Television software engineer Guido Ciburski wants to launch Cybersky, a Web service that aims to do for TV what Napster did for music.

At the end of January, Ciburski's company, TC Unterhaltungselektronic, will unveil its Cybersky TV web service, which will enable broadband users to distribute video programs free and exchange them with others.

Viewers will need a television connected to a computer set up to upload a chosen television program to the internet, where other viewers will be able to download and broadcast it on their own sets almost instantaneously.

As soon as one subscriber uploads a program on site, it becomes immediately available to other participants. So, the more subscribers, the greater the choice of programs.

The concept has alarmed Germany's established TV companies, and is likely to concern other broadcasters around the world.

Cybersky's response to charges that it will be illegally broadcasting copyrighted programs without permission is that its peer-to-peer system does not technically amount to distribution.

His company is used to going to court to defend its innovations. Six years ago, they developed a device called the TeleFairy which enabled viewers to skip TV advertising.

Germany's broadcasters sued but a five-year legal battle ended in victory for the inventors last summer.

Via: "Deutsche Welle" and Cybersky

Find additional offbeat real-life stories in the DEC/JAN issue of "Arte Six."

Experimental research
New weapon in germ warfare: seaweed

A new treatment for the age-old scourge of cholera and perhaps a whole new type of antibiotic medicine may emerge from chemicals discovered in an Australian seaweed, new research results suggest.

Researchers at the University of New South Wales (UNSW) have found that compounds known as furanones –- isolated from the seaweed Delisea pulchra –- can prevent the bacteria that cause cholera from switching on their disease-causing mechanisms.

It seems likely that furanones can have the same effect on many other bacteria, such as those that cause food poisoning and cystic fibrosis-related infections.

Furanones do not kill microbes but simply "jam" their ability to send signals to each other.

This means their use is far less likely to create the drug-resistance problems that plague current anti-microbial treatments.

"This is very exciting as these are the first antimicrobials of their type that have been shown to be effective," says Dr. Diane McDougald, a Senior Research Associate at the UNSW Centre for Marine Biofouling and Bio-innovation.

"The fact that furanones prevent bacterial communication means that they may be effective against a wide range of bacteria that have communication systems, such as the bacteria that cause golden Staph infections and tuberculosis," she says. "These bacteria have become resistant to many antibiotics and are becoming harder and harder to treat.

"Because furanones don't kill the bacteria, there is no selection pressure for them to develop resistance. Indeed, in a million years of evolution, no natural resistance has been developed by bacteria to these furanones in the natural environment."

The team has found that when the bacteria that cause cholera –- Vibrio cholerae –- are exposed to furanones, they cannot switch on their so-called virulence factors associated with infection and the development of the disease.

"The new experiments suggest that furanones may prevent cholera bacteria from escaping the host immune response and secreting toxins to weaken their host," says Dr McDougald.

Many bacteria rely on a signaling system known as quorum sensing to detect when enough of their own kind is present and then change their behavior and attach themselves to a surface on a host or in the environment.

The seaweed, a red algal species found at a UNSW marine research site in Sydney's Botany Bay, produces the compounds to prevent bacteria from forming biofilms on its leaves.

The discovery -- so far only established in laboratory tests -- is now being tested further in trials involving mice and tissue cultures. Publication in a scientific journal is pending.

The number of officially reported cholera cases worldwide varies between 110,000 and 200,000 cases a year, causing an average of about 5,000 deaths, but the World Health Organization believes the true number is probably significantly higher.

Infections occur as a result of contact with water and food contaminated with Vibrio cholerae, which is widely dispersed around the world in estuaries and coastal waters.

"There is an increasing number of antibiotic resistant bacteria and a decreasing number of drugs in the pipeline," Dr. McDougald says. "Thus, we need to find new approaches to treat bacterial infections. The furanone compounds are especially exciting as they do not kill the bacteria, but just stop them from expressing disease-causing traits. This means that there is no pressure on the bacteria to develop resistance."

Shown above/header image: Delisea pulchra

Visit official site: Dr. Diane McDougald
Get more info: +61-29-385-2090

Related information:

Q: What is quorum sensing?

A: Until relatively recently, scientists didn't know that bacteria could communicate with each other.

It's now clear, however, that individuals in many species can not only exchange signals with each other but also alter their behavior as a result.

They can sense, for example, how many of their own species are in their immediate vicinity and whether this is enough –- a quorum -- to act in a co-ordinated way as a group.

If so, they may then establish a foothold in an environment or launch an assault on a host.

When the bacteria that cause salmonella food poisoning, for example, reach a quorum they can switch on virulence mechanisms that release toxins to weaken their host and its immune-system defenses.

Other species use quorum sensing to build living biofilms on the insides of water pipes and on human teeth, or to attach themselves to the lining of an animal's gut, the surface of a plant or the hull of a ship.

"Many bacteria that cause infections in humans use a type of communication system that allows them to 'talk' to each other," Dr. McDougald says. "They use a chemical language that allows them to sense whether there are enough of them present to overwhelm the host immune system. Only when there is a large enough number of bacterial cells present, do they then start to exhibit virulence traits."

Q: What is cholera?
WHO cholera fact sheet

A: Cholera is an acute intestinal infection caused by Vibrio cholerae.

It has a short incubation period, from less than one day to five days, and produces an enterotoxin that causes vomiting and diarrhea that can quickly lead to severe dehydration and death without prompt treatment.

The disease is spread by contaminated water and food. Sudden large outbreaks are usually caused by a contaminated water supply.

Vibrio cholerae is often found in aquatic environments and is part of the normal flora of brackish water and marine estuaries.

It is often associated with algal blooms (plankton), which are influenced by the temperature of the water.

Human beings are also one of the reservoirs of the pathogenic form of Vibrio cholerae.

Tetracycline is the usual antibiotic of choice, but resistance to it is increasing.

