<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Thanks for sharing this tantalizing bit from your project Chris, I'm sure eager to see more of the outcomes. You rightfully remind us that framing the discussion in terms of ideologies or worldviews, even economically-influenced ones, leaves out the fact that there are bodies moving around (or not moving), generating these stories.<div><br></div><div>To Brian's post and mine I would like to make more explicit the migrations at play, people driven from place to place not just by any force of flows, but by the specific pushes and pulls of war, genocide, and colonialism. Who moved where when? What mobilities made possible the support Wiesner provided Kepes? We're back to the conference topic of labor here, it seems. These meetings of ideas with constraints take place in relation to specific work and workers.</div><div><br></div><div>Were there any geographers at the conference?</div><div><br></div><div>Kevin</div><div><br></div><div><br><div><div>On Dec 4, 2009, at 2:03 PM, Christiane Robbins wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Hi Kevin, Brian and everyone -<div><br></div><div>As some of you know I have been buried in a film and digital project during the past couple of years and have not been able to participate in IDC as much as I would like. As such it has been with tremendous surprise ( and delight ) that I now see the last 2 posts veering toward the very subject of my project - the modernist project albeit migrated to, and located in, California - primarily in Los Angeles. The title of this project is 1000 Sq. Ft. / No Place like Utopia .... The gist of the project description is pasted below. </div><div><br></div><div>What has struck me in this most recent ( unexpected ) discussion are the correlatives to be certain. Also what has been a bit disconcerting is the regionalism that has yet again come to bear on the framing of this discussion. Obviously, some of this is due to Barry Bergdoll's current exhibition at MOMA on the Bauhaus ( which admittedly I have not yet seen.) From what I have gleaned, it appears to continue a particular framing of the discourse of Modernism that has been ideologically driven for the better part of the last half of the 20th century. To my mind this framing has been fostered, in large part, by MoMA. This particular framing is of importance to this discussion as well as any complex consideration of the modernist project in America as a whole.</div><div><br></div><div>The IDC discussion has smartly circulated around the migratory patterns of both the thinkers and/or practitioners of the Bauhaus and the attendant ascent of technologies. However, it has skidded over one basic tenet - that being of social justice and the political attenuation and implications that were consequential to that positioning.... and to the position of the art practice as it came to be realized within the 20thc / 21stc academy. Economics are but one force contributing to the elevation of abstraction - abstracted subjectivity, if you will. Kevin's astute mention that it is a story that sorely needs to be told, is one with which I heartedly agree.</div><div><br></div><div>I welcome this conversation as its resonance at this particular juncture in time can't be underestimated -</div><div><br></div><div>Ciao,</div><div><br></div><div>Chris</div><div><br></div><div><!--StartFragment--><p class="MsoBodyText" align="left" style="text-align:left"><span style="font-size: 9pt; "><font class="Apple-style-span" face="'Gill Sans'"><i>.... Los Angeles. To be certain, this was a city replete with all of its exhilarations, bohemian lifestyles, diversity, contestations, and, certainly, political tensions. </i></font></span><span style="font-size:9.0pt"><font class="Apple-style-span" face="'Gill Sans'"><i>This project brings to life the vibrant and all-but-forgotten cultural and social milieu - whose little known story played out in mid-2oth century California. 1000 Sq. Ft., No Place Like (e)Utopia offers an illuminating response as to what spawned one of the most defining eras in cultural history of California and in the “City of the Future”. </i></font><span class="Apple-style-span" style="font-size: medium; line-height: 18px; "><span style="font-size:9.0pt"><font class="Apple-style-span" face="'Gill Sans'"><i>Despite a lack of major cultural institutions or patronage at the time, Los Angeles had attracted a number of innovative cultural thinkers. In the late 1930s and 1940s Hollywood provided employment and a safe haven for artists and intellectuals fleeing the facist regimes and brutalities of the war in Europe. These émigré’s carried with them the tenets of international modernism and its quest for utopia. Meanwhile, people were migrating to Los Angeles from all over America to contribute to the war effort. Attracted to the favorable climate, optimistic spirit, and relative prosperity of post-war Southern California, a disparate group of architects, artists, filmmakers, designers, intellectuals, writers, musicians, mashed up with blue collar workers all contributed to the evolution of American modernism and its quest for a “better world.” </i></font></span><font class="Apple-style-span" face="'Gill Sans'"><i> </i></font><span style="font-size:9.0pt"><font class="Apple-style-span" face="'Gill Sans'"><i>Riding this crest was the American, Los Angeles architect, Gregory Ain</i></font></span><font class="Apple-style-span" face="'Gill Sans'"><i>. </i></font></span></span></p> <!--EndFragment--> <div><br></div><div><br><div><div>On Dec 4, 2009, at 9:07 AM, Kevin Hamilton wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div>Brian and all, thanks so much for your responses here to the <br>conference. For those of us who couldn't make it to NYC, this and many <br>other outlets have served as valuable inlets.<br><br>A couple of additions to your meditation and history here, Brian.<br><br>My sense is that in some cases, the Bauhaus grid met with some <br>resistant forces in America - largely, that of industry expectations <br>of art and design education. I can't cite the source at the moment, <br>but I remember reading about how Moholy-Nagy in particular faced <br>pressures in this regard, where Chicago business had grown dependent <br>on the Illinois Institute of Technology for the provision of ready <br>workers in the design and application of visual identity. They <br>apparently began to complain that students under these new European <br>instructors weren't adequately prepared for working in industry; <br>Moholy-Nagy and others had to bend to bring their universalized, <br>abstract ideals down to the level of economic pressures. The larger <br>story of how this translation took place for him and others needs to <br>be told (I haven't seen it yet, anyway) - what was dropped, what kept, <br>what transformed and how? It's a story bound up with the shaping of <br>art school as we know it in America.