Begin forwarded message:

> From: noemata <noemata@kunst.no>
> Date: June 3, 2004 5:22:55 PM EDT
> To: editor@rhizome.org
> Subject: Fwd: [spectre] Next 5 Minutes 4: Preliminar Program
>
>
> ——- Start of forwarded message ——-
> From: Next 5 Minutes <epk@xs4all.nl>
> To: spectre@mikrolisten.de
> Date: 25.06.2003 15:50:38
>
>
> A N N O U N C E M E N T
>
>
> NEXT 5 MINUTES 4
>
> International Festival of Tactical Media
>
> PRELIMINARY PROGRAM
>
> Amsterdam 11 - 14 September 2003
>
> De Balie / Paradiso / Melkweg / Waag Society
> NIM Montevideo / Imagine IC / SALTO
>
> http://www.n5m.org
>
>
> What is Next 5 Minutes?
>
> Next 5 Minutes is a festival that brings together art, campaigns,
> experiments in media technology, and transcultural politics. Next 5
> Minutes revolves around the notion of tactical media, the fusion of
> art, politics and media. The festival is organised irregularly, when
> the urgency is felt to bring a new edition of the festival together.
>
>
> How did this particular edition of the festival come about?
>
> The fourth edition of the Next 5 Minutes festival is the result of a
> collaborative effort of a variety of organisations, initiatives and
> individuals dispersed world-wide. The program and content of the
> festival is prepared through a series of Tactical Media Labs (TMLs)
> organised locally in different cities around the globe. This series
> of Tactical Media Labs started on September 11, 2002 in Amsterdam and
> they continue internationally right up to the festival in September.
> TMLs have been organised in: Amsterdam, Sydney, Cluj, Barcelona,
> Delhi, New York, Singapore, Birmingham, Nova Scotia, Berlin, Chicago,
> Portsmouth, Sao Paulo, Moscow, Dubrovnik, and Zanzibar.
> The results of the various TMLs are published in a web journal, at:
> http://www.n5m4.org
>
>
> What are the main themes of N5M4?
>
> The program of Next 5 Minutes 4 is structured along four core
> thematic threads, bringing together a host of projects and debates.
> These four thematic threads are:
> "Deep Local", which explores the ambiguities of connecting
> essentially translocal media cultures with local contexts.
> "The Disappearing of the Public" deals with the elusiveness of the
> public that tactical media necessarily needs to interface with, and
> considers new strategies for engaging with or redefining 'the public'.
> "The Tactics of Appropriation" questions who is appropriating whom?
> Corporate, state, or terrorist actors all seem to have become
> effective media tacticians, is the battle for the screen therefore
> lost?
> "The Tactical and the Technical" finally questions the deeply
> political nature of (media-)technology, and the role that the
> development of new media tools plays in defining, enabling and
> constraining its tactical use.
>
> The festival explores a variety of forms and formats, from low-tech
> to high-tech, from seminars and debates to performances and urban
> interventions, screenings, installations as well as sound projects
> and live media, a pitching session, a tool builders fair and open
> unmoderated spaces. Defining for tactical media is not the medium
> itself, but the attitude towards media.
>
> ___________________________________
>
>
> MORE INFORMATION:
>
> How can I find out more about the festival?
>
> By reading on in this document, but also by consulting the website of
> the festival at: http://www.n5m.org
> The site also contains a Frequently Asked Questions section that
> addresses many practical questions you may have.
>
> Further information can be obtained from the festival office:
> info@n5m.org
>
> ___________________________________
>
>
> TICKETS:
>
> How can I reserve tickets?
>
> You can only reserve day tickets and passe-partouts, which give
> access to all programs of the festival.
>
> You can reserve tickets at: tickets@n5m.org
>
>
> Ticket prices:
>
> Day Ticket: 20 Euro
>
> Passe-Partout: 35 Euro
>
> These tickets offer access to all venues and events, including the
> evening programs.
>
> Tickets for single programs are not sold, except for the evening
> performance programs.