In unprepared communities, case-fatality rates may be as high as 50%, particularly in cases where treatment is given too late.

Find out about other experimental research, in the DEC/JAN issue of "Arte Six."


"Faces in the Crowd"
Dec. 3, 2004 - Jan. 5, 2005

The exhibition’s title is taken from a one-image poem by Ezra Pound: "The apparition of these faces in the crowd; petals on a wet, black bough," inspired by a journey on the Paris metro in 1913.

Pound’s celebrated haiku powerfully evokes the individual immersed within the crowd, lost in a moment of stillness within the modern metropolis. "Faces in the Crowd" explores the condition of modernity through realist art.

Taking Edouard Manet as its starting point and moving through modern masters such as Max Beckmann, Umberto Boccioni, Cindy Sherman, Francis Bacon and Jeff Wall, "Faces in the Crowd" maps social and individual relationships through a history of avant garde configuration.

Artists such as Umberto Boccioni, Edvard Munch and Andy Warhol have used the figure to express sensations of speed, alienation or celebrity in modern life.

Work on show by Eve Arnold, Robert Capa and Andreas Gursky documents the epic and the everyday.

Transformations of the city through architecture and technology created public spaces of leisure and spectacle, which are explored in the works of Eugene Atget, Walter Sickert and Henri de Toulouse-Lautrec.

The reduction of private identities to social type became the defining work of August Sander, while in more recent years Cindy Sherman has used different guises and identities to reinvent a sense of self.

The great revolutions in 20th century art tend to be associated with abstraction. Yet there is a parallel history, which is equally radical.

Manet’s vividly realist scenarios or Jeff Wall’s cinematic tableaux offer a compelling snapshot of the modern. By contrast, Edvard Munch or Francis Bacon present a tortured or exhilarated inner life. And for Alexander Rodchenko, Joseph Beuys or Chris Ofili, the figure becomes a harbinger of change: symbolic, revolutionary or transgressive.

Shown above: “The Visual Tower,” (1966)
Glass jars, wood and Tower magazine illustrations
Scottish National Gallery of Modern Art
Marcel Broodthaers

Structured into broadly themed sections, representations of the human figure are seen as expressions of modernity, becoming ciphers for the experience of modern life; as images of modern life, picturing both the epic and the everyday; or as agents of social change, where avant-garde realism proposes new world orders.

Other artists experiment in understanding and furthering a modern self-consciousness in the viewer. Underpinning the whole is the relationship between the individual and society.

The exhibition includes not only masterpieces of painting, but also sculpture, photography and the moving image, with each work pivotal to the story of Modernism. "Faces in the Crowd" traces the story of modernism through its defining artists.

Artists whose work is represented in this major art historical survey include Eve Arnold, Eugene Atget, Francis Bacon, Stephan Balkenhol, Rene Burri, Umberto Boccioni, Christian Boltanski, David Bomberg, Sophie Calle, Robert Capa, James Ensor, Valie Export, George Grosz, Andreas Gursky, John Heartfield, Seydou Keita, William Kentridge, Ernst Ludwig Kirchner, Käthe Kollwitz, Fernand Legér, Helen Levitt, Rene Magritte, Edouard Manet, Edvard Munch, Eduardo Paolozzi, Pablo Picasso, Gerhard Richter, Thomas Schütte, Cindy Sherman, Jeff Wall, Andy Warhol and Jack B. Yeats.

Shown/header image: "Maika," (1929)
Oil on canvas
Private Collection, © VG Bild-Kunst, Bonn
Photo: Benjamin Hasenclever, München
Christian Schad

Find it: Whitechapel Art Gallery
80-82 Whitechapel High Street
Get there: Tube to Aldgate East
Get info: +(0)20 7522 7888

Find art events in other cities, in the DEC/JAN issue of "Arte Six."


“100 Artists See God”
Through Jan. 9

“I have too much respect for the idea of God
to make it responsible for such an absurd world.”

-- Georges Duhamel

Whether or not we believe in God, we all live in a world that is profoundly influenced by concepts of God.

This "100 Artists See God" exhibition acknowledges the prevalence of religion and spirituality in contemporary art, culture and politics and brings this controversial subject to the forefront of artistic debate.

In tackling the question of how God is perceived and represented in contemporary culture, artist-curators John Baldessari and Meg Cranston invited one hundred artists each to respond to the challenge of illustrating 'the divine' in a single artwork.

Each artist contributed a single work, which represents their translation of the infinite into the temporal.

The exhibit includes a wide range of works by several generations of artists created in various mediums -- photographs, drawings, paintings, single-channel videos and sculptures.

Shown above: Drug cabinet
Damien Hirst

Damien Hirst’s God is a cabinet filled with painkillers. Jeremy Deller submits a bumper sticker reading “God Less America.”

Eleanor Antin offers a tableau of post-eruption Pompeii, representing God as destroyer.

In contrast, there’s the "God is Love" take of Andreas Gursky’s "Love Parade," a reference to the yearly techno festival in Berlin. Although maybe that’s more like...divine hedonism, a throwback to Bacchus or the Eleusian mysteries.

Micol Hebron sees the divine present in the individual, presenting a film dedicated to herself, whereas Gerhard Richter’s "Gray" is a simple, monochromatic canvas on which every viewer can, figuratively, paint their own version of the divine.

Ed Ruscha also presents an image in gray; in his version, the shades of gray become progressively darker as they descend toward the lower part of the canvas.

Alternatively, looking upwards, the shades lighten until they are nearly pure white, suggesting light dispersing the darkness.

Leonard Nimoy submits a vision of God as the female principle, in "Shekhina." The image is part of a series from Nimoy’s Shekhina Project.

According to the Kabbalah, evil came into the world once God became separate from the "Shekhina," the deity's feminine counterpart.

