June 21 - 27, 2003

Originally published on 06/05/03
**This is a past event worth noting**
[on] Sunday, 15/06/03 at 9 pm UK time, 10 pm Rome, 4 pm New York, 1 pm California, and 6 am (Monday) Sydney, the "Electronic Literature Organisation" will host a chat on the preservation of new media works.

"What Discussion on archiving [new media] outside of institutions: what private folks can do to preserve our creative e-legacy.

What are we talking about? While you can pick up - and read - a book from a century ago, reading new media works from a decade ago is hard to do, and getting harder. How can we as writers preserve our heritage of electronic literature and art?"

The chat has three special invited guests (including Nick Monfort co-editor of the "New Media Reader" (2003, MIT Press)) but it is free for anyone to join in. Further information on how to participate can be found on the "Electronic Literature Organisation" website.
Garrett Lynch ::

Originally published on06/13/03
Ei is a new piece of sound software by the Bulgarian sound artist Ivan Bachev. With Ei you can open an MP3 file from your hard drive then manipulate and record itัor in Bachev's words, "re"-"context"-plunder the file and make something new from something old. Full information about Bachev's ideas of music and MP3s made with Ei (along with a manual of Ei) can be found at his site: http://nml.cult.bg/~bachev.
:: Peter Luining ::

Originally published on 06/12/03
Tanja Vujinovic & Zvonka Simcic develop offline and online new media projects. Their website www.i-i-i-i.org offers detailed documentation of their collaborations, as well as their respective artistic endeavors.

An offline performance worth mentioning is Sisi Dzakovich project, which consists of appropriated medical video footage of internal cameras traveling throughout the inner parts of the human body while performers play vacuum tubes to create an experimental music composition. This project was developed with ideas of "internal worlds," and alludes to gender issues.

Two online projects that bring the duo's aesthetic onto the web are Hardbody and Paused Hardbody. Both pieces present a series of sequential flash pages relying on mouseovers to develop sound compositions. The works function much like animated collages as the movement is limited to simple loops. The former overtly questions the male gaze, while the latter presents a more abstract narrative.

What's worth noting in both online projects is the careful selection of images. Vujinovic and Simcic's syntagms create eloquent narratives which would not be effective if the pages were accessed as menu links. This online tendency may be influenced by the linear structure of their offline performances.
Eduardo Navas ::