JODI: Surviving Code

http://oss.jodi.org/abuse
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From: anna balint <potemkin@freemail.hu>
To: syndicate@anart.no
Subject: 1000 jodi flowers
Date: Wed, 02 Oct 2002 10:24:27 +0200
Reply-To: potemkin@freemail.hu

there are 1163 messages from jodi.org (approx. 10 MB)
waiting moderators approval.
i allowed the first ten (a kind of my maximum daily quota), the rest i leave
for clement.
if anyone needs the rest of the mails sooner than the next months,
can ask me at potemkin@freemail.hu, my epistolaris account is completely
stucked.

greetings,
anna

>mmmm
>1000 jodi flowers (perhaps more .. ? have to count ..)
>merci, merci
>.. and I share them only with Anna and Clément

Follow-Ups:
Re: 1000 jodi flowers
From: "clement Thomas" <ctgr@free.fr>

http://anart.no/sympa/arc/syndicate/2002-10/msg00029.html

Re: 1000 jodi flowers clement Thomas

From: "clement Thomas" <ctgr@free.fr>
To: <syndicate@anart.no>
Subject: Re: 1000 jodi flowers
Date: Wed, 2 Oct 2002 10:53:27 +0200
References: <E17wf7P-00072H-00@hapcibeno.freestart.hu>

I got 882 flowers before my box overD.
no song.
--
OG

----- Original Message -----
From: "anna balint" <potemkin@freemail.hu>
To: <syndicate@anart.no>
Sent: Wednesday, October 02, 2002 10:24 AM
Subject: [syndicate] 1000 jodi flowers

> there are 1163 messages from jodi.org (approx. 10 MB)
> waiting moderators approval.
> i allowed the first ten (a kind of my maximum daily quota), the rest i
leave for clement.
> if anyone needs the rest of the mails sooner than the next months,
> can ask me at potemkin@freemail.hu, my epistolaris account is completely
stucked.
>
> greetings,
> anna
>
> >mmmm
> >1000 jodi flowers (perhaps more .. ? have to count ..)
> >merci, merci
> >.. and I share them only with Anna and Clément
>
>

----------------------------------------------------------------------------
----

>
> -----Syndicate mailinglist-----------------------
> Syndicate network for media culture and media art
> information and archive: http://anart.no/~syndicate
> to post to the Syndicate list: <syndicate@anart.no>
> Shake the KKnut: http://anart.no/~syndicate/KKnut
> no commercial use of the texts without permission

References:
1000 jodi flowers
From: anna balint <potemkin@freemail.hu>

http://anart.no/sympa/arc/syndicate/2002-10/msg00013.html
flowers claudia westermann

From: claudia westermann <media@ezaic.de>
To: syndicate@anart.no
Subject: flowers
Date: Wed, 2 Oct 2002 00:42:44 +0200

mmmm

1000 jodi flowers (perhaps more .. ? have to count ..)

merci, merci

... and I share them only with Anna and Clément
*
*
*
http://anart.no/sympa/arc/syndicate/2002-10/msg00039.html
lasting flowers claudia westermann

From: claudia westermann <media@ezaic.de>
To: syndicate@anart.no
Subject: lasting flowers
Date: Wed, 2 Oct 2002 20:24:30 +0200

fw: message from anart

>i have checked, and can not see any easy way out , sorry.
>any solution must be on the mailer side.
>i doubt any elegant solutions even then :P

what means: that we have to reject every e-mail (flower) one by one by hand

>seems like your weekend is already decided for you.