The Shekhina came to symbolize the female aspect of God, also the creativity and wisdom without which no human being is complete.

Actor/director Nimoy turned to photography as a means of inquiry into the mysteries of the Shekhina. "I have imagined her as ubiquitous, watchful and often in motion..." Nimoy says in the introductory text to the book; "This work is my quest for insight, the exploration of my own spirituality..."

"100 Artists See God" deals with faith as a subject and continues the art-historical tradition of religious imagery in art, without necessarily reflecting the doctrines to which the artists subscribe.

Shown above: “Mirror #8”, (1972)
Roy Lichtenstein

The works in the exhibition do not present conventional illustrations of established creeds, rather the artists' subjective interpretations of spirituality that collectively form a reflection of the ambiguous and pervasive ways in which this subject exists in our lives.

Statements were also written by each of the participating artists, discussing their work within the context of the exhibition theme.

"100 Artists See God" is a travelling exhibition organized by Independent Curators International (ICI), New York.

Participating artists: Reverend Ethan Acres, Terry Allen, Jo Harvey Allen, Eleanor Antin, Brienne Arrington, David Askevold, Lillian Ball, Cindy Bernard, Andrea Bowers, Delia Brown, Edgar Bryan, Angela Bulloch, Chris Burden, Mary Ellen Carroll, Erin Cosgrove, Michael Craig-Martin, Jeremy Deller, Sam Durant, Jimmie Durham, Nicole Eisenman, Katharina Fritsch, Jonathan Furmanski, Jeremy Gilbert-Rolfe, Liam Gillick, James Gobel, Jack Goldstein, Scott Grieger, Andreas Gursky, James Hayward, Micol Hebron, Damien Hirst, Rebecca Horn, Darcy Huebler, Christian Jankowski, Larry Johnson, Mike Kelley, Mary Kelly, Martin Kersels, Nicholas Kersulis, Martin Kippenberger, Rachel Lachowicz, Norm Laich, Liz Larner, Louise Lawler, William Leavitt, Barry Le Va, Roy Lichtenstein, Jen Liu, Thomas Locher, Daria Martin, T. Kelly Mason, Rita McBride, Paul McCarthy, Carlos Mollura, JP Munro, Bruce Nauman, Jennifer Nelson, Eric Niebuhr, Leonard Nimoy, Albert Oehlen, Catherine Opie, Tony Oursler, Jorge Pardo, Simon Patterson, Hirsch Perlman, Luciano Perna, Renée Petropoulos, Raymond Pettibon, Paul Pfeiffer, Nicolette Pot, Richard Prince, Rob Pruitt and Jonathan Horowitz, David Reed, Victoria Reynolds, Gerhard Richter, Susan Rothenberg, Nancy Rubins, Glen Walter Rubsamen, Allen Ruppersberg, Ed Ruscha, Pauline Stella Sanchez, Kim Schoenstadt, Jim Shaw, Gary Simmons, Alexis Smith, Yutaka Sone, Thaddeus Strode, Diana Thater, Mungo Thomson, Thorvaldur Thorsteinsson (in collaboration with Helena Jonsdottir), Jeffrey Vallance, John Waters, Marnie Weber, William Wegman, Lawrence Weiner, Benjamin Weissman, James Welling, Eric Wesley, John Wesley, Franz West, Chris Wilder, Christopher Williams, Steven Wong, Måns Wrange (in collaboration with Igor Isaksson), Mario Ybarra, Jr.

Shown/header image: "Shekhina" (2000)
Leonard Nimoy
Photo: Leonard Nimoy Photography

Find it: Institute of Contemporary Arts (ICA)
The Mall and 12 Carlton House Terrace
Get there: Tube to Charing Cross, Piccadilly Circus
Get info: +(0)20-7930-3647

Find art events in other cities, in the DEC/JAN issue of "Arte Six."


Leonary Nimoy comments on the Shekhina Project.

Jan. 6-8

In “Swift,” choreographer Ros Warby depicts the multifaceted layers of female characters -- crone, child, diva, queen -- with fluid precision, fearlessness and humor. Shifting reflective panels fracture the images, or single out details of the dancer’s body.

Find it: DTW - Dance Theater Workshop
219 West 19th Street
New York NY, 10011
Get info: (212) 691-6500

Find dance/theatre events in other cities, in the DEC/JAN issue of "Arte Six."

Fabric keyboards

Force-sensing fabric company Eleksen will show a fabric keyboard and joystick at the beginning of next year.

The Bluetooth-enabled keyboard is aimed at mobile phones, PDAs and laptops, while the joystick is targeted at games players on the same devices.

The keyboard is compatible with as many types of handheld devices as possible, can be reconfigured and will also act as a writing pad.

Via: unmediated.org, eleksen.com, ElectronicsWeekly.com

Find other sci/tech stories in the DEC/JAN issue of "Arte Six."

Experimental research
Pass the chips

University of Alberta researchers have designed a computer chip that uses about 100 times less energy than current state-of-the-art digital chips.

The new microchip is 10 times smaller and 100 times more energy-efficient than currently used chips.

The greatly reduced energy consumption of the new technology would improve the performance of small devices with relatively low power needs.

For instance, the technology could one day eliminate the need to recharge cell phones, help introduce smaller, ultra-high-speed communications systems, and advance the use of implantable health care devices, such as drug delivery chips.

Research and development is ongoing before this technology can be implemented in products.

The invention employs a new method of processing digital data, known as analog decoding, which uses extremely low levels of power to execute its detection algorithm.

Research shows that no other reported chip uses a lower amount of energy consumed per decoded information bit.

Get more info: (780) 492-0442

Find out about other experimental technologies, in the DEC/JAN issue of "Arte Six."