<br><br>To my knowledge (and Orit likely knows more here), Kepes benefited <br>essentially from a patron in the form of MIT's president Wiesner at <br>the time, whose utopian vision kept CAVS alive. My understanding is <br>that when Wiesner left, CAVS tanked.<br><br>This happened more or less at the same time as Von Foerster's lab <br>ended here at Illinois - his patron, the Office of Naval Research, was <br>forced to drop him when the Mansfield amendment restricted military <br>funding of "blue sky" projects.<br><br>So Radical Constructivism, and the universal grid of subjectivity, <br>looked to make the whole world, but it couldn't make a world stand up <br>without the help of no-strings-attached funding, funding that couldn't <br>last for long. The question that remains is this - What can we learn <br>from the consequent influence of the Bauhaus grid on Chicago's image <br>industry, or of cybernetics on economics and management theory? Are <br>these examples of the familiar story of long-term capital-driven <br>projects borrowing from the avant-garde without sustaining it? How <br>else might we tell these stories?<br><br>In this account, European utopias drop their spiritual/expressive bent <br>when they come to the states, leaving only an abstract universalizing <br>language, which then gets picked clean by economically stronger <br>interests who need only a certain kind of abstraction. That could <br>describe moments from earlier in America's history as well. (I wonder <br>what postcolonial theory offers this account.)<br><br>Kevin Hamilton<br><br><br>On Dec 3, 2009, at 10:41 PM, Brian Holmes wrote:<br><br><blockquote type="cite">Thanks, Mark, for the excellent wrap-up. Reading it makes me feel like<br></blockquote><blockquote type="cite">it's all just yesterday again.<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">I too was struck by that 'Changing Sites of Value' panel, and<br></blockquote><blockquote type="cite">particularly by Orit Halpern's talk on the Hungarian emigre painter <br></blockquote><blockquote type="cite">and<br></blockquote><blockquote type="cite">designer Gyorgy Kepes. Her presentation showed the incredible<br></blockquote><blockquote type="cite">inventiveness of a Central European artist confronted with the<br></blockquote><blockquote type="cite">technological possibilities of the postwar USA - an artist dealing <br></blockquote><blockquote type="cite">with<br></blockquote><blockquote type="cite">the transformed vision of the city from a swift-flying plane, then <br></blockquote><blockquote type="cite">later<br></blockquote><blockquote type="cite">with the staggering speed and volume of computerized information flow.<br></blockquote><blockquote type="cite">Kepes seemed to be claiming an ability to shape and model the dynamics<br></blockquote><blockquote type="cite">of technoscientific change. However, the very fascination I felt <br></blockquote><blockquote type="cite">during<br></blockquote><blockquote type="cite">the talk reminded me of what I think is one of the biggest challenges<br></blockquote><blockquote type="cite">for artists and thinkers in the core countries today, and particularly<br></blockquote><blockquote type="cite">in America, which is how to analyze the cutting edge of technological<br></blockquote><blockquote type="cite">development without becoming strangely weightless, ecstatic with the<br></blockquote><blockquote type="cite">complexity, caught up in the flow, lacking all resistance to the<br></blockquote><blockquote type="cite">present. Note that this is not a critique of Orit or anyone else, <br></blockquote><blockquote type="cite">but an<br></blockquote><blockquote type="cite">attempt to state a much more general problem, which was also present <br></blockquote><blockquote type="cite">in<br></blockquote><blockquote type="cite">the talk through a reference to Picasso's Guernica.<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">In fact this is an old problem of the 20th century, and Kepes himself<br></blockquote><blockquote type="cite">hails from the milieu where it was first expressed with utter clarity.<br></blockquote><blockquote type="cite">After the conference I went to see the Bauhaus show at MoMA. The<br></blockquote><blockquote type="cite">trajectory there is fairly explicit: once they escape from the Gothic<br></blockquote><blockquote type="cite">limbo of expressionism, incarnated by the shamanic figure of Johannes<br></blockquote><blockquote type="cite">Itten, the central aesthetic form and operational diagram becomes the<br></blockquote><blockquote type="cite">grid, which Gropius makes into the basis of Bauhaus pedagogy. The <br></blockquote><blockquote type="cite">whole<br></blockquote><blockquote type="cite">adventure can be seen as one of developing the potentials of the grid,<br></blockquote><blockquote type="cite">as a sensible and yet also mathematizable mediator between the<br></blockquote><blockquote type="cite">free-floating imagination and the constraints of the industrial <br></blockquote><blockquote type="cite">process.<br></blockquote><blockquote type="cite">The aim is to achieve not just a new relation to materials for the<br></blockquote><blockquote type="cite">industrial age, but above all a thorough-going abstraction of human<br></blockquote><blockquote type="cite">identity, promising an escape from the horrors that arose out of the<br></blockquote><blockquote type="cite">combination of modern industry and German nationalism in WWI. The <br></blockquote><blockquote type="cite">theme<br></blockquote><blockquote type="cite">of postnational humanity, of World Man, so prominent in the US after<br></blockquote><blockquote type="cite">WWII, actually has its origins here in interwar Germany. You can see <br></blockquote><blockquote type="cite">it<br></blockquote><blockquote type="cite">in the shocking photo of a woman reclining in a modernist chair, her<br></blockquote><blockquote type="cite">limbs relaxed, her body fully present in the space - and her face <br></blockquote><blockquote type="cite">erased<br></blockquote><blockquote type="cite">by an uncannily smooth, reflective metal mask that depersonalizes her<br></blockquote><blockquote type="cite">entirely, making her into a foreign being, an alien creature of the <br></blockquote><blockquote type="cite">grid.