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iolaINDEX 00.01
A Monthly Newsletter
February 15, 2000
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Greetings:

Welcome to the first edition of iolaINDEX.

If it looks familiar that's because
iolaINDEX is a "reconstitution" of the 
artnetweb & INTELLIGENT AGENT newsletter
published  until 1998 as a "snapshot" of
artists and projects associated with artnetweb,
a collaborative network dedicated to
access and exploration of new technologies
for artists.

Things change. When artnetweb started in 1993
it was one of the first Mac-based graphical
BBS's operated out of Remo Campopiano's
apartment in New York. We opened a storefront
in Soho to help other artists learn about
new technology and the Internet. It was one
of the first exposures for hundreds of
people who walked in the door (or were
dragged in by Remo).

The storefront's gone but the website is
still online as both an archive for the past
seven years and an active network node growing
with projects. One of those projects is
Robbin Murphy's personal portal: <i> i o l a </i>

	http://artnetweb.com/iola

iolaINDEX is an offshoot of that and will
appear for three months as part of the Walker
Art Center's "Art Entertainment Network"
WebWalker newsletter.

Below you'll find an update on some of the people
who "walked in the door", an interview with
Cary Peppermint, a selected list of announcements
and calls and bookmarks of interesting sites on
the web. Over the next two months we'll be
experimenting the format and content to see
what that "snapshot" would look like now.

Comments and suggestions are appreciated and
can be sent to:

	murph@artnetweb.com

See you next month.



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iolaINDEX 00.01

1. PEOPLE
2. INTERVIEW
3. ANNOUNCEMENTS & CALLS
5. BOOKMARKS

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        A hypertext version is available on the Web:
        http://artnetweb.com/newsletter/




1. PEOPLE
============================================================
an update of some of the people interconnected with
artnetweb from the beginning.
============================================================


REMO CAMPOPIANO has been invited to create a multimedia
installation called "Under the Volcano" for the DeCordova
Museum Annual opening May 13, 2000.

	http://artnetweb.com/remo


	ROBBIN MURPHY will be participating on a panel about
	"Free Art and the Net" at a conference organized by
	the Information Law Institute of NYU School of Law at
	the end of March. Titled "A Free Information Ecology
	in the Digital Environment", the conference plans to
	publish papers and presentations on a web site.

		http://artnetweb.com/murph
	

G.H. HOVAGIMYAN's Art Dirt webcast archives have
been acquired by The Walker's digital studies
archive.  His new Collider vid-show  on The Thing
will start up again in February and will originate
from a new technologies festival in Brittany, France
in March. GH and his partner PETER SINCLAIR exhibited
"Les Jaseurs: A SoaPoPera for Laptops" at Postmasters
Gallery in NYC last November and performed in Belfort,
France for the "Nuits Savoureuses" sponsored by the
CICV in December. They've also done a Christmas CD
called "The Last Noel" produced by the Galerie Aldebaran
in Montpellier, France.  The CD's are $10.00 and function
as a collectable. In January they did a performance at the
Galerie Aldenbaran and  have been invited to Amsterdam for
Steim sometime before May.

The Thing: http://bbs.thing.net
Brittany Festival: http://www.x-arn.org/x-00/
CICV: http://www.cicv.fr
Steim: http://www.steim.nl

	http://artnetweb.com/gh


	ADRIANNE WORTZEL has been awarded $50,000 by the
	National Science Foundation along with a matching
	grant from Cooper Union for her theater project
	"Robotic Renaissance," a collaboration with CU
	engineering professors, Carl Weiman and
	Chih-Shing Wei.
	
		http://artnetweb.com/wortzel

         
CHRISTIANE PAUL, editor and publisher of Intelligent
Agent Magazine and web site, has been appointed
Adjunct Curator for New Media by the Whitney
Museum of American Art.	

	http://intelligentagent.com
	
	
	And, sadly, AYMON DE ROSSY DE SALES, creator of
	The Brown Moobird, died at his home in New York
	earlier this month after a long illness.
	
		http://artnetweb.com/moobird	
	




2. INTERVIEW
============================================================
The following interview was conducted between LUTHER
BLISSET and CARY PEPPERMINT on the Staten Island Ferry,
February 14, 2000 in NYC. Peppermint brought along his
mother for this interview. She quickly left us in favor
of a large can of Budweiser beer and the scenic vistas of
the island of Manhattan and the Statue of Liberty. - LB
============================================================


Blisset:  Your works such as "The Mashed Potato Supper"
and "Conductor Number One: Getting In Touch With Chicken"
were some of the first real-time performances over the
internet. Could you talk a bit about these works and their
relation to internet art, new media technologies and the
current state of affairs with net.art?