Through Jan. 5

“Marco Polo imagined answering that the more one was lost in unfamiliar quarters of distant cities, the more one understood the other cities that he had crossed to arrive there...”-- Italo Calvino, “Invisible Cities”

“D'Sehnsucht” is an intimate dialogue between two artists working in London, exploring each other’s memories of their hometowns in Germany and Luxemburg.

Working in the VTO Gallery, London, artists Antonia Low and Martine Feipel communicate only through delivered letters, which are sealed and posted through a slip in the separating wall of their own isolated working spaces.

The artists translate and interpret mutual writing through drawings, sculptures, and mixed media installations. The idea is to interpret and communicate each others’ longing (Sehnsucht) in a tangible form.

Each statement on the artist’s hometown opens up another view on London in the same way that being in London transforms the objects and memories of their past. Memories become distorted and integrated with the present as the artists move through time, creating new points of view both of the past and the present.

By working only on what is communicated exclusively by the other, the artists explore the architecture of memory.

Throughout this secluded exploration of each others thoughts, the private memory of each artist will be translated into a public exhibition through digital technology.

“D’Sehnsucht” will take place on three separate platforms simultaneously: the physical gallery space, on a television platform and through an internet forum.

Two web cams record the artists working, and images will be broadcast across Europe via satellite television to the very towns they are interpreting through their work.

The artists themselves remain isolated within their workspace, unaware of what is going on beyond their space. The virtual platforms contrast with the artists intimate and traditional methods of communication, as opposed to communication via television and internet which contaminate the issues of time, place, reality, memory, private and public which are integral to the project.

Find it: VTO
96 Teesdale St.
London (UK)
Get info: +(0)207 729 5629

Find art events in other cities, in the DEC/JAN issue of "Arte Six."

“Perpetual Canon”
Through Jan. 5

The Württembergische Kunstverein will be the first institution to present a solo show of Cornelia Parker's work in Germany, “Perpetual Canon.”

Parker's art work includes installations, sculptures, objects, slide-projections and photography.

She creates conceptual art with a specific aesthetic appeal -- her works are tinged with ironic humor, and display a critical understanding of the quicksilver quality of perception and representation.

Some of her best-known works are "Thirty Pieces of Silver" (1988/89), an installation of steamrollered silver ware and musical instruments suspended from the ceiling and "Shared Fate" (1998) -- a piece consisting of different objects that were exposed to the same fate, having been decapitated by the same guillotine as Marie Antoinette.

Lastly, there is "Cold Dark Matter" (2002), a space installation consisting of the remains of a Baptist church that was struck by lighting.

“So you're in between the shadow and the work, so you're almost inside the piece,” Parker has said of this work. “In a way the shadows are almost as a much a part of the piece as the physical objects that are creating the shadows; but your shadow gets incorporated into those on the wall, so it's almost like standing inside a still explosion.”

Parker’s work has been exhibited in numerous international institutions, including the Galleria Civica d'Arte Moderna, Turin (2001).

Shown/header image: "Cold Dark Matter",(2002)
Cornelia Parker

Find it: Wurttembergische Kunstverein
Schlossplatz, 2
Stuttgart (DE)
Get info: 0711-22-33-70

Find art events in other cities, in the DEC/JAN issue of "Arte Six."

“Thoughts unsaid, now forgotten...”
Through Dec. 31

Welsh artist Cerith Wyn Evans' new site-specific projects explore the complex relationships between image and word, poetry and science, divination and earthly communication, and spoken and written language.

Upon entering the gallery, the viewer is greeted by her or his own image in Wyn Evans’ signature convex mirror sculpture, “Perverse, Inverse, Reverse” (1996).

The space is shared by “The Slide Rule Man,” a MIT audio recording from the sixties of a man who traveled between the science-based schools inscribing students’ names on their slide rules. Three Asian scholar’s rocks, borrowed from Boston’s Museum of Fine Arts will be displayed in proximity to the audio piece.

These hybrids of nature and culture exist today between the realms of nature and art, continuing Wyn Evans’ investigation into the aesthetics common to both scientific and artistic vision.

The next installation component includes reversed-text neon work “Thoughts unsaid, now forgotten...” (2004).

The work faces a large plate glass window onto a well-traveled courtyard. The sharp, bright neon image reflects off the glass even in daylight, so that from the inside the reflected text will appear readable, like a caption for the view outdoors or subtitles in a film. “IMAGE (Rabbit's Moon) by Raymond Williams” (2004), a black Venetian-glass chandelier, spells out in Morse Code a text by Raymond Williams defining the word "image" from his text "Keywords - A Vocabulary of Culture and Society." A computer monitor translates the Morse Code back into the texts.

“The sky is thin as paper here...” (2004), a new slide-projection piece using a special dissolve unit, casts layers of black and white astronomical images with historical pictures of exuberant traditional celebrations from Japanese festivals.

Finally, “WMBR Radio Station” is the actual wood-paneled studio from MIT's student-run radio station. Wyn Evans has taken the original 1960’s wood-paneled broadcast studio from WMBR, MIT's radio station, and installed it in a corner of the gallery. The five elements of the station pay respect to past technologies and the time before the Internet when radio was an important tool for communication.

“WMBR Radio Station” brings together the major themes Wyn Evans explores in his work -- information, poetry, art, science, and communication.

Bio: Born in South Wales in 1958, Cerith Wyn Evans graduated from the Royal College of Art in 1984. He began his career as a video and filmmaker and worked as an assistant to filmmaker Derek Jarman. He also collaborated with choreographer Michael Clark and taught at the Architectural Association in London for six years.

In the early 1990s, Wyn Evans began making sculptures and installations. He employs a variety of media such as neon, orchids, fireworks, film, photography, and sculpture to explore his ideas on perception and conceptual limits. His work deals with the phenomenology of time, language, and perception.