<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">Even artists as "spiritually" oriented as Kandinsky and Klee adopted <br></blockquote><blockquote type="cite">the<br></blockquote><blockquote type="cite">grid in their own work. From this basis of abstraction and egalitarian<br></blockquote><blockquote type="cite">homogeneity, they tried to create an expansive range of subjective<br></blockquote><blockquote type="cite">potentials. Klee's work with affective tonalities of color charts in<br></blockquote><blockquote type="cite">particularly impressive: the grid-structure vibrates, resonates, in <br></blockquote><blockquote type="cite">one<br></blockquote><blockquote type="cite">painting it warps into a mobile mesh, as though blowing in the wind.<br></blockquote><blockquote type="cite">Equally impressive are the very subtle colorist works that both Klee <br></blockquote><blockquote type="cite">and<br></blockquote><blockquote type="cite">Kandinsky made using a technique of aerosol sprays, which to my eye <br></blockquote><blockquote type="cite">have<br></blockquote><blockquote type="cite">all the lightness and openness of consciousness itself. But there is<br></blockquote><blockquote type="cite">also the mathematical music of the textile pieces made on a Jacquard<br></blockquote><blockquote type="cite">loom, or the extraordinary "Project for an abstract color film" <br></blockquote><blockquote type="cite">painted<br></blockquote><blockquote type="cite">by Kurt Kranz in 1930. After going back into the show a second time,<br></blockquote><blockquote type="cite">looking for something, the idea suddenly came to me: In a period of<br></blockquote><blockquote type="cite">overt political crisis, the overarching ambition of the school was <br></blockquote><blockquote type="cite">that<br></blockquote><blockquote type="cite">of finding both a technics and a regulatory aesthetics for a<br></blockquote><blockquote type="cite">cosmopolitan industrial democracy. Or to put it another way (and this<br></blockquote><blockquote type="cite">was the phrase I walked out with): They sought to establish and <br></blockquote><blockquote type="cite">inhabit<br></blockquote><blockquote type="cite">the machine process as the vector of a trans-identity. In their view,<br></blockquote><blockquote type="cite">this alone could provide a psychosocial regulation, or a civilizing<br></blockquote><blockquote type="cite">discipline if you will, for the destructive powers unleashed by mass<br></blockquote><blockquote type="cite">production. The violence of mechanized passions was to be dissolved <br></blockquote><blockquote type="cite">into<br></blockquote><blockquote type="cite">an infinite subjective mutability. The aesthetic of Moholy-Nagy - who<br></blockquote><blockquote type="cite">was Kepes' teacher and friend, and who brought him to the New <br></blockquote><blockquote type="cite">Bauhaus in<br></blockquote><blockquote type="cite">Chicago - carries this ambition to its peak, particularly with the<br></blockquote><blockquote type="cite">endlessly dynamic variations of the Light-Space-Modulator.<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">Of course the Bauhaus was a failure in Germany. The problem, if I may<br></blockquote><blockquote type="cite">interpret it in a shorthand way, was that this incredibly gifted<br></blockquote><blockquote type="cite">bourgeois vanguard had no social basis of support. Near the end, when<br></blockquote><blockquote type="cite">the Weimar Republic was seriously vacillating, you can see them<br></blockquote><blockquote type="cite">scrambling in Dessau under the short-lived directorship of the <br></blockquote><blockquote type="cite">communist<br></blockquote><blockquote type="cite">Hannes Meyer, trying to create some social fundament of industrial use<br></blockquote><blockquote type="cite">value for the mass of the people. The audacious formal experiments <br></blockquote><blockquote type="cite">fade<br></blockquote><blockquote type="cite">away in favor of a more immediate, utilitarian approach. Meyer enlists<br></blockquote><blockquote type="cite">everyone to build a school for the German Trade Union Federation. It<br></blockquote><blockquote type="cite">didn't work. He was forced to step down by the government of the state<br></blockquote><blockquote type="cite">of Anhalt, for being a communist. Under Mies, who was the last <br></blockquote><blockquote type="cite">director,<br></blockquote><blockquote type="cite">the searching cultural and subjective side of the project disappears <br></blockquote><blockquote type="cite">and<br></blockquote><blockquote type="cite">a technocratic, proto-corporate look begins to predominate. The<br></blockquote><blockquote type="cite">International Style is on the horizon.<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">Curiously, it is in New Deal America that these artists find a <br></blockquote><blockquote type="cite">chance to<br></blockquote><blockquote type="cite">realize their utopia. The whole theme of postnational man is adopted<br></blockquote><blockquote type="cite">after the war by an American intellectual elite that includes a great<br></blockquote><blockquote type="cite">number of emigre German artists, thinkers and scientists. I find it<br></blockquote><blockquote type="cite">ironic that the USA, the most liberal of all countries (where liberal<br></blockquote><blockquote type="cite">signifies the classic bourgeois preoccupation for free trade,<br></blockquote><blockquote type="cite">convertible money, commercial infinity) should be the place where an<br></blockquote><blockquote type="cite">institutionalized solidarity, Roosevelt's welfare state, would finally<br></blockquote><blockquote type="cite">provide the social basis - or what thinkers of the time would have<br></blockquote><blockquote type="cite">called the "metastability" - required for pursuit of the vanguard<br></blockquote><blockquote type="cite">aspiration to trans-identity. I was extremely intrigued by the Kepes<br></blockquote><blockquote type="cite">images because you could see that aspiration being realized, stroke by<br></blockquote><blockquote type="cite">stroke, particularly with the aesthetics of information flow and the<br></blockquote><blockquote type="cite">vanguard ethics that consisted in exposing oneself to a sublime <br></blockquote><blockquote type="cite">overload<br></blockquote><blockquote type="cite">of information, so as to learn how to navigate this transhuman <br></blockquote><blockquote type="cite">environment.