11.0721 new on WWW

Humanist Discussion Group (humanist@kcl.ac.uk)
Thu, 30 Apr 1998 21:33:21 +0100 (BST)

Humanist Discussion Group, Vol. 11, No. 721.
Centre for Computing in the Humanities, King's College London
<http://www.princeton.edu/~mccarty/humanist/>
<http://www.kcl.ac.uk/humanities/cch/humanist/>

[1] From: David Green <david@ninch.org> (193)
Subject: Franklin Furnace: Archive & Performance Schedule

[2] From: David Green <david@ninch.org> (58)
Subject: NEW ED WEB SITE: Federal Resources for Educational
Excellence

--[1]------------------------------------------------------------------
Date: Wed, 29 Apr 1998 13:02:42 -0500
From: David Green <david@ninch.org>
Subject: Franklin Furnace: Archive & Performance Schedule

NINCH ANNOUNCEMENT
April 28, 1998

FRANKLIN FURNACE ARCHIVE & LIVE PERFORMANCE ONLINE
<http://channelP.com>
<www.franklinfurnace.org>

Franklin Furnace, subject of one presentation in a "Museums & the Web"
session on the "Virtualizing" of museums, is an example of an institution
with both a cultural collection and performance space that it is taking
into the digital realm: cataloging and archiving its artists' book
collection online (now owned by New York's Museum of Modern Art) and
presenting and archiving performance art online.