Wyn Evans’ first solo exhibition as a visual artist was held at White Cube, London, in 1996, for which he created an installation entitled “Inverse, Reverse, Perverse,” consisting of a large concave mirror that inverted and radically distorted the viewer's reflection, producing a disturbing self-portrait.

Wyn Evans has exhibited extensively in Europe, including the Hayward Gallery, London, and in the United States, at venues like the Deitch Projects in New York. More recently, Evans has had solo shows at the Kunsthaus Glarus, Switzerland, and Georg Kargl, Vienna.

Shown/header image: “The sky is thin as paper here…” (2004)
Installation detail
Photo courtesy Galerie Daniel Buchholz, Cologne

Find it: MIT List Visual Arts Center(LVAC)
20 Ames Street Building E15, Atrium level
Cambridge, Massachusetts 02139
Get info: (617) 253-4680

Find art events in other cities, in the DEC/JAN issue of "Arte Six."


Art Cities: London

London is one of the world's most vibrant cities, and is pre-eminent in art and architecture. A walk around the city soon reveals its rich cultural history, from the vast collections of museums and galleries such as the National Gallery, to the impressive array of outside art such as Henry Moore's sculptures or the Egyptian obelisks on the Embankment.

Here’s our itinerary for a daytrip in London that takes you to some of its most remarkable galleries and museums. Grab your bangers and mash and get movin’:

9am: Covent Garden
Bar Porto
168 High Holborn
A great place to have breakfast and watch this colorful area wake up around
you; check out the all-day breakfast with a healthy twist at Bar Porto.

10am: Dali Universe
Across Westminster Bridge to Dali Universe, dedicated solely to the great man's life and works. Watch out for the Houses Of Parliament and Big Ben across the river from you.

12 noon: London Eye
Up the river to the London Eye, the tallest observation wheel in the world. Take a ride if you've a head for heights.

1pm: Oxo Tower
For more life in the clouds visit the Oxo Tower, for a more down to earth experience lunch in the Royal Festival Hall, home of the Hayward Gallery.

2pm: Tate Modern
Past Shakespeare's Globe Theatre to the Tate Modern. From Dali to Warhol there's art to please everyone in this huge new centre. Watch out for the huge iron spider in the entrance hall, not for the faint hearted.

4pm: Blue Print Cafe
Tea at the Blue Print Café in the Design Museum with its great views of the Thames. The exhibitions are small scale and can be visited without too much foot damage.

5pm: White Cube 2
Across Tower Bridge, past the Tower of London, Petticoat Lane and Spitalfield Markets to the White Cube 2 Gallery in Hoxton. A must for YBA fans, this is the second Cube Gallery to open.

7pm: Shoreditch
Check out The Pool, or other bars in Shoreditch, one of London's trendy areas, or the Comedy Café, for stand-up comedy, talent nights and late-night dancing at the weekends. Nearest Tube: Old Street.

City guide courtesy of Art Republicans
Shown/header image: Trafalgar Square

More sights to see in London: Charing Cross Road, Cleopatra's Needle, Kensington Roof Gardens, Old Operating Theatre Museum, Piccadilly Circus, Science Museum, Temple of Mithras, The London Eye, Tower of London, Trafalgar Square.

Also: Subterranean London

Find out about events in other cities, in the DEC/JAN issue of "Arte Six."
Original post date: "Arte Six," OCT/NOV 2004

The Agent series
Featured columnist: Jenny Bent
“First Year Out”

Getting published for the first times is at turns exhilarating, frightening, exciting, nerve-wracking, and sometimes extremely disappointing. Remember the old saying, "be careful what you wish for?" Having your book published offers much potential for happiness, but also carries the possibility of a fair amount of disappointment.

There can be nothing so exciting for a writer as holding your finished book in your hands for the first time. And while there is no way to comprehend the experience of being published before the actual event, it can helpful to know a little bit about what you're getting into as soon as you get that momentous call from your agent: "We have an offer!"

The following questions and answers are my attempt to prepare you for the joys and the sorrows of being published. Hopefully, forewarned will become forearmed, and you'll be able to better enjoy the experience if you're prepared for some of the potential pitfalls. Reasonable expectations are the key to being happily published for the first time.

Q: Yahoo! My book was accepted. Now how long will it take before I can see it in the bookstore?

A: Usually nine to twelve months after they have accepted your manuscript. This may seem like a very long time, especially in this age of electronic media, but the long delay is actually in your favor. Your publisher needs time to copy edit and proof read your manuscript, and also to publicize your book.

Publishing your book quickly means that they have less time to get advance quotes and reviews, and less time to try to place articles or excerpts in magazines, which often have six month lead-times.

Q: How much editing can I expect from my editor?

A: This varies wildly from editor to editor. Your agent will try to place you with an editor who really will edit your book, but this can't always be accomplished because many editors simply don't have the time or the desire to actually edit.

If your editor isn't doing the kind of editing job you feel you need, sometimes your agent can pick up the slack, but it can also be necessary to hire an outside editor.

Additionally, if your book arrives and the editor feels it still needs an enormous amount of work, they will advise you to hire an outside editor. They're actually doing you a favor if they suggest this, because the other alternative they legally have is just to cancel your book and demand that you repay your advance.

Also, your editor does not generally line-edit or proof read your book. Your editor does what is called a substantive edit. Then, once your book has been modified according to these notes, and officially accepted, it goes to a copyeditor and then a proofreader.

At each stage you will be given the opportunity to read the changes and make necessary corrections.

Q: How much marketing and publicity can I expect from my publisher? Can we put something in the contract about this? And what is my agent's role in publicizing my book?

A: I don't know any authors -- and this includes multi-published authors with million dollar deals -- that are happy with the amount of publicity and marketing they receive from their publisher.

Please be prepared to do as much as you possibly can in terms of your own publicity and marketing. Hiring your own publicist is always a good idea, and if handled correctly, will be welcomed by your publisher.