<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">From all of this I withdraw two main ideas. The first, which to my<br></blockquote><blockquote type="cite">dismay I can only express in cybernetic terms, is that the<br></blockquote><blockquote type="cite">constructivist epistemology taken up with such subversive brilliance <br></blockquote><blockquote type="cite">by<br></blockquote><blockquote type="cite">Heinz Von Foerster in the 1970s represents a fulfillment of the<br></blockquote><blockquote type="cite">modernist dream that begins with the Bauhaus artists' intimation of<br></blockquote><blockquote type="cite">subjective potentials latent in the abstract grid. I dunno about you<br></blockquote><blockquote type="cite">all, but I can't help but see some family resemblance between Von<br></blockquote><blockquote type="cite">Foerster's second-order cybernetics and Bauhaus trans-identity. And<br></blockquote><blockquote type="cite">whether you accept that or not (or even crack the code - sorry for the<br></blockquote><blockquote type="cite">obscurity), probably no one would deny that Von Foerster's classic<br></blockquote><blockquote type="cite">statements - such as “The environment as we perceive it is our<br></blockquote><blockquote type="cite">invention,” from the 1973 essay “On Constructing a Reality” - have had<br></blockquote><blockquote type="cite">enormous consequences on the character of our civilization today, with<br></blockquote><blockquote type="cite">its simultaneous move into infinite cyberspace and imminent ecological<br></blockquote><blockquote type="cite">disaster.<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">The second idea is that in our age, marked by the seemingly arbitrary<br></blockquote><blockquote type="cite">nature of autonomous information systems and by the weightlessly<br></blockquote><blockquote type="cite">self-creative capacities of global individuals, what threatens us,<br></blockquote><blockquote type="cite">perhaps with all the violence that marked the mid-twentieth century, <br></blockquote><blockquote type="cite">is<br></blockquote><blockquote type="cite">once again the loss of any sense and social practice of solidarity - a<br></blockquote><blockquote type="cite">solidarity that I would extend, like Sean Cubitt in his talk, beyond<br></blockquote><blockquote type="cite">people to things, and particularly to those "things" we used to call<br></blockquote><blockquote type="cite">nature. I really do think it is the lack of any effective practice of<br></blockquote><blockquote type="cite">solidarity that has now brought our liberal societies to a triple<br></blockquote><blockquote type="cite">crisis, economic, ecological and geopolitical (i.e. military). We no<br></blockquote><blockquote type="cite">longer need the mediating figure of Klee's angel and Benjamin's text,<br></blockquote><blockquote type="cite">today we can feel the gathering storm and see the debris piling up in<br></blockquote><blockquote type="cite">front of us.<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">All of which loops the loop and brings us back to the initial <br></blockquote><blockquote type="cite">question:<br></blockquote><blockquote type="cite">How to analyze what the world is now becoming through the <br></blockquote><blockquote type="cite">application of<br></blockquote><blockquote type="cite">technoscience, without losing all resistance to the present and<br></blockquote><blockquote type="cite">participating in the very dynamics that seem to be rushing us toward <br></blockquote><blockquote type="cite">our<br></blockquote><blockquote type="cite">own undoing? How to find a language that allows one to come to grips<br></blockquote><blockquote type="cite">with all this as an intellectual, and yet not lose contact with the<br></blockquote><blockquote type="cite">living beings who are most immediately affected by the violence?<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">For me it's a challenge, I don't know how to do it. I guess that's one<br></blockquote><blockquote type="cite">of the basic problems that Armin Medosch and I are trying to resolve <br></blockquote><blockquote type="cite">in<br></blockquote><blockquote type="cite">our technopolitics project.<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">best, Brian<br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">Mark Edward Cote wrote:<br></blockquote><blockquote type="cite"><blockquote type="cite">Hello all,<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">here are some concluding thought on the IPF09 conference as <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">requested,<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">albeit a little late...<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">first off, i want to thank trebor organizing such a brilliant <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">event; it<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">was certainly one of the best conferences i have had the privilege to<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">attend. as important was all the work done by the student volunteers.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">without your collective labour, the play of the conference simply <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">would<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">not have happened. thank you.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">i won't try to comprehensively summarize the conference in part <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">because<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">concurrent panels meant i (like everyone) missed so much, including<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">numerous panels i would have dearly loved to have attended <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">(especially<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">"ideology and the erotics of playlabor", "work, labor and the<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">productivity of fun", and "the emancipatory potential of play").