>
> ___________________________________
>
>
> How to get accommodation?
>
> In the beginning of August we will publish details on how to find
> cheap and affordable accommodation close to the festival venues.
> Follow the link "Accommodation" on the front page of our web site
> http://www.n5m.org
>
>
> ANNOUNCEMENTS LIST:
>
> Receive our announcements via e-mail!!
> More information at:
> http://www.n5m.org/mailman/listinfo/n5m4-announce
>
> ___________________________________
>
>
> NEXT 5 MINUTES 4 - OVERVIEW OF THREADS & THEMES:
>
>
> * THE DISAPPEARINGPUBLIC
>
> Full Info:
> http://www.n5m.org/n5m4/modules.php?
> op=modload&name=News&file=article&sid=7#dis-public
>
>
>
>
> Introduction:
>
> Interfacing with the public ?
> There is no public, but where are our publics ?
>
> In more than one sense, the practices and promises of tactical media
> are tied up with the idea that in the last decades we have witnessed
> the disappearance of The Public. One big reason for this is the
> explosion of heterogeneous media and heterogeneous media practices,
> and the fact boundaries between media spaces have become increasingly
> porous (i.e. between media domains that are nationally and culturally
> distinct). Another reason is that the idea of " normal people ", on
> which the concept of The Public relied, has been thoroughly
> undermined, not in the least part because these people increasingly
> came and put themselves in the picture, aided by media. (Thus, the
> differences among various not so normal people can these days no
> longer be easily airbrushed out.)
>
> Funnily enough, also for those media practitioners, artists and
> activists, who feel enthusiastic about the disappearance of The
> Public, the question of the public is no less acute ! In situated
> media interventions, the particularity of context tend to take the
> foreground, and precisely not a disembodied generality such as " The
> Public ". Here margins count as a resource rather than as constraint,
> and they can and should be celebrated as such. But when it comes to
> these kind of projects, the question of who exactly one is
> interfacing with often comes up as a pressing concern. A totally
> eclipsed public, that is, an empty hall, an empty street, or empty
> chairs, many have found out, is not an ideal situation either. And
> when the public " just doesn't get it ", we can't just dismiss the
> possibility that there may be a problem with the performance itself.
> And what if one ends up " not liking " one's public ? More
> importantly, a constructive picture of who or what one is trying to
> prompt with a given media intervention, remains totally crucial.
> While The Public has disappeared, we thus keep and should keep asking
> where/who/what is the public?
>
> In working with that question, the issue of the " erosion " of the
> public domain, especially with the rise to dominance of commercial
> mass media, and, it should be added, after the disappearance of The
> Public, inevitably comes up. In this way, it is easy to get caught
> between excitement about the disappearance of The Public, puzzlement
> about appropriate publics, and resistance to the " erosion of the
> public domain ". But, that last diagnosis might also prompt us to go
> and look for the missing public, and try to conjure one up. The
> question thus is, what are the techniques and tactics available, and
> which should be developed, to make a public appear ?
>
> Sections:
>
> - Testimony and Witness
> - Tactical Cartography: Diagrams of Power
> (Visualising for the Public Eye)
> - Archives of Resistance
> - Critical Games
> - Urban Interventions
>
>
> Urban Interventions
> http://www.n5m.org/n5m4/modules.php?
> op=modload&name=News&file=article&sid=7#urban-int
>
>
>
> Where else to find the public than in the streets? The move of
> alternative and resistant media cultures out of the ghetto of the
> internet into the streets is a rather obvious one. The tactic is
> comparable to that of art moving beyond the museum and gallery space.
> Invariably, as soon as such media-interventions leave the relatively
> unfettered space of the net, or the sanctioned art spaces, and enter
> public urban space, they encounter an entirely new set of conflicts
> and constraints. Despite all these restrictions public urban space
> remains one of the ultimate social interfaces that we want to
> question and investigate at Next 5 Minutes 4.