If you look at the “New York Times” bestseller list, at least half of the writers on it will have worked or are still working with independent publicists. The big names in particular always use an outside publicist in addition to the publicity their publisher provides.

Your agent should also be able to help you with ideas, but do keep in mind that your agent is not your publicist. Publicists are highly trained individuals with different skill sets and contacts than agents. Agents sell your book, negotiate your contract, and manage your career. They do not publicize your book.

The answer to the second question, about putting a publicity and promotion budget in your contract, depends on how much clout you have as an author. The more money the publisher is paying for your book, and the more copies they expect to sell, the easier it is to get them to commit to a certain ad/promo budget.

If this is your first book, and you are receiving a reasonable advance, it will generally be extremely difficult, if not impossible, to get anything about this in the contract.

Keep in mind that even if you get the publisher to commit to spend a certain amount of money, they will always reserve the right to conduct publicity and marketing campaigns in the way they think best.

Bio: Jenny Bent has ten years of experience working in the publishing industry. She is currently a literary agent with the firm of Trident Media Group, LLC in New York City. Prior to becoming an agent, she worked at "Rolling Stone". She was also an editor at Cader Books, where she was responsible for books on pop culture.

NB: Lit agent Jenny Bent is providing this information as a courtesy to readers. She is not accepting new work. Unsolicited materials will not be read or returned.

About this series: The Agent is an ongoing series of columns or Q/A sessions with literary agents, providing practical advice for writers.

Find additional books/writers content in the DEC/JAN issue of "Arte Six."
Original post date: "Arte Six," OCT/NOV 2004


THEATRE/San Francisco
“Welcome to the Hypnodrome”
Extended run: Through Dec. 18
Th,Fr,Sat, 8pm

Will leading lady Jill Tracy be covered in blood? Performing a lament at a nineteenth-century reed organ?

Will she be torn apart by wolves? Seduced by a mad hypnotist? Killed in a violent train crash? Locked in a tower with iron bars? Drive a man mad? Rise from the dead? All of the above?

Bay Area theatergoers are in for a glorious shock this fall in a thrilling new chapter in San Francisco underground theater; "Welcome to the Hypnodrome" revives the suspenseful, sensational and blood-spattered Grand Guignol tradition of 1920s Paris.

Jill Tracy’s evocative music and provocative style conjures the decadent spirit of the original Grand Guignol period, and influenced producer Russell Blackwood’s selection of plays.

He painstakingly searched for Charles Mere’s 1928 “L’homme nu/The Beast” to feature Tracy at the helm of an ornate nineteenth-century reed organ, as the tortured “Countess Edwige.”

To adapt the U.S. premiere of Maurice Renard’s "L’Amant de la Morte/Lover of the Dead," Blackwood enlisted prize-winning crime novelist Eddie Muller.

"Welcome to the Hypnodrome" also incorporates shenanigans inspired by horror film impresario William Castle. Theatre-goers in special "Shock Boxes" will get an additional dose of the...unexpected.

Shown/header image: Jill Tracy
Photo: JimFerreira

Find it: The Hypnodrome
575 10th Street (at Bryant)
San Francisco, CA
Get info: (415) 248-1900

Find dance/theatre events in other cities, in the DEC/JAN issue of "Arte Six."

The physics of best-sellers

UCLA physicist and complex systems theorist Didier Sornette used statistical physics and mathematics to analyze 138 books that made Amazon.com's best-seller list between 1997 and April 2004. His team's initial results are published in the "Physical Review Letters," Nov. 26.

"Complex systems can be understood, and the book market is a complex system," says Sornette. "Each buyer is not predictable, but complex networks have a degree of predictability."

A specialist in the scientific prediction of catastrophes in a wide range of complex systems, Sornette says his model for analyzing peaks and falls in book sales is similar to one he uses to understand...earthquakes.

Best-selling books typically reach their sales peaks in one of two ways. The less potent way is by what Sornette calls an "exogenous shock," which is brief and abrupt.

An illustrative example of this would be "Strong Women Stay Young" by Dr. Miriam Nelson, which peaked on the list the day after a favorable review in the Sunday "New York Times."

Sales are typically greater, however, when a book benefits from what Sornette calls an "endogenous shock," which progressively accelerates over time, and is illustrated in the book business by favorable word-of-mouth.

Such books rise slowly, but the sales results are more enduring, and the decline in sales is slower and more much gradual. An example would be "The Divine Secrets of the Ya-Ya Sisterhood," which reached the best-seller list only two years after it was published, without the benefit of a major marketing campaign. The book was popular with book clubs and inspired women to form "Ya-Ya Sisterhood" groups of their own.

A second example would be Nora Roberts' novel, "Heaven and Earth (Three Sisters Island Trilogy)," which peaked only after a slow rise and also fell slowly, which Sornette attributes to word of the book spreading among friends and family.

The slower peaks tend to generate more sales over time, Sornette says. "Word-of-mouth can spread like an epidemic."

The trajectories of many books' rankings are combinations of both kinds of peaks, Sornette says, which suggests that an effective, well-timed marketing campaign could combine with a strong network to enhance sales.

Sort of like a series of mini-earthquakes. Didn't know bookselling could get that exciting -- perhaps we should all look into that...

Get more info: (310) 206-0511
Visit official site: Didier Sornette

Read more offbeat science stories in the DEC/JAN issue of "Arte Six."

Mona Hatoum retrospective
Through Dec. 19

Artist Mona Hatoum unites in her work an interest in aesthetics with themes that are political or social in character, by focusing on subjects such as violence, oppression, and voyeurism, often in relation to the human body.

Her art is located on the border between reality and illusion, where recognizable everyday objects are distorted and transformed into unpleasant and sometimes physically dangerous objects. Rubber crutches, a carpet of pins, and electrified kitchen utensils are a few examples of Hatoum's provocative body of work.