+ at the moment it is rather difficult to use the admin panel in the
Syndicate web space .. takes a while to load

in case some Syndicate subscribers feel like putting some time into
rejecting e-mails
please announce ..

we could set some more people as secretaries ... and perhaps this way
clean the server over some time ?

dessert job

kind regards

claudia

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------------------------------------------------------------------------------
Send via THE THING vienna (+43 1 21 21 695), Telnet: thing.at port 3004 for information: info@thing.at, WWW: http://www.thing.at/thing/ ------------------------------------------------------------------------------
From: kathy@thing.or.at (Kathy Rae Huffman)
Reply-To: kathy@thing.or.at
To: CC@jodi.org
Subject: email talk - please respond
Date: 07 Feb 1996 14:44:10 GMT
Organization: THE THING vienna

1. Web Art - you have created a URL that reflects the innerworkings and the
electronics of the computer, and Internet. Is there a story here? What inspired
this vision to electronically fire up and expose the systems and the circuits?

alt.cyberpop
eachmankillsthethingsheloves
alt.truelove
quote.withoutrespectfortechniquewedrivetowardsthesunonourcomputer

HOTLINK /1/ CYBERPOP
EXTRA MEMORY
HOW TO EXTINCT INTERN CLICK OCTOPUS
TERMINAL DEAD
AGREE TERMS HEREBY OR DISAGREE
SMOOTH SABOT MESSAGE SQUAD

MACHINE====SOFT SURF OBJECT=========WARRIOR
BODY==========BLUE BOX ==== XYBRIDGE BUILDER

I WILL BURN SHISTIC
I SHE?
I DEPRAVE U
I DROVE PASTIME PLORE
I EGOKILL E OZAL UPRISE SYCHOMAT
I EXPOSE MEAT PINCDE RAWSHIT1
I PIOUS XX CRONCKER
I LINE TEST HOTTODAY ISM POT
I CORNO CON PAPUSSI NERVEX
I MASSCORIO FINGER ME
| TELBA
| PARCIPITATE ME HAVE A GUN
| DIAL MOOG TONE HITS HI GHOST
| SUFF TOY STIFF LITTLE FINGERS ANYBODY
| NOWARE UNDERAN SOKINI LOVEBUOY
| NIGHTMAN TEL

THANK YOU FOR JOINING IN

screensaver
connecting
a cybercupremacist vision:

cyberpop open
phrack hack crack first i thought something was wrong with it

alt.artcom
thetrueartistocratrevealsmysticdoom

2. The surface of your site is very alive and intense. How did this surface
develop, with what connections between technical and aesthetic concerns. <
and/or, do you find any art historical references useful in your work?>

quote:
Without respect for technique we drive towards the sun on our computer

cyberpop,cybercupremacism

q: are you a cybercupremacist?
a: yes i am a cybercupremacist

q: what is cyberpop?
a: this is cyberpop

MOAN NIGHTSCAPE
MISTOOK LATEX HAIR
CONSCIOUS DRIFT DRUG
LINK ALTER ANCHOR MAN
SICK DOG FEVER TALKS
MAZE DIALOG WITH AN
EASY-CLEAN FFFFF9
DEAR DEAD DARLING,

closeeyesforthenakedsun
fast scroll mouse down
face a portugal netscape
where wild ponys open fences
inacafuego night brush teeth

useletics puke cyber futura
parent survivors of root
sega mice eat any cheese

wedonotisolatefromourfrenzinothermedianorfromourentrenchedennemies
wordwildwankersgodart

intenseisthenaked sun

wedontcloseoureyesfortheintensenakedsun

Yes,we do have
aart history

Warning

all references with allready existing references are s..hite
and non intended

3. How significant for the artist is the new software for the Internet. For
example, JAVA - VRML - what would allow you to make a dramatic new
statements? What would you dream of doing on-line?

a flushtoilet the most usefull tool:

for example Java was a colony of the 17th century Netherlands now the Net is
technolizing Webmakers to make them Server dependant as many new applets do.
Contraprogrammers will prove them wrong.

dream.rml to light one cigarette from another

We believe in contra html programmers to encounter these forces of drama.
drea.rml/
i
want
aka

-the main problem with many new applets is that they make us

server-dependant on the technical level;
she will need cooperation from a server

and will need to deal with programmers , extra costs, sponsoring, formulating the work as 'projects' , submitting to comittees ,etc,
Precisely the things the internet could have freed us from,

so through the ttopian-backdoor a lot of restrictions are creeping in.