>
>
> - "Packing Geldershoofd" by Archeopteryx (Izhevsk)
>
> The art group Archeopteryx from Izhevsk (Russia) proposes to execute
> their project PACKING on the blind facade of one of the large
> High-rises of the Bijlmer district (Amsterdam South East), called
> "Geldershoofd". The high-rise will disappear within a few years as
> part of an urban restructuring plan. The original idea of the Package
> action was to mark 9-storey housing blocks (the traditional Russian
> standardised housing "boxes") in various Russian cities with giant
> painted protection labels, normally used on transport boxes. The
> traditional meaning of these labels is apparently projected onto the
> residents inside these "boxes", urging to protect the people inside:
> DO NOT WET, DO NOT BREAK, HANDLE WITH CARE.
> http://www.n5m4.org/journal.shtml?118+575+1638
>
>
> - "Escaping Oblivion" (Bus trip) / Tactical Tourism
> A bus trip to sites of contestation in and around Amsterdam
>
> During its entire history the city of Amsterdam has been a place
> where lots of social, political, religious and cultural issues have
> been contested. Primarily aimed at our international guests, but also
> with the intention of informing a wider audience about the historical
> and cultural context in which the Next 5 Minutes originated, this bus
> trip takes you to a number off unusual or unexpected sites where the
> sometimes invisible past of Amsterdam will be resurrected.
>
>
> - Mobile Transgenic Fast-Food Test Lab
> Critical Art Ensemble and Beatirz da Costa
> http://www.critical-art.net/biotech/index.html
>
> - Aar Paar Project
> Collaborative Public Art Project by Artists in India and Pakistan
> http://www.members.tripod.com/aarpaar2/02.htm
>
> ___________________________________
>
>
> * DEEP LOCAL
>
> Full info:
> http://www.n5m.org/n5m4/modules.php?
> op=modload&name=News&file=article&sid=7#deep-loc
>
>
>
>
> Introduction:
>
> Globalisation is renowned for its de-localising effects, as
> trans-national business and policies erode local cultures and harness
> them for their own ends. But, far from extinguishing locality,
> globalisation as a process also invites the creation of new kinds of
> localness. "In this process of producing new localities the global is
> constantly being reformulated as a summary of singular new
> localities." The spread of telecenters, and urban digital culture
> projects are forceful examples of recent experiments in
> trans-locality. On the one hand, the adaptation of digital and other
> media to local contexts serve urgent needs : here it is decided among
> others who will and will not participate in digital cultures and in
> what ways. But these projects also provide opportunities to unearth
> fixed assumptions, and propose forms of situated activism and
> embedded innovation, as opposed to lab-based forms of "research and
> development".
>
> Sections:
>
> - New Landscapes for New Media
> - Language
> - Enduring Post Communism: Networks of Patronage
> - Laboratory Italy
> - Bodies of Globalisation
> (Global AIDS activism and the multitudes)
> - Freedom of movement == Freedom of information?
>
> ___________________________________
>
>
> * THE TACTICS OF APPROPRIATION!
>
> Full info:
> http://www.n5m.org/n5m4/modules.php?
> op=modload&name=News&file=article&sid=7#approp
>
>
>
>
> Introduction:
>
> From its earliest articulations, tactical media practitioners have
> always recognised "appropriation" as one of the prime constitutive
> elements of the tactical. From the re-purposing of the fruits of the
> consumer electronics industry,(exploiting video's forensic immediacy
> to institute a subject centred realism) through to later phases of
> new media tactics, as evinced by the work of groups like RTMark, and
> the practices of logo tinkering, and imposturing, blossoming on the
> Net. Thus rather than complaining about the speed with which our
> tactics are stolen it is time to recognise that tactical media has
> been in the appropriation game all along.
>
> Indeed it is in the precise moment of appropriation that power
> becomes momentarily visible. And here lies the opportunity for the
> balance of power to be re-defined, for the weak once again to turn
> the tables on the strong. Appropriation is the name of the game. The
> important question is who appropriates whom?