<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">instead, i will offer a more impressionistic account and suggest ways<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">that at least it has prodded me to want to move forward.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">the scope and intensity of mediation was both appropriate and thought<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">provoking. the IPF09 tweets in particular was an unexpectedly welcome<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">stream of dialogue, inter- and intra-panel and by those materially <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">and<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">virtually present. as well, the pre-conference interviews (on <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">video) and<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">the live streaming video of the panels set a new baseline to which i<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">think future conferences should aspire. thanks again to all the <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">students<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">for their labour which made such mediation possible. and a question:<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">will the panel videos be archived on the site?<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">the diversity of participants (not just artists, activists,<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">practitioners, and academics, but the range of scholars) gave the<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">conference a real depth and richness. perhaps most amazingly, it<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">resulted in many instances of incredibly productive dialogue that i <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">did<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">not necessarily expect. for me the most impressive example was the<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">saturday morning panel 'governance in the age of vulnerable publics.'<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">honestly, i wasn't sure what to expect on a panel with a couple of <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">legal<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">scholars and an activist-scholar but the results were breathtaking.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">jonathan zittrain was truly, deeply funny, as well as richly<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">substantive. in conjunction with a great presentation by laura <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">denardis,<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">it was a reminder that regarding issues of legal governance and<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">technical architecture, the devil is in (knowing, and where possible<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">subverting) the details. the whole while i was wondering how brian<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">holmes might respond but any apprehensions i had were wildly <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">misplaced.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">his outstanding paper on 'predatory networks' made palpable the <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">issues<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">of governance in their real (and often deadly) effects on labour.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">collectively it reminded me that critical interdisciplinarity offers<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">perhaps the most robust tools for thought and action--something that<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">made getting up early on saturday definitely worthwhile.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">my panel highlight though was the friday evening's 'changing sites of<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">value' with patricia clough, orit halpern and melissa gregg. talk <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">about<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">three powerhouses! ideas and concepts were flying with such speed and<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">intensity that, in the best possible way, i felt like i was <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">flattened by<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">a steamroller. thank you all seriously for reminding me why i love <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">being<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">an academic in the first place; what a febrile pursuit of ideas.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">patricia's paper raised critical questions around 'measuring the<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">immeasurable' especially in terms of affect when considered as<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">potentiality. questions of measure are surely among the most <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">important<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">challenges identified at the conference, both for capital in <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">seeking to<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">extract value, and for those who wish to both understand and mobilize<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">for progressive purposes what patricia called the 'ontology of <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">dynamic<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">matter.' the pace and intensity of orit's presentation was a <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">challenge<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">to, in her words, "choose a pattern in the data field." i was <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">fascinated<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">by her radical