The exhibition at Magasin 3 Stockholm Konsthall is the most comprehensive presentation of Hatoum's work to date. The show includes some 60 artworks, as well as a large-scale new installation made specifically for Magasin 3.

Hatoum herself has commented on the multi-faceted nature of her work as follows:

"You first experience an artwork physically. I like the work to operate on both sensual and intellectual levels. Meanings, connotations, and associations come after the initial physical experience as your imagination, intellect, psyche are fired off by what you've seen."

Artist bio: Hatoum has exhibited widely in Europe, USA, and Canada. In 1995, she was nominated for the Turner Prize and was included in the Venice Biennial. The Swedish public knows Hatoum as a IASPIS resident (2001 and 2002) and through an exhibition at Uppsala konstmuseum in the fall of 2003 that focused mainly on her video work and photography. Earlier this year, Hatoum became the first visual artist to receive Copenhagen University's Sonning Prize and this fall was awarded the Swiss Roswitha Haftmann Prize in Zurich. Hatoum lives and works in London and Berlin.

Shown/header image: "Cage-à-deux" (detail), 2002
Mild steel and painted MDF
h: 201.5 x w: 315 x d: 199.5 cm / h: 79.3 x w: 124 x d: 78.5 in
Photo: Jay Jopling/White Cube (London)
Mona Hatoum

Find it: Magasin 3 Stockholm Konsthall
Frihamnen, SE - 115 56 Stockholm
Get info: +46 8-545-680-40

Find art events in other cities, in the DEC/JAN issue of "Arte Six."

"Isabella’s Room"
Dec. 14, 16-18, 7:30pm

At the venerable age of 94, Isabella is certainly entitled to her memories and the stories they evoke. Yet unlike those of her peers, Isabella’s recollections surface not from her past, but from a camera projecting images directly into her brain, the product of experiments conducted by an adjacent research hospital.

Isabella is blind, and her memories, imposed rather than earned, are entirely synthetic.

Or are they?

As conceived by Needcompany’s Jan Lauwers, "Isabella’s Room" is a balance of text, music, and dance conjuring up a world of alternate and actual realities, purely theatrical and visually captivating.

As portrayed by Viviane De Muynck, Isabella radiates boldness and curiosity, characteristics that serve her well as she calmly surveys her visions.

Eight other performers animate a random barrage of impressions and images; we see what Isabella "sees," a place where past and present merge and reality is just a distant memory.

Lauwers comments on his work in "BAMezine":

"The set is, in fact, the objects. I just put them on tables to expose them. As I mentioned before: art is energy. The energy of each object is very present, [no matter] how small they sometimes are.

"Every object is a story, every manipulation of an object is a dance. The objects also redefine realism or mimesis on stage, since they are not copies or props.

"They destroy an illusion to create a new one...Viviane is like a ‘muse’ for me. When I develop a story and the characters I need to know who will play the part... Isabella Morandi performed by Viviane De Muynck is dynamite: a female Zorba the Greek without a boss."

Shown/header image: Viviane De Muynck, in a scene from "Isabella's Room"

Find it: BAM - Brooklyn Academy of Music
30 Lafayette Avenue
Brooklyn, NY 11217
Get info: (718) 636-4100

Find dance/theatre events in other cities, in the DEC/JAN issue of "Arte Six."

THEATRE/San Francisco
“Come Fly With Me Nude”
Dec. 10, 11, 15-18

“Come Fly With Me Nude” is the story of mutual muses Dom Casual and Bella Hagen, two performers on the Stage of Life who passionately believe that the importance of their art far outweighs their limitations as artists...

SFF Fringers Diane Karagienakos (Bella Hagen) and Todd Pickering (Dom Casual) deliver a comical, merciless send-up of self-obsessed artistes; they play two performance artists obsessed with the minutiae of their failures and successes.

Their overwrought letters to each other detail their progress, as they’re swept up into a "tsunami of Byronian Ferlinghettis."

In the end, they stumble into a cult following in spite of themselves and are left to ponder the ultimate hideous sacrifice -- developing a mainstream TV show with a Hollywood producer.

Inspired by Ann Margaret, “The Exorcist,” Queen and The Ice Capades, they interpret the poignant stories of their childhoods, and how their meeting in San Francisco changed their lives -- and, quite probably, the future of art -- forever. Trivia: The performance piece is based on a series of mock letters Pickering and Karagienakos wrote to amuse each other, after their meeting in Northern California in the early 90s.

Find it: EXIT Theatre
156 Eddy St. (at Mason)
San Francisco, CA
Get info: (415) 956-1737

Find dance/theatre events in other cities, in the DEC/JAN issue of "Arte Six."

“Escape from Studio Voltaire”
Through Dec. 19

Studio Voltaire presents “Escape from Studio Voltaire,” the first solo exhibition in London by Mark Hutchinson. The project consists of two integral parts: an installation in the gallery and a free booklet, “On Art and Claustrophobia.”

The scene in the gallery looks chaotic and interrupted. The space is crammed full of tables and chairs, with barely enough space to walk amongst them. The surfaces are buried under large sheets of paper, which overflow the bounds of the tables.

These papers are blueprints, diagrams and data showing how one might leave the gallery, if leaving through the official entrance/exit became impossible.

The plans of escape range from the simple and practical (climbing out the window), to the elaborate and whimsical (escaping from the roof in a hot air balloon).

The other part of the project, the booklet, contains two main essays. One is an extract from an old case history of a self-declared claustrophobic artist, by New York City-based analyst Jennifer Bird:

“The claustrophobic person is […] an amateur escape artist. He needs, in order to physically survive, to be ingenious about his exits and entrances.”
-- Adam Philips

In the second essay, artist Mark Hutchinson compares the symptoms of claustrophobia with the difficulties of being a critically and politically engaged artist.