We tend to work as much as possible with basic HTML,
keeps our mind away from
hyped-up artificial problems

4. Do you ever do professional Web design? What is the connection between
your work as an artist, and the professional work you do. What other kinds of
Internet projects have you been involved with?

Bow for an abject blow job a browser job blows as does rackjobbing

xxxorknotneverwork
thesignsuxcollaborats

has a definite negative sounding to us ,
we have the classical belief that design is concerned with surface and function only and
feeds itself on ,,, the art corpse

5. The potential image quality and new features coming for WWW are open
ended for artists to explore as formal, and analytical aesthetics. But, the
situation to work is not always easy to situate. You had a unique opportunity to
work in San Jose - at the University there. How do you think this *residency*
impacetd your work? Do you miss the California sunshine and blue sky?

California uber alles- Dead Universities - the s

New-Holland is a windmill Netscape where cyclers never meet

6. In your opinion, what is the most important thing for the viewer to understand

about on-line art?
CAFUEGO

between cursor and modem TV blinks

cyberpulp

JODI and the avatars

it's only Televison

world of smell bad agents
if tv was

we plan on Live performing our site with heat and sound
e-mail:live@jodi.org

further we,
jodi
object nor subject the result outcoming the use of
any combination of keys or clicks

/paste /cut copy / download /script /quote & save
in any possible order

$string me up,Love

we plan on Live performing our site with heat and sound
livehot@jodi.org
further we,
jodi
a desktop studio connected
call-a-link /change newsgroup / one second /drop a line /stuff

Now connecting- No reply-Adress not found

Warning!

This is an unauthorized link, This is not about a concept This is not an Hi-Tec Project

If your country or state ...
/paste /cut copy / download/script/quote & save/

this is a Quote
'Without respect for technique we drive towards the sun
with our computer'
this is an Unauthorized Link
<a href: http://www.jodi.org/unauthorized>
this is a Warning
the presentation is part of
this is Special

americanada a internetscape society

Netscape with cows/the negatif horizon

disunitedtelegeonternetscapeofvirtuamericanada.html

_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_
~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~
_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_
~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~
_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_~@_

Phone me up ,Scotty/
ph.distances,anon.isolation,segregation,safety.com ///are facts in

------------------------------------------------------------------------------
Send via THE THING vienna (+43 1 21 21 695), Telnet: thing.at port 3004 for information: info@thing.at, WWW: http://www.thing.at/thing/ ------------------------------------------------------------------------------

1. Web Art - you have created a URL that reflects the innerworkings and the
electronics of the computer, and Internet. Is there a story here? What inspired
this vision to electronically fire up and expose the systems and the circuits?

HOTLINK /1/
EXTRA MEMORY
HOW TO EXTINCT INTERN CLICK OCTOPUS
TERMINAL DEAD/
AGREE TERMS HEREBY OR DISAGREE
SMOOTH SABOT MESSAGE SQUAD
/X Y BRIDGE
BOULDER
MACHINE====SOFT SURF OBJECT=========WARRIOR
HOTLINK /2/ CYBERPOP
/BODY

If you use the computer and Internet there is a history
It is the survivalist of military.networks (arpa)
Pong, is basic to the technologie and qualities of computer&monitor
The 1 cyberscape = created in fluo visual green

2. The surface of your site is very alive and intense. How did this surface
develop, with what connections between technical and aesthetic concerns.
and/or, do you find any art historical references useful in your work?

I WILL BURN SHISTIC
I SHE?
I DEPRAVE U
I DROVE PASTIME PLORE
I EGOKILL E OZAL UPRISE SYCHOMAT
I EXPOSE MEAT PINCDE RAWSHIT16
I PIOUS XX CRONCKER
I LINE TEST HOTTODAY ISM POT
I CORNO CON PAPUSSI NERVEX
| TELBA ANYONE?
| PARCIPITATE ME HAVE A GUN
| DIAL MOOG TONE HITS HI GHOST
| SUFF TOY STIFF LITTLE FINGERS ANYBODY?
| NOWARE UNDERAN SOKINI BUOY
| HI NIGHTMAN
| COCKROACH!