David Green

>---------------------------------------------------------------------------
>This season, Franklin Furnace presents emerging artists live at 5 PM, every
>other Friday, from February 6 to June 12, 1998, on the WWW at Pseudo
>Programs Inc., at http://channelP.com. Using RealPlayerTM live-streaming
>technology, performance artists will premiere performance works created
>especially for this new medium. The performance netcasts are archived for
>viewing at any time. To view upcoming and archived performances, download
>the RealPlayerTM plug-in, available at www.real.com.
>
>February 6
>HALONA HILBERTZ' Pseudo Studio Walk deals with virtual and actual space. A
>very elementary physical action-walking/running is used within a medium that
>normally symbolizes a very different spatial experience. Using the actual
>of a venue reserved culturally for virtual spaces, the performance
>emphasizes different meanings of "space." It is a thing, an effort, an
>action that, unlike the usual information on the Internet, cannot be
>reproduced. In this sense, it cannot be seen as an action representative of
>our information age ^ it is rather an action within a certain medium but
>also contrary to it. Halona's performances are influenced strongly by the
>audience's presence; this time, the mode of transmission to the audience
>dominates. Halona was born in Austin, Texas and grew up in Munich and
>Dusseldorf. She studied painting and performance at the Hochschule der
>Bildenden Kunste Saar, Saarbrucken, and at the Nova Scotia College of Art
>and Design, before moving to New York in 1996.
>
>February 20
>BINGO GAZINGO is songwriter of such songs as Psycho/Psycho, Indecent
>Proposal, Up Your Jurassic Park, I Love You So Fucking Much I Can't Shit,
>What is the Meaning of the Garbage Can, Let It Rock Let It Rip Let It Roll,
>David Letterman FFFFFFFFFFFF You, Is This the Chicken Market, I Left My Fart
>in San Zbisco, I'm So Used to Losin' Will I Lose You Too, Groove On Hairy
>Mary Flying Through the Air, Love Me All the Way to Heaven, and I'm Gonna
>Ping Pong You With a Ping Pong Ball. He has been seen in venues from street
>corners to MTV's Oddville and Live With Regis and Kathy Lee. He has been on
>the Dr. Demento Radio Show, and appeared on access cable in Tromeo and Juliet.
>
>March 6
>PATRICIA HOFFBAUER is a Brazilian-born choreographer, director, writer and
>educator. The last installment of her series, Who Killed Carmen? ^
>Carmenland, The Saga Continues, was part of the Whitney Museum of American
>Art at Philip Morris Performance Series Second Sight, and marked the
>beginning of her collaboration with writer/performer George Emilio Sanchez.
>The collaborative relationship continues in Linda Rivera and Guests, a work
>developed and performed over the last two years. Using mambo, cha cha chas
>and rock n' roll, this trilingual multimedia work takes the National
>Geographic cultural archetype of the serape-clad peasant, the living Noble
>Savage, and the slick talk show hostess, turning these caricatures inside
>out to reinvent them. This is a combination of a pomo
>vaudevillian/slapstick performance environment that incorporates
>post-colonial themes. It explores the space where high art intersects with
>elements of popular entertainment creating a cross-cultural piece with an
>improvisatory structure.
>
>March 20
>JON KEITH performs Sunday Afternoon in the Unisphere, a fictionalized
>reminiscence of the 1964 New York World's Fair ^ in part, an exploration of
>how the Fair's vision of "the future" collides with the culture of the 90s.
>Peculiar souvenirs and tour descriptions are woven into a tale in which the
>past and present are conflated. is a writer and performer whose creative
>work began in Chicago. He consistently focuses on the processes through
>which memory and desire shape perception, and contemplates these processes
>in object-oriented performance and storytelling. Since moving to New York
>City in 1993, Jon has presented his work in Manhattan at the Trocadero
>Cabaret, P.S. 122, Dixon Place, Surf Reality, the Kraine Theatre, and in the
>Field's Performance Zone Festivals. In 1997 he created his one-hour solo
>theatre piece, Tales From the Dancing Egg, which he performed that year
>during August and September at the 13th Street Repertory Theatre.
>
>April 3
>JASON E. BOWMAN is a Glasgow-based artist whose practice as a cultural
>worker is established not solely on the creation of art objects but on a
>diversity of practice. His works are predominantly produced by residency
>format. Jason's "site-sensitive" projects have been presented in various
>contexts including art institutions, academic institutions, soup kitchens,
>factories, hostels for homeless people, and disused warehouses. Untitled
>(Performance for Cyber Broadcast) will involve the durational force of one
>continuous action which will question the virtual one-to-one relationship
>between the performer and the viewer/browser that the cyber broadcast may
>appear to offer.
>
>
>April 17
>KALI LELA COLTON premieres Mama is blue. Pop is red. Girl is Green? A
>creation myth in the hybrid style of silent film-noir. Written, directed
>and designed by Colton, the cybercast features Colton performing as Red Pop,
>Green Girl and Mama Blue with an original score by composer Fred Goldfine
>and performed by trumpeter Martha Michael. Mama is blue, from her long deep
>dark blue chenille tresses to her high-heeled feet. Moving, smoky blue and
>light Technicolor images of languorous blue Mama flow with stills of text
>set in blue as she relates her poetic and sensual tale of lunatic love. Mama
>is a lunatic, in the truest sense, for she is the moon's lover. Glory in
>Mama's gown, created in collaboration with Cockerham & Sibley. Marvel at
>Caramella di Carlo's images of the bright red face of Pop, Father Sun.
>Witness Green Girl Ex Ovum, a stop-action photographic birth in
>collaboration with Aaron Igler with ova by cosmic egg farmer Elgin Li.
>
>May 1
>NORA YORK is an international performer with two recently released CD's, To
>Dream The World (Evidence) and Alchemy (Polystar, Japan). York's
>performances are a collage of musical and theatrical elements, taking
>well-known songs and reorienting the listener through the shifting gender of
>the lyrics, or altering the emphasis of the song; her original songs are a
>mixture of poetry and musical genre. For Franklin Furnace At Pseudo
>Programs Inc., she will premiere her collaborative work with visual artist
>NANCY SPERO. Spero's archetypical female images move from one York song to
>the next creating a visual context and persona for the songs to inhabit.
>York will focus on her reinterpretations of the male dominated rock-n-roll
>songs remembered from her own history, attempting to recode the sexual
>stereotypes experienced in her own coming of age. Along with these she will
>introduce evocative original songs written specifically to explore Spero's
>world. York with Spero explores the terrain that lies between high art and
>entertainment.
>
>
>May 15
>ANNA MOSBY COLEMAN presents an non, which explores the thought processes of
>verbal ellipses and their simultaneous connections to a mundane,
>extra-corporal world. She applies the interactive elements of water and
>air. an non evokes heaven in a bathroom, kitchen or laundromat. Anna
>earned her Bachelor of Fine Arts degree from Carnegie Mellon University in
>1984. She has been awarded grants from The Vira I. Heinz Endowment for her
>artist books and the Pennsylvania Council on the Arts for a fellowship and a
>production grant in the media arts. She received a Mid-Atlantic Regional
>NEA/AFI Fellowship in media arts, and she is the Director of Light Speed
>Press, an artist book press that was founded in 1987.
>
>May 29
>LENORA CHAMPAGNE writes, performs and directs. A Louisiana native, she
>moved to New York City in 1972 to become a painter. Instead, she received a
>Ph.D. in Performance Studies from NYU and took to the stage; her performance
>of Getting Over Tom was presented at a benefit for Franklin Furnace in 1981.
>She has created thirty solo and group performance works and directed fifteen
>plays in addition to her own, presenting at NYC's DTW, NY Shakespeare
>Festival/The Public Theater, Ohio Theater, DIA, and P.S. 122; and in
>Montreal, Lincoln, NE; Cleveland, Boston, New Orleans, Philadelphia,
>Berkeley, Baltimore, and Paris, France, among other venues. She will
>present Anxious Women, which includes a short video monologue, "Cassandra
>Mixes Up Medea/Medusa" and a longer live solo in which she performs a woman
>who escapes into black holes in space to get away from her abusive scientist
>husband. Hopefully black holes will appear on your screen when she goes on
>live to get your advice and responses.
>
>June 12
>ALVIN ENG & YOAV GAL Alvin is a playwright, performance artist, lyricist
>and journalist and Yoav is a composer. The two collaborate in Mao ZeDong:
>Jealous Son, an operatic portrait using four different per-formers as Mao,
>based on the title character's own writings, as well as biographical
>accounts of his life. In a non-linear, but definitely narrative manner, the
>opera utilizes actors of various ages and genders to trace Mao's life. And
>by exploring personal episodes ^ many from his heretofore under-documented
>childhood ^ the opera contrasts and examines how these episodes shaped Mao's
>political career, and in turn, the identity and perception of Chinese people
>in the latter half of the 20th century. Alvin, who created and performed
>Over The Counter Culture for Franklin Furnace's In Exile series at Judson
>Memorial Church in 1991, holds an M.F.A. in Musical Theater Writing from
>NYU's Tisch School of the Arts and was named after the Chipmunk cartoon
>character. Yoav studied visual art and music in Tel Aviv, and also studied
>composition at Juilliard, the Aaron Copland School of Music and the
>Manhattan School of Music.
>
>Franklin Furnace's 1997-98 programs for emerging artists have received the
>generous support of Jerome Foundation, the New York State Council on the
>Arts, the Joyce Mertz-Gilmore Foundation, the Heathcote Foundation, the
>Foundation for Contemporary Performance Arts, Inc., and Pseudo Programs, Inc.
>_________________________________
>
>Franklin Furnace Archive, Inc.
>45 John Street Room 611
>NYC, NY. 10038-3706
>Tel: (212) 766-2606
>Fax: (212) 766-2740
>Email: ffurnace@interport.net
>URL: www.franklinfurnace.org
>
>
>Martha Wilson, Founding Director
>Michael Katchen, Senior Archivist
>Alexander Komlosi, Administrative and Intern Coordinator
>Alice Wu, Program Coordinator