The artist, like the claustrophobic person, can feel constricted by surrounding structures.

For both artist and claustrophobic, it is the possibility of escape, however unlikely in practice, that needs to be kept alive through a process of vigilance, ingenuity and imagination.

Find it: Studio Voltaire
1a Nelson’s Row, Clapham Common
Get info: +44 (0)20 7622 1294

Find art events in other cities, in the DEC/JAN issue of "Arte Six."

“Cute and Scary”
Through Dec. 18

Hoo, cute! But scary. But cute...but scary...

“Cute and Scary” showcases works by emerging artists raised within a milieu where comics and Japanese animation began to reveal the spooky side underneath the Hello Kitty exterior.

Artists include: Ciou, Aya Kakeda, Camille Rose Garcia and Saya Woolflak.

Shown above: Image from "The Sleepwalkers" series.
Artist: Camille Rose Garcia

Something in the work of these artists remains childlike, but a deeper look reveals a poignant dark side. An unsolved dichotomy. This ambiguity translates into works that come across as fun and disturbing, dark and light, cute and scary without really favoring one or the other, as pop culture and fluffy eroticism mingle with subterranean nightmare.

Shown above: "Suicide Princess," from the Ultraviolenceland series.
Artist: Camille Rose Garcia

Incidentally, Flux is planning their new latest trip down the scary brick road:

They’re looking for novelists who’d be willing to write in a Flux Factory art box for a whole month. Writer in a box. Now, that’s cute. But scary...

Shown/header image: Image from “Les Poupées de Ciou” series.
Artist: Ciou

Find it: Flux Factory
3838 43rd Street
Long Island City, NY
Get info: (718) 707-3362

Find art events in other cities, in the DEC/JAN issue of "Arte Six."

"Facts are stupid things"
Through Dec. 18

"Facts are stupid things." This 1988 quote from former U.S. president Ronald Reagan, originally just a slip of the tongue, ironically anticipates what we accept today almost without opposition: branding and media shape our perception. Fiction is reality. Facts are stupid things...

For the exhibition "Facts are stupid things," Staub(g*fzk!) invited nine artists whose work explores the boundary between fiction and reality.

Christoph Draeger starts with, natch, a wall, in "Palestinian Teenage Riot/Wailing Wall." Three meters long and one meter high work, "Wailing Wall" stands silently on the gallery floor in front of the picture, "Palestinian Teenage Riot." The spectator's gaze wanders over "Wailing Wall," to the depiction of rioting teenagers.

However, if one changes one's position to the side of the teenagers, the grey concrete stones on the other side of the "Wailing Wall," become a symbol of the insurmountable walls -- physical and political -- in the region. In both cases, the weapons are stones.

Next to Draeger’s work hangs a large-scale drawing by Marguerite Kahrl. In complex drawings, Kahrl constructs fictional systems. Her diagrams combine new technologies and fictional landscapes, exploring subjects such as surveillance, nuclear fuel, arms production and our 21st century dependency on reliable data transmission.

Kahrl’s drawings develop slowly and in multiple layers. They allow time for reflection as one traces the detailed progression of a self-made world unfolding.

Draeger’s subtle shifts in context and Kahrls’ fictional-reality constructs are complemented by a photographic work by Mark Divo.

Divos’ large-scale photo "Adventure Humanity" is based on Théodore Géricaults painting "The Raft of the Medusa", (1818/19). Divo interprets the motif of the shipwreck as a representation of the idea of surrendering to the flood of information and to advertising slogans.

The infiltration of brands in all areas of life are the theme of the two Madonna paintings by Ivana Falconi.

Painted in oil on wood and set in pompous frames, Falconi’s Madonnas wear Adidas and Nikes. As with religion, branding requires faith. Both religion and commercial branding use symbols and cult figures, spread globally by franchising a recognizable brand, and demand unconditional surrender to opinion leaders’ particular spin on reality or value systems.

Elise Engler’s work is characterized by a strong interest in archiving and cataloguing. "Wrapped in the Flag" is a drawing in progress; Engler started working on it at the outbreak of the war on Iraq.

Engler meticulously follows the news of names and nationalities of the dead (U.S. and allies). With colored pencil she draws a silhouette of the dead; the silhouette is then filled in with the casualty’s respective flag, providing information about gender, age and nationality. Engler’s ongoing project, which already fills five 150 cm x 30 cm paper sheets, can be seen as a temporal memorial against war.

Opposite Engler’s drawings hangs a large-scale oil painting of Caroline Bachmann and Stefan Banz. Like Engler, Bachmann and Banz occupy themselves with war, in their work "As I opened fire."

The painting includes a quote from one of Roy Lichtenstein’s works ("As I opened fire, I knew why Tex hadn’t bust me / if he had / the enemy would have been warned that my ship was below them”), as well as a portrait of Anne Frank. The combination of art with historical and socio-political aspects in Bachman and Banz’s work leaves room for objective or personal interpretations.

Also an archivist of impressions of daily life, Patricia Bucher collects odd personal encounters, strange images from journals or, as in this exhibition, text fragments from pop songs.

Using highlighter on paper, Bucher draws texts like "some will have more cash than you/always take a different view" or "and if i don’t and if i do/the day has cooled, the time will too." Finally, Bucher covers her work with scotch tape, which renders her work temporarily glossy, but faded in time, like the words of pop songs you can no longer recall.

Dagmar Heppner draws logos of the big Hollywood studios such as Universal, Columbia or Paramount; super brands which create reality through fiction.

But whereas the original brands burst with vigor, Heppner’s colored pencil drawings have a feeling of vulnerability. They’re not in confrontation with the power Hollywood exerts over mass-marketed dreams, but are instead a gentler, personalized version of the logos, reclaimed and re-interpreted by the individual.

Find it: Staub(g*fzk!)