>
> There are some who would rather seek solace in the belief that a new
> social movement is emerging from the formation of alliances between a
> multitude of heterogeneous critical groups and micro-movements. But
> those who believe that mass movements are immune from appropriation
> should observer the ease with which Chirac together with a coalition
> of EU member states have appropriated the mass peace demonstrations
> to legitimise their geo-political stance visa a vie America. The
> scope and logic of appropriation are infinite. Here as elsewhere
> power exists both where it is enacted and where it is being challenged
>
> If appropriation is indeed one of the crucial operators of media
> politics, the question how that condition can be effectively
> addressed (rather than escaped from), is especially important. So we
> can ask questions like: in what ways are opposition politics these
> days constrained by logics of appropriation? and how can we conceive
> of appropriation as something that enables instead of threatens
> antagonistic politics?
>
> Sections:
>
> - Tactical Media in Crisis
> (Strategies for Tactical Media)
> - The Indymedia Debate
> - Uses and Abuses of the Language of Human Rights
> - Contestational Science
> (Reconfiguring Scientific Networks of Power)
> - Tactical Media from the "Dark Side"
>
> ___________________________________
>
>
> * THE TACTICAL AND THE TECHNICAL
>
> Full info:
> http://www.n5m.org/n5m4/modules.php?
> op=modload&name=News&file=article&sid=7#tactec
>
>
>
>
> Introduction:
>
> Increasingly the new right wing political movements in Europe and
> elsewhere have created their own tactical media. Adopting the same
> principles of resistant comments to main-stream politics, and as in
> the case of altermedia.info even the (web-)styling of indymedia and
> other open publication platforms, to involve the audience in their
> narrative and promote reactionary politics. In Amsterdam some
> conservative Muslim groups have been using the open public channels
> on the local cable system to distribute fundamentalist satellite
> television programs originating from the Middle East, camouflaged
> within the highly multi-cultural programming of the open channels on
> Amsterdam cable-TV. Is the "dark side" learning the tricks of the
> trade from the benevolent media tacticians? Are these tactics
> inherent to a specific form of politics?
>
> Sections:
>
> - Radio Space "wireless in your psyche"
> - Paper tactics and the Revenge of Print
> - Recuperating Video's Meaning
> - The Tactical Media Tool Builders Fair
>
> The Tactical Media Tool Builders Fair
>
> Next 5 Minutes 4 will host a mini-fair of tools developed by artists
> and activists, running continuously during the entire festival. At
> any time three or four projects will be presented simultaneously in
> the fair-space by the makers themselves who will be up for questions
> and discussion. The emphasis of the fair space will be focused
> primarily on streaming media, wireless media, open source publication
> tools and tactical gizmo's. However, also artists' devices that can
> be used by others and conceptual tools can be presented in the space.
>
> Presentations rotate every few hours. An exact schedule of projects
> and presentation blocks will be published at the festival. Some of
> the areas covered by the fair include:
>
> - Updates on Streaming Cultures
>
> A meeting ground for tactical streaming media, artists, activist,
> net.audio, hybrid media experiments. The streaming media mini-fair is
> a follow-up to and update of the successful net.congestion festival,
> held in Amsterdam in October 2000 - What has changed since, where has
> the field moved after the commercial streaming industry collapsed and
> virtually disappeared?
> See also the archive of net.congestion: http://net.congestion.org
>
> - The Desire to be Wireless
>
> A special focus area will be the domain of wireless media and the
> cultural forms that spawn from it. The technology of wireless
> networks has become democratised in many ways, nit just via cell
> phones. There are a number of projects that experiment with the
> possibility of using wireless networks to provide free access to the
> internet in public space (the so-called wireless commons). We wish to
> explore this terrain via a series of performances and experimental
> projects. Besides offering interesting avenues for artistic
> experimentation the wireless technologies also offer opportunities
> for new forms of low-cost mobile reporting, as well as to set up
> local networks in places where a 'wired' infrastructure is not
> available.
>
> - Open Source Publication Tools:
>
> A host of open source publication tools have hit the gift-market,
> content management systems, on-line databases, weblogging software,
> schedulers, reporting tools, web zine tools, and even complete
> on-line video editing systems. A selection of some of the most
> noteworthy publication tools will be presented in this section.