Peppermint:  No, I cannot talk about trends in art.
The works you mention were executed with a conscious
and sometimes unconscious disregard for any medium or
movement.  They are intuitive undertakings many times
based on theory forgotten or experiences given over to
the loose fabric of memory;many mis-understandings.
Would one wish to epitomize their lifetime beneath a
single statement?

Blisset:  Well, could you maybe just tell us your
motivations or the energy surrounding some of these
initial internet performances.

Peppermint:  Sure, but only as best I understand them
now at this specific moment in time.  "Conductor Number
One" went something like this: Humans are afraid of
themselves.  Human perception is regulated and/or
dulled by frames.  Humans are always mediated.
Mediation is a lie told with the utmost conviction.
"The Mashed Potato Supper" went something like this:
The real-time event supersedes in importance the actual
event.  No extraneous chewing.  Lets make friends with
the spectral images of others. Let's be no one and no
where right here, right now, no-where.

Blisset: So is it true you model your fashion and
personal appearance after REM's Michael Stipe?

Peppermint: Well, in the early 1990's I began to
cultivate an initial understanding of Art which I
now think of as "Restless Culture".  At the time I
lived in Athens, Georgia and Stipe was a great
reference for fashion because he had the agency to
travel much more than I via his pop star status.
He would in effect bring back the surface veneer
of a world then en route to global capitalism and
I would happily try it on.

Blisset: How would you currently explain
"Restless Culture"?

Peppermint: Someone the other day said to me, "Oh yea,
I understand this 'Restless Culture'... Its sort of
like you change so fast that the market can't keep
up with you".  And I thought, maybe... but where is
one ever located? Then I thought there is really no
place to be anyway and this may be an understanding
of art with a profound precision most minds refuse to
calculate.  Then I thought of a good friend of mine
Chilean artist, Guillermo Cifuentes who claims to be
in a state of permanent departure. Then I thought
restlessness is a real dissatisfaction with the way
things are, a sort of hyper-conscious; an understanding
where an artist breaks the seemingly continuous surface
of beings by producing intermittent exposures. Then
I thought about us discontinuous beings and how
exposures function as transgression.

Blisset:  Capital or i.e., fashion is an over-exposure.
A great light blinding the real.
Jem Cohen made a film after the Berlin wall came down.
He called it "Buried In Light".  I think it was
about the disappearance of culture beneath the hype
of capital.

Peppermint:  Yes.  Yes.  Yes.

Blisset:  You are a fashionable human.  You were
educated within the academy.  You oftentimes give
off the radiance of a pop-star.  How is it you can
critique with sincerity a system of which you are
obviously so willfully and somewhat gleefully
integrated.

Peppermint:  I am an artist not a holy man and
desire is a complex phenomenon steeped in the erotic.
Eroticism is a great impetus to my work. Things
prohibited result in things sacred.  My job here
is to suggest points of departure, to cull
obscurities and to possibly re-work the sacred.
Sometimes I ride a bus.  Sometimes I ride the subway.
Sometimes I walk down the street.  The academy
bought me time to understand myself outside of
capitalist production.  Fashion affords me a point
of entry or admission into unsuspecting scenes
singularly based on class status where I can collect
invaluable data and conduct research experiments
and/or performance exposures.

Blisset: Can there be such a thing at this date
as sincerity in art?  Does irony play into your work?
What about Humor?  Is art simply regulated to the role
of entertainment as the Walker's "Art Entertainment
Network" might suggest?