representation of second-generation cybernetics,<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">especially regarding the multi-mediated informational flow which<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">proceeded with an assumption of 'absolute storage.' this left me<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">ruminating on the relationship between a political economy of <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">absolute<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">storage versus it affective, bodily phenomenology. finally, melissa<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">gregg recounted the important feminist genealogy of affective <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">labour. it<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">was a necessary reminder that the concept of 'affect' is much more <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">than<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">esoteric theory; instead, it helps us understand real trends in <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">labour<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">which are often markedly gendered. she presented research from her<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">forthcoming book 'working from home' which recounts women (often<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">mothers) who undertake domestic computer-mediated work. as she asked,<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">what kind of labour politics might address such a situation wherein<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">computers are sold as a solution to a largely gendered problem? this<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">again raises that confounding relation between the material body <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">and its<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">virtual instantiations.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">that this panel lasted only 90 minutes was its only shortcoming.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">the last panel i want to touch on briefly was the first one i <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">attended<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">('virtual worlds, civil rights, and slaughter'). it grappled<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">impressively with the difficulties in articulating the relationship<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">between the body and its virtual manifestations. lisa nakamura <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">presented<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">the now iconic 'chinese gold farmers' as a key example of racialized<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">digital labour. a key contribution she made here was to insist on <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">overt<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">linkages between a digital labour struggle and a civil rights <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">struggle.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">as haunting for me was the video clip of a young 'gold farmer' who,<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">after a dawn-to-dusk day of digital labour, continued playing <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">'world of<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">warcraft' into the night, desperately seeking the intensive and<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">extensive social connectivity which is expected by players but not<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">necessarily forthcoming to those who service the game's mode of<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">production. alex galloway picked up seamlessly on nakamura's thread <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">by<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">sounding the depths of digital labour wherein 'tastes and <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">proclivities<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">are uploaded and data mined,' and where virtual bodies are always <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">tagged<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">by corporeal-cultural markers of gender, race, and ethnicity. <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">amidst all<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">this is the 'genius' of google page rank, which, in galloway's<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">felecitous terms "uses graph theory to valorize heterogeneity." <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">what i<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">took away from this terrific insight is that by operating on a<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">functional coding of pure difference, distributed digital networks <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">can<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">effortlessly flow back to a tyranny of the universal. timothy <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">pachirat<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">followed with what initially seemed to be the most incongruous <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">paper on<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">the "olifactory putridity" of slaughterhouses. there was, however, a<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">visceral impact on his recounting of the "bloody, meaty centre to<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">labour" wherein fleeing cattle are at once the physical escaping the<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">virtual, and the virtual becoming material. finally, jodi dean <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">expertly<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">transposed agamben's politics of 'whatever being' to a teenager's <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">online<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">being of whatever...therein she questioned the political <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">possibilities<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">in the socially-networked world of youth where ubiquitous <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">communication<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">of personal media can result in the severing of expression from <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">content.