THANK YOU FOR JOINING IN

3bit=fluo>>>>

aesthetic concerns of the technical

3. How significant for the artist is the new software for the Internet. For
example, JAVA - VRML - what would allow you to make a dramatic new
statements? What would you dream of doing on-line?

QUOTE:
WITHOUT RESPECT FOR TECHNIQUE WE DRIVE TOWARDS THE SUN ON OUR COMPUTER

_FLUSHTOILET

JAVA WAS A COLONY OF THE 17TH C NETHERLANDS

new possibilities ....there you can make a difference, these programs need to serve you not the product-makers and the huge-bandwidth vieuwers and servers
art must make there own independant statement,
no sponser licking and hype following consesions,
the more software the better

4. Do you ever do professional Web design? What is the connection between
your work as an artist, and the professional work you do. What other kinds of
Internet projects have you been involved with?

MOAN NIGHTSCAPE
MISTOOK LATEX HAIR
PORT
LINK ALTER ANCHOR MAN
SICK DOG FEVER VIEUW
DEBUG
MAZE DIALOG WITH AN
EASY-CLEAN FFFFF9
DEAR DEAD DARLING,

if you use the visuals of design in art doesn't mean you are a designer

5. The potential image quality and new features coming for WWW are open
ended for artists to explore as formal, and analytical aesthetics. But, the
situation to work is not always easy to situate. You had a unique opportunity to
work in San Jose - at the University there. How do you think this *residency*
impacetd your work? Do you miss the California sunshine and blue sky?

BUMS IN EXILE

RECURRING DREAMS OF SWIMMING POOLS OF ALL SHAPES AND SIZES

doing work on the internet is not hard,
you do not need an institutionalized surounding

6. In your opinion, what is the most important thing for the viewer to understand

about on-line art?

CYBERPULP

ITS A VIDEOGAME

------------------------------------------------------------------------------
Send via THE THING vienna (+43 1 21 21 695), Telnet: thing.at port 3004 for information: info@thing.at, WWW: http://www.thing.at/thing/ ------------------------------------------------------------------------------

From: kathy@thing.or.at (Kathy Rae Huffman)
Reply-To: kathy@thing.or.at
To: CC@jodi.org
Subject: email talk - please respond
Date: 07 Feb 1996 14:44:10 GMT
Organization: THE THING vienna

Hi jodi.org <Joan and Dirk>!

I hope this finds you at good time. That you have a few minutes and that the

following does not stress you out too much. But, it is to focus on YOUR work as
artists and WWW specialist - in both the design and content of the work.

Here Goes:

I have selected your URL Jodi.org for one of the first in the POPtart column - as
a Ñdiscussion-reviewì of the site and your work. So, I need to have an e-mail
discussion with you. And, kinda fast. The entire section wonít be so long,
probably no more than a page - but answer as long as you need and Iíll edit it a
little. You should just answer back like in a letter or regular mail. Donít get
stressed because itís for a magazine. Hopefully, you can mail back quickly -
please, as e-mail - and Iíll send it back to you before it becomes a *online go* if
you like....Iíll need a short bio, we will make a screen shot - and will link to your
URL. I hope my shots of you turned out well from the De Balie last night...

I will meet with the journalís editor on Feb. 12 in Muenchen. I would like to
have a handle on this -as much as possible - by then. It does not have to be
completely finsihed.

QUESTIONS < you donít have to answer them all if you donít like them>:

1. Web Art - you have created a URL that reflects the innerworkings and the
electronics of the computer, and Internet. Is there a story here? What inspired
this vision to electronically fire up and expose the systems and the circuits?

cyberpop==

2. The surface of your site is very alive and intense. How did this surface
develop, with what connections between technical and aesthetic concerns. <
and/or, do you find any art historical references useful in your work?>

Yes,we do have
aart history

Warning

all references with allready existing references are s..hite
and non intended

3. How significant for the artist is the new software for the Internet. For
example, JAVA - VRML - what would allow you to make a dramatic new
statements? What would you dream of doing on-line?

