly) in a separation for almost two years. The disjunction of the union was as quick and as easy as the official union way back in the summer 1992 with our friend Nick visiting from Colorado as the witness in the city courtroom. (the glum looks: I with 1st degree burns on both my legs from a crazy accident falling into super-heated mud in a thermal area, hiking on the first day Nick arrived, and MB at 7 months pregnant. not auspicious for a start.)

the marriage really only lasted a few years, these last two we have been legally separated. Loki is the most critical force operational between us, but whatever, it is remarkable the coolness both of us (don’t) show during the proceedings. We are cool people, I guess, after what MB characterizes as a bad marriage. Her second. My first. At any rate, I guess it frees us both up for the future, whatever that might bring. After that, Loki and I walk around town where I visit the GilFelag, an arts/culture organization who put a call out for exhibition proposal — I wanted to talk to them about doing an exhibition of laser prints later in the summer. We also paid a visit to Lara Stefansdóttir, a colleague that I met at the Icelandic Educational Network (ismennt) an Internet activist who is now consulting with the University of Akureyri.

eight dialogues starts

The intro IRC test session was interesting. Willa showed up on her lunch break, Robbin, one of the PORT curators dropped in, and Terhi, from Helsinki appeared. There were some minor technical hiccups, but generally thing worked out. Josephine had some trouble, but it ended up that she was on the wrong network, and so couldn’t find us.

I stay indoors all day. Why is it that I don’t want to go out. I should. But IceLand has made me completely abhor being cold. Now, if it was 75F or hotter, I would be out. Shirt off, hat on. Sun screen on my poor over-exposed nose. But it is chilly out, and I can’t make myself go out. Whatever. I had dreams again last night, but they are lost in the brilliance of the sun rising up over Mingus Mountain across the valley. It is especially bright because of all the snow. Flagstaff, to the north got up to 40 inches of snow and is still held in that slow powdery embrace. Now I watch the Simpsons. What am I doing this for? My back is trashed sitting in the lab, I don’t have a good chair in there, and I think that is the main problem with my back. And so it goes. Fragments from public television:

His body is strong, and he loves it
The man looks across the gray floor and sees the end of his life
He calls her and says Mom I love you very much
He thinks about the moment he stops breathing
I feel so Light I feel so fortunate
Introducing the survivors I see all these things
My work is that Dialogue
I have I don’t think I want to leave, I’m only 42-years-old
Where will I lay down? Who cares?
Thank you for saying that to me I’ll remember that when I am wracked with pain An interesting, vital dance that will say everything I have learned from the survivors
Diagnosis does that
Fear is the place that I can stand where I can say I am here I love the blues, I love to dance I fear pain I want to cross over I want to cross over But I’m too small — Bill T. Jones

Adrianne posts me this excerpt of a review she has written about Blast for January’s Intelligent Agent — it includes:

_John Hopkins_, photographer and writer, proves an active theorist/theory activist as an artist. By arranging one-to-one conversations between himself and others, he performs “talking” events all over the world. John sees one-to-one conversation as the only form of revolution left in the world. John provided a series of dinners; one with each blast5drama Editor. No agenda or conversational menu was presented – creating an empty space between one participant and the other which, in turn promotes a certain discomfort, accompanied by a strong urge to flail about demanding criteria. But one realizes in time that the experience exists in a state of being without identification tagging, allowing something both natural and definitive to happen between people via talking. Because he can bear the consequences of not imposing any structure or rationale on an event, John’s work, in a way, evokes the genre of outsider art.

I am grateful that she takes the time and energy to not only support my work, but to actively frame it in within the context of her prodigious and ongoing experience in the arts.

digital chaos cyber conference

Well, I leave London, thankfully taking a taxi with Joanna to the Underground station — she was heading out for a meeting her Open University students, and I am carrying the full compliment of my belongings because I go direct from Bath to Heathrow for the flight to Iceland tomorrow morning. I transferred at Paddington Station to a train to Bath, arriving after some delays around 1330. Taxi to the Bloomfield Hotel (the organizers of the digital chaos cyber conference are covering my expenses — other wise I could not have afforded to even come out to the conference — thanks!). Rail tickets here are expensive like in the US, and I am rapidly running out of money. I am afraid that each time I use my Visa card it will be rejected or so. I drop my bags and with the sun strong enough for me to break a sweat, I walk into the center of town to find the Hub Intercafe, the headquarters of the Conference, where I meet Stella who gives me a Mac to play on while waiting for Johanna Nicholls and Heath Bunting to show up from a meeting. Still had trouble logging into my home server in Reykjavík, but I finally succeeded after remote-logging into one in Colorado, dropping into the Unix shell there and connecting from there to Reykjavík. Don’t ask my how or why it worked when a direct connect didn’t … Not too much mail had built up, but it was good to check it anyways. Heath and Johanna showed up shortly, and I met a few other of the digitalchaos crew — Stanley Donwood, Stella (the hostess at the Café when I arrived) and so on … Heath was interviewed on the radio by telephone at the Hub, and after that I had a beer with Johanna then took a leisurely stroll around Bath as there were a couple hours to kill before the evenings activities.

We have flown through the air like birds and swum the sea like fishes — But have yet to learn the simple act of walking the earth as brothers. — Martin Luther King

For the dinner convocation that I called for the evening, I make a very short toast that began with a quotation from the German writer and activist Martin Buber and continuing along the lines:

I would propose that we seek to consummate and consecrate the possibilities of technologically mediated communication through the power of this genuine dialogue. Let this Dialogue begin! Bon Appetit! I wish you good speaking from the heart!

Heath did put up a small gallery of some of the participants at the festival (I’m the last to the right on the first row…), but this poor shred of cyberspace has long since vanished.