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">a few other random memories: christian fuch's persistent but jovial<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">insistence on the fact that the virtual conditions for a new <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">communism<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">are already with us; hendrick speck's purposelfully baffling 'zizek<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">walk' near the end of the closing plenary; biella coleman and <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">jonathan<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">beller's insistence on a particular 'return of the repressed'--the<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">utterly abject material conditions of 2B of the world's population <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">upon<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">which digital dreams and aspirations rest; catherine driscoll's <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">dogged<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">adamance on 'emotion' over 'affect'; and the unreconstructed <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">optimism of<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">michel bauwens.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">this summary is getting far too long so i will bring it to a close <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">with<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">one last thought. during the closing plenary, a number of students <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">made<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">some really smart and cogent observations. one in particular (from<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">cayden?) wondered about the disconnect between the physical and <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">digital<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">world, asking "what vestiges of our physical selves are brought <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">into the<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">digital world?" as evidenced by my observations above, this for me is<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">the most pressing issue to take away from the conference and an <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">area i<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">will focus upon in future work. how do we square what sean cubitt <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">called<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">the "cartesian geometry" of the material (perhaps borrowed from <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">deleuze<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">on cinema?) with what patricia clough called the "quantum non- <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">locality"<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">of the virtual. we have robust means for parsing either the <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">material or<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">the virtual. what we really need are ways to account for the<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">simultaneity (and difference) of both/and. thinking in terms of<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">transductive relations may be a start, as might be a thorough <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">rethinking<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">of the myriad relations between the human and technology.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">others, thankfully, will have other ideas from which we can <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">collectively<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">learn and act. the one thing i bet everyone at the conference agrees<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">with is that however we might imagine a virtual future, it must<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">facilitate actions which contribute to a more sustainable and <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">equitable<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">material world.<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">best,<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">mark<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">Mark Coté, Ph.D<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">Cultural Studies Program<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">Trent University<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><a href="mailto:markcote@trentu.ca">markcote@trentu.ca</a><br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">_______________________________________________<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">iDC -- mailing list of the Institute for Distributed Creativity <br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite">(distributedcreativity.org)<br></blockquote></blockquote><blockquote type="cite"><blockquote type="cite"><a 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"><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: center; "><font face="Century Gothic" size="2" style="font: normal normal normal 10px/normal 'Century Gothic'; text-align: center; "><div style="text-align: center; "><span class="Apple-style-span" style="color: rgb(138, 133, 131); font-weight: bold; "><div style="text-align: center; "><div style="text-align: center; "><br class="Apple-interchange-newline">C h r i s t i a n e R o b b i n s</div></div></span></div></font></div><div style="text-align: left; min-height: 12px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 10px/normal 'Century Gothic'; "><font class="Apple-style-span" color="#908B89"><b style="font-weight: bold; font-size: 