--[2]------------------------------------------------------------------
Date: Wed, 29 Apr 1998 14:50:45 -0500
From: David Green <david@ninch.org>
Subject: NEW ED WEB SITE: Federal Resources for Educational Excellence

NINCH ANNOUNCEMENT
April 28, 1998

U.S. DEPT. OF EDUCATION LAUNCHES INTEGRATED
TEACHING & LEARNING RESOURCES WEBSITE:
FEDERAL RESOURCES FOR EDUCATIONAL EXCELLENCE (FREE)
<http://www.ed.gov/free>

>Date: Fri, 24 Apr 1998 17:50:18 -0400
>From: ALAWASH E-MAIL (ALAWASH E-MAIL) <ALAWASH@ALAWASH.ORG>
>To: ALA Washington Office Newsline <ala-wo@ala1.ala.org>
>
=================================================================
ALAWON Volume 7, Number 43
ISSN 1069-7799 April 24, 1998

American Library Association Washington Office Newsline

EDUCATION SAVINGS BILL PASSES SENATE; GORTON BLOCK GRANT INCLUDED

DEPARTMENT OF ED ANNOUNCES ONE-STOP WEB SITE; TEACHERS AND OTHERS
SOUGHT FOR PARTNERSHIPS WITH FEDERAL AGENCIES
_________________________________________________________________

<<SNIP>>
_________________________________________________________________

DEPARTMENT OF ED ANNOUNCES ONE-STOP WEB SITE; TEACHERS AND OTHERS
SOUGHT FOR PARTNERSHIPS WITH FEDERAL AGENCIES

The Department of Education announced a new one-stop web site of
federal resources for teaching and learning. The new site,
called FREE, or Federal Resources for Educational Excellence,
links more than 45 federal agencies. The tool is expected to
provide a way for federal agencies and teachers to begin forming
partnerships to develop additional high-quality, standards-based
resources for teaching and learning. The FREE web site is at
http://www.ed.gov/free.

As part of FREE, the Department is hoping to award support for up
to seven partnerships of federal agencies and teachers, as well
as other organizations. Each partnership will develop two
products: 1) a set of Internet-based learning resources organized
around a topic and tied to challenging academic standards, and 2)
an Internet-based learning community of teachers, students and
other who use the developed resources.

Proposals to be submitted by federal agencies on behalf of each
partnership and must be received by May 19, 1998. The invitation
requesting proposals and the complete application can be found
at: http://www.ed.gov/free/980406.html
_________________________________________________________________

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Contributors: Mary Costabile
Claudette Tennant
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