>
> - Tactical Gizmology
>
> Beside software tools some activist have also focused on creating
> machines for tactical intervention work. IAA's pamphleteering robot
> and graffiti writer are famous examples of such tactical gizmo's, but
> also repurposed consumer electronics and robotics appliances allow
> for all kinds of unforeseen uses….
>
> ___________________________________
>
>
> WORKSHOPS
>
> Next 5 Minutes 4 will host an extensive series of workshops that will
> focus in a more concentrated setting on various aspects of the
> overall festival program. The workshops will have a more practical
> and 'hands-on' character. The workshops will feed on the availability
> of a unique group of highly experienced practitioners and specialist
> brought together for the festival in Amsterdam from many different
> countries. The main workshop locations will be the Waag Society,
> Imagine IC (Amsterdam South East), the Artlab of Montevideo and a
> dedicated and fully equipped workshop space at the Melkweg. The
> workshops will start in the days prior to the festival and will
> extend for two days beyond the three main festival days, thus making
> available a full week for the workshop program.
>
> The registration for workshops will be open for festival participants
> and audience, but is limited to a maximum number of participants.
> Where possible audience facilities will be made available for people
> who want to follow the workshops as listeners. At the 2000
> net.congestion festival we discovered that the interest for this
> possibility was surprisingly large.
>
> The exact scheme of workshops including dates, themes and locations
> will be published well in advance of the festival.
>
> Themes will include:
> - Open Source Streaming Tools
> - Multimedia Archiving & Databases
> - Open Source Publication Platforms
> - Digital Story Telling
> - IPL for the Digital Domain and Censorship
> - Hybridising Media (tactical combinations of radio, TV, internet &
> satellite technology)
> - Wireless Media
> - Satellite Technology
> - Tactical Gizmology
> - Contestational Robotics - IAA & Hakctivist
> http://www.hactivist.com/cdl_mission.html
> http://www.appliedautonomy.com/
> - TV Hacking - prepared with Kees Stad
>
> ___________________________________
>
>
> PITCHING SESSION
>
> Find people to work with!!!!
>
> The pitching session is an attempt to create a place were media
> tacticians can find collaborators for whatever project they happen to
> be working on. A meeting ground where people can pitch conceptual,
> practical, technical, artistic or activist projects to find the
> expertise they are missing - the expertise that YOU are missing!!
>
> Contact the production office in time for the pitching session. This
> will provide a unique opportunity for finding the collaborator you
> dearly missed, or the project you would love to work on, but you
> didn't know existed. Create your own solutions! Pitch at Next 5
> Minutes 4 and find your unknown other…..
>
> ___________________________________
>
>
> THEORY SLAMS
>
> At a few key-points in the program we will invite some of our most
> articulate guest to compete in making their urgent message heard in
> the frame of a three-minute each theory slam contest. Every
> contestant has to convey the urgency of whatever she / he has to say
> within the next three minutes after receiving the go: verbal
> gymnastics for tactical media theorists!
>
> ___________________________________
>
>
> PERFORMANCE PROGRAMS
>
> Next 5 Minutes 4 wishes to continue the tradition of bringing
> together extensive performance programs with radical art and media
> experiments that transcend the traditional contours of regular art
> and media production. In the spirit of the infamous Low-Tech Show of
> the previous edition and the very successful performance programs of
> the net.congestion festival, we want to invite performers from around
> the world that challenge the traditional frameworks of art and media
> production. Besides the four evening programs that are planned in the
> main festival locations (Paradiso, Melkweg, Balie), we are also
> looking for unconventional interventions into the public city space
> of Amsterdam (Urban Interventions).
>
> The TML process has so far delivered a long list of performers from
> many different countries and regions even beyond the sites where the
> various TMLs were organised.
>
>
> - A completely safe environment….
>
> A completely safe environment is a co-production of De Balie and
> Paradiso, which is produced independently, but will be presented in
> the frame of the Next 5 Minutes festival.