-the main problem with many new programs (for ex.JAVA) is that they make the artist

server-dependant on the technical level; she will need cooperation from a server

and will need to deal with programmers , extra costs, sponsoring, formulating the work
as 'projects' , submitting to comittees ,etc,

Precisely the things the internet could have freed the artist from,

so through the technotopian-backdoor a lot of restrictions are creeping in.

We tend to work as much as possible with basic HTML,

keeps our mind away from
hyped-up artificial problems

4. Do you ever do professional Web design? What is the connection between
your work as an artist, and the professional work you do. What other kinds of
Internet projects have you been involved with?

No Web Design has a definite negative sounding to us ,

we have the classical belief that design is concerned with surface and function only and

feeds itself on ,,, the art corpse

5. The potential image quality and new features coming for WWW are open
ended for artists to explore as formal, and analytical aesthetics. But, the
situation to work is not always easy to situate. You had a unique opportunity to
work in San Jose - at the University there. How do you think this *residency*
impacetd your work? Do you miss the California sunshine and blue sky?

California uber alles- Dead Universities - the s

6. In your opinion, what is the most important thing for the viewer to understand
about on-line art?

the vieuwer needs to understand that she is allways wrong

------------------------------------------------------------------------------
Send via THE THING vienna (+43 1 21 21 695), Telnet: thing.at port 3004 for information: info@thing.at, WWW: http://www.thing.at/thing/ ------------------------------------------------------------------------------

Delivered-To: nettime-bold@nettime.org
Date: Mon, 7 Oct 2002 00:04:48 +0200
To: nettime-bold@nettime.org
From: ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||404@sm.
Subject: [Nettime-bold] WWWWWWWWWWWWWWWWWWWwwwwwwwwwwwwwwwwwwwwwwwwwwwwww-\/\/-\/\/-\/\/-\/\/-\/\/
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wwwwwwwwwwwwwwwwwwwwwwwwwwwww-\/\/-\/\/-\/\/-\/\/-\/\/-\/\/-WWWWWWWWWWWWWW
WWWWWwwwwwwwwwwwwwwwwwwwwwwwwwwwwww-\/\/-\/\/-\/\/-\/\/-\/\/-\/\/-WWWWWWWW
WWWWWWWWWWWwwwwwwwwwwwwwwwwwwwwwwwwwwwwww-\/\/-\/\/-\/\/-\/\/-\/\/-\/\/-WW
WWWWWWWWWWWWWWWWWwwwwwwwwwwwwwwwwwwwwwwwwwwwwww-\/\/-\/\/-\/\/-\/\/-\/\/-WWWWWWWWWWWWWWWWWWwwwwwwwwwwwwwwwwwwwwwwwwwwwwww-\/\/-\/\/-\/\/-\/\/-
/\/-WWWWWWWWWWWWWWWWWWWwwwwwwwwwwwwwwwwwwwwwwwww/\/-WWWWWWWWWWWWWWWWWWWwwwwwwwwwwwwwwwwwwwwwwwwwwwwww-\/\/-\/ /-\/\/-\/\/-\/\/-\/\/-WWWWWWWWWWWWWWWWWWWwwwwwwwwwwwwwwwwwwwwwwwwwwwwww-\/ \/-\/\/-\/\/-\/\/-\/\/-\/\/-WWWWWWWWWWWWWWWWWWWwwwwwwwwwwwwwwwwwwwwwwwwww
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wwwwwwwwwwwwwwwwwwwww-\/\/-\/\/-\/\/-\/\/-\/\/-\/\/-
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X-BeenThere: nettime-bold@nettime.org
X-Mailman-Version: 2.0.11
Precedence: bulk

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ISSN: 1525-9110. 33lume 7, num er 20. Article submissions to
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