Peppermint:  Maybe sincerity in art is possible if
you know exactly whose or what kind of shoulders we
are standing upon by this I mean historical context.
If we were to accept our contemporary western and
sadly dominant culture as a self-perpetuating spectacle,
an accelerated system of capital and exchange then
we could approach a sort of "simulation sincerity"
amidst this mass proliferation of imagery by dressing
as our favorite tele-tubbie and then performing open
heart surgery on someone in need.  Please understand,
my work is not for entertainment.  Certainly aspects of
my work are entertaining but these aspects function
only as a vehicle for something else... something that
could be difficult to handle or terribly frightening
or maybe just quiet... so quiet you can hear nothing
at all.  The sound of nothing where your being just
moments ago effortlessly resided until wildly
illuminated by exposure, made restless by art.

	http://artnetweb.com/peppermint





3. ANNOUNCEMENTS & CALLS
============================================================


[Call for Entries]
WERKLEITZ BIENNALE
Tornitz, Werkleitz and Calbe/Saale, Germany
July 5 - 9, 2000

	A border crossing, international forum for media
	and art with a special focus on new artistic ways 
	of expression and techniques as well as projects
	with research character.
	
	Invited curators will select works in the fields of
	Visual Arts, Film/Video, Performance Art and
	Internet/Multimedia (Netart).

	DEADLINE FOR NETART: April 15, 2000
	
	CONTACT:
	URL: http://www.werkleitz.de/realwork



[Call for Entries]
INTERNATIONAL MEDIA/ART AWARD
ZKM
Karlsruhe, Germany

	The theme will be 'urbanism'. The award
	will consist of 30 000 EURO for an
	interactive work, a video art tape and
	a special award, bestowed by an
	international jury.
	
	DEADLINE: March 1, 2000
	
	CONTACT:
	EMAIL: medienkunstpreis@zkm.de
	URL: http://www.medienkunstpreis.de



[Call for Entries]
ISEA2000
10th International Symposium on Electronic Art
Paris, France
December 7-10, 2000

Organized by ART3000 in collaboration with ISEA
with the support and the collaboration of the
Ministry of Culture and Communication and in
partnership with the Forum des images, CICV
Pierre Schaeffer Center, Canadian Cultural
Center, ACROE and the General Quebec Delegation.
	

	DEADLINE: April 15, 2000

	CONTACT:
	E-MAIL: isea2000@art3000.com
	URL: http://www.art3000.com



[Conference]
MUSEUMS AND THE WEB 2000
Minneapolis, Minnesota, US
April 16-19, 2000

	Annual international conference devoted
	exclusively to Museums and the Web
	organized by Archives & Museum Informatics.


	CONTACT:
	URL: http://www.archimuse.com/mw2000/





5. BOOKMARKS
============================================================

evilmirror
http://www.evilmirror.com
	 Showcase for narrative, experimental,
	 and abstract art in a pure digital format.

SOD
http://sod.jodi.org
	A game to play with your computer.

n0ise
http://www.kettlesyard.co.uk/noise/
	A multi-site multimedia exhibition in
	Cambridge (UK) with "realtime" links
	to London, organised around three key
	themes in "digitality".

Demographics
http://www.outtacontext.com/ebay/ebay.html
	Jeff Gates' attempt to auction his
	demographics on Ebay.

Circadia
http://www.cyderspace.demon.co.uk/circadia/
	Pete Everett and Rosie Pedley want to
	let our computers dream.

Story of Net Art (Open Source)
http://www.calarts.edu/~line/history.html
	Natalie Bookchin's bibliography of net art.

VinylVideo™
http://www.vinylvideo.com
	An invention of Gebhard Sengmuller in
	collaboration with Gunter Erhart,
	Martin Diamant and Best Before.

Nerve Theory
http://www.allquiet.org/
	The collaborative identity of
	Bernhard Loibner and Tom Sherman.

Signature Series
http://www.mteww.com/signature/
	The MTAA Signature Series is an attempt
	to maximize mindshare in the online art
	market while maintaining the economics
	of scarcity on which the traditional
	art market depends.


If you have suggestions or contributions send them to:
murph@artnetweb.com





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iolaINDEX is edited by Robbin Murphy 


iolaINDEX 00.01