> The evening program is an ironic challenge to the current security
> mania that has seized public discourse not only in the United States
> but also increasingly in horrifically safe countries such as The
> Netherlands. For the evening a barrage of security equipment and
> procedures will be installed at the entrance of the Paradiso venue to
> ensure a perfectly tranquil environment inside. This completely safe
> environment will, however, be continuously scrutinised by various
> advanced surveillance and tracking technologies that are aimed at
> ensuring a perfect safety for such an environment. The project is an
> attempt to find out what is required to create such a perfectly safe
> space and turn this into a visceral experience for the visitor.
>
>
> - Voicing Resistance: Hip Hop as Political Culture
>
> A performance night devoted to Hip Hop as a site of resistance that
> has long left its roots in the North American urbania. The
> performance night will bring together musicians and collectives from
> the USA (Code Red), the Beta Bodega Coalition y Latin America,
> Brazil, as well as from urban France, Amsterdam South East, and other
> contested environments.
>
>
> - fem snd
>
> Due to the heavy under-representation of women in electronic music
> and dj culture, the fem snd party will focus on the aspect of giving
> female artists the opportunity to perform their work. Male artists
> are also most welcome if their work contributes to the gender
> discourse.
>
> Another aspect of the party will be not to try to attract attention
> by big names but more by extraordinary quality. Particularly emphasis
> is placed on artists who besides doing their own artistic work, are
> also active in political contexts, and in building networks and
> platforms for other artists.
>
> The focus is on experimental electronic club music looking for
> ground-breaking conceptual and technical innovations. Wherever
> possible we will take into consideration the role that electronic
> music played in triggering the economic aspects of the Net, and
> questions of copyright.
>
> Further details of the program will be released on the web site in
> the coming weeks.
>
> ___________________________________
>
>
> SCREENINGS
>
> All three main festival locations (Balie, Melkweg, Paradiso) are
> equipped with superb screening facilities and spaces for film and
> video in various formats. For the festival special cinema programs
> will be compiled that will bring together experimental artistic
> productions, do-it-yourself documentaries, local media productions
> from around the globe, and political cinema. These thematic programs
> seek in part a connection with some of the thematic threads in the
> festival programs. We will also search for hybrid combinations of
> cinema and video screenings with some of the performance programs
> that will be part of the festival, including combinations of screened
> materials and live performance. Such hybrid combinations will be a
> special focus of the screening programs.
>
> Show & Tell:
>
> More important even than the formal screening programs of Next 5
> Minutes are the possibilities created for festival participants to
> show and exchange materials amongst themselves during the festival.
> Special informal screening spaces will be installed where impromptu
> one to one or one to few screenings can be arranged. Furthermore the
> TAZ spaces will all be equipped with screening facilities to enable
> impromptu group screenings.
>
> ___________________________________
>
>
> MEDIA LIBRARY
>
> The Media Library will be a permanent space in the festival that
> hosts a collection of media productions with a specific social,
> cultural or political agenda. Media of crisis, criticism and
> opposition. Media that provide an antidote to the world as we see it
> represented in mainstream media and current geopolitics. The Media
> Library can be accessed by any festival participant during the
> festival.
>
> Next 5 Minutes has been putting out calls for such media productions
> widely, but the submission is still open. The productions that you
> will send to us will become part of the so-called media-library.
> After conclusion of the festival they will become part of the Next 5
> Minutes Visual Archive, which is kept at the International Institute
> for Social History in Amsterdam.
>
> Contributions can be selected for special screenings at the
> festival, for broadcasting on local cable TV and for broadband
> internet distribution, in which case specific permission will be
> asked from the maker. We will accept contributions on all carriers
> (SVHS, Betacam, cd-rom, miniDV, dvd, pal/ntsc/secam, 16mm, 35mm,
> etc.) (VHS welcome but not preferred).
> Any length, any language.