10px; font-family: 'Century Gothic'; text-align: center; "></b><br style="font-size: 10px; font-family: 'Century Gothic'; text-align: center; "></font></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font class="Apple-style-span" color="#908B89" face="Futura"><br></font></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font class="Apple-style-span" face="Futura"><i style="font-style: italic; font-family: Futura; "><font class="Apple-style-span" color="#9B9593">- J E T Z T Z E I T </font></i></font><font face="Century Gothic" size="3" style="font: normal normal normal 12px/normal 'Century Gothic'; text-align: center; "><b style="font-weight: bold; font-family: 'Century Gothic'; text-align: center; "><i style="font-weight: bold; font-style: italic; font-family: 'Century Gothic'; text-align: center; "><font class="Apple-style-span" color="#9B9593"> S T U D I O S </font><span class="Apple-style-span" style="font-size: 11px; "><font class="Apple-style-span" face="Futura"><span class="Apple-style-span" style="font-weight: normal; "><font class="Apple-style-span" color="#9B9593">-</font></span></font></span></i></b></font></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font class="Apple-style-span" color="#9B9593" face="Futura" size="3"><span class="Apple-style-span" style="font-size: 11px; "><i><br></i></span></font></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font face="Century Gothic" size="3" style="font: normal normal normal 12px/normal 'Century Gothic'; text-align: center; "><b style="font-weight: bold; font-family: 'Century Gothic'; text-align: center; "><i style="font-weight: bold; font-style: italic; font-family: 'Century Gothic'; text-align: center; "><span class="Apple-style-span" style="font-size: 11px; "><font class="Apple-style-span" face="Futura"><span class="Apple-style-span" style="font-weight: normal; "><font class="Apple-style-span" color="#9B9593"><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: 'Century Gothic'; font-size: 10px; font-style: normal; "><font class="Apple-style-span" size="1"><font class="Apple-style-span" color="#9B9593">... the space between zero and one </font></font><font class="Apple-style-span" size="1"><font class="Apple-style-span" color="#9B9593"> ...</font></font></span></font></span></font></span></i></b></font></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font face="Century Gothic" size="3" style="font: normal normal normal 12px/normal 'Century Gothic'; text-align: center; "><b style="font-weight: bold; font-family: 'Century Gothic'; text-align: center; "><i style="font-weight: bold; font-style: italic; font-family: 'Century Gothic'; text-align: center; "><span class="Apple-style-span" style="font-size: 11px; "><font class="Apple-style-span" face="Futura"><span class="Apple-style-span" style="font-weight: normal; "><font class="Apple-style-span" color="#9B9593"><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: 'Century Gothic'; font-size: 10px; font-style: normal; "><font class="Apple-style-span" size="1"><font class="Apple-style-span" color="#9B9593"><span class="Apple-style-span" style="font-size: 9px; font-style: italic; font-weight: bold; ">Walter Benjamin</span></font></font></span></font></span></font></span></i></b></font></div><div style="text-align: left; min-height: 11px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 9px/normal 'Century Gothic'; "><b style="font-weight: bold; font-size: 9px; font-family: 'Century Gothic'; text-align: center; "><i style="font-weight: bold; font-size: 9px; font-style: italic; font-family: 'Century Gothic'; text-align: center; "></i></b><br style="font-size: 9px; font-family: 'Century Gothic'; text-align: center; "></div><div style="text-align: center; min-height: 11px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 9px/normal 'Century Gothic'; "><br class="khtml-block-placeholder"></div><div style="text-align: center; min-height: 11px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 9px/normal 'Century Gothic'; "><font class="Apple-style-span" color="#A49D9C">LOS ANGELES I SAN FRANCISCO</font></div><div style="text-align: center; min-height: 11px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 9px/normal 'Century Gothic'; "><br class="khtml-block-placeholder"></div><div style="text-align: center; "><br></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font class="Apple-style-span" face="Futura" size="2"><font class="Apple-style-span" color="#6A6665"><i>" The present age prefers the sign to the thing signified, the copy to the original, fancy to reality, </i></font></font></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font class="Apple-style-span" face="Futura" size="2"><font class="Apple-style-span" color="#6A6665"><i>the appearance to the essence </i></font></font></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font class="Apple-style-span" face="Futura" size="2"><font class="Apple-style-span" color="#6A6665"><i>for in these days</i></font></font></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font class="Apple-style-span" face="Futura" size="2"><font class="Apple-style-span" color="#6A6665"><i> illusion</i></font></font><font class="Apple-style-span" face="Futura" size="2"><font class="Apple-style-span" color="#6A6665"><i> only</i><span class="Apple-converted-space"><i> </i></span><i>is sacred, truth profane."</i></font></font></div><div style="text-align: center; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font class="Apple-style-span" face="Futura" size="1"><font class="Apple-style-span" color="#6A6665">Ludwig Feuerbach, 1804-1872</font></font><font class="Apple-style-span" face="Futura" size="1"><font class="Apple-style-span" color="#6A6665"> </font></font></div><div style="text-align: left; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><font class="Apple-style-span" face="Futura" size="1"><i style="font-size: 9px; font-style: italic; font-family: Futura; text-align: center; "><br class="khtml-block-placeholder"></i></font></div><div style="text-align: center; "><br class="khtml-block-placeholder"></div><div style="text-align: center; font-size: 10px; "><font class="Apple-style-span" color="#000000"><font class="Apple-style-span" face="Futura" size="2" style="font-size: 8px; "><a href="http://www.jetztzeit.net/" style="font-size: 8px; ">http://www.jetztzeit.net</a></font></font></div></span></span> </div><br></div></blockquote></div><br></div></body></html>