>
> More information is available via the production office (info@n5m.org)
>
> ___________________________________
>
>
> NEXT 5 MINUTES TV
>
> Starting 3 weeks before the festival Next 5 Minutes TV will air twice
> per week a live studio program co-produced with SALTO the local
> Amsterdam TV organisation, with studio guest and hosted by Erik van
> der Schaft, director of SALTO. During this period media productions
> from the Media Library will be aired every night between 00.00 and
> 02.00 hours on Amsterdam Cable TV.
> During the festival itself Next 5 Minutes will generate an intensive
> program of live broadcasts from the Hybrid Media Studio, interviews
> with festival guests, live broadcast from festival programs, and
> edited festival reports.
>
> ___________________________________
>
>
> HYBRID MEDIA STUDIO
>
> As in previous editions, Next 5 Minutes is more than an event for
> presentation and debate about media, it is also an event where a lot
> of media-output is produced on site. The nerve centre of the media
> production during N5M4 will be the Hybrid Media Studio. The concept
> takes the fusion of different media-forms within a hybridised digital
> media network as its starting point. Radio, television, internet,
> wireless transmission, satellite and other forms of electronic media
> production continue to exist in their own right, but they are also
> more and more often combined into expanded media formats that involve
> two or more media at once. The Hybrid Media Studio brings these
> different media-forms together in one space, and connects them to all
> available media-infrastructures. Amsterdam offers unique
> possibilities for non-commercial free media programming on local TV
> and radio, as well as various web-casting facilities. From the Hybrid
> Media Studio continuous live programming will be fed to local media
> outlets, to international (satellite-) outlets, to national
> broadcasting organisations, and to local media partners in other
> cities in the world. What makes the studio hybrid is its trans-genre
> approach, and its trans-local distribution.
>
> ___________________________________
>
>
> OPEN SPACE / TACTICAL AUTONOMOUS ZONES (TAZ)
>
> An element first introduced in the third edition of Next 5 Minutes in
> 1999 that we wish to foreground more are the Tactical Autonomous
> Zones. These are un-programmed but fully equipped presentation spaces
> where participants can sign up themselves for a presentation. The
> idea is to create open zones in the festival for impromptu
> presentations and gatherings, spaces for contestation and difference.
> Registration for the TAZ is open to all festival participants and
> works on a first come first serve basis.
>
> Proposals for the TAZ can be sent to the production office as of
> Monday July 21st, via: taz@n5m.org
>
> ___________________________________
>
>
> N5M4 - EXTENDED
> A friendly post-festival networking environment
>
> Next 5 Minutes is always over-programmed because of the urgency of a
> multitude of concerns that characterise a world in permanent crisis.
> What is lost is the space for informal encounter and exchange of
> ideas, and the time to create new coalitions for the future. Since
> for logistical budgetary and many other reasons it is impossible to
> resolve the desire for such a less pressured environment within the
> festival, we have created a post-festival meeting place and work
> environment, ideally suited for working sessions and networking
> meetings. The location of this meeting is the artist-run imitative
> "Het Buitenland" just outside the city of Amsterdam, which includes a
> small camping site.
>
> The site of Het Buitenland will be equipped with basic networking
> facilities as well as meeting rooms and other requirements. The main
> function of this post-festival meeting is to set-up new co-operative
> projects, start longer term working relations and develop new
> collaborative networks between festival participants. Further
> information on the meeting will be posted on the announcement list of
> Next 5 Minutes, the web site and are available through the production
> office.
>
> Buitenland:
> http://www.buitenland.org
>
> ___________________________________
>
>
> Next 5 Minutes 4 Production Office:
>
> c/o De Balie
> Kleine Gartmanplantsoen 10
> 1017 RR Amsterdam
> The Netherlands
>
> Tel. +31.20.55 35 171
> Fax. +31.20.55 35 155
> http://www.n5m.org
> e-mail: info@n5m.org
>
> ______________________________________________
> SPECTRE list for media culture in Deep Europe
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>
>
> ——– End of forwarded message ——–
>
>
> __
>
> [rh-]s/h isbn 82-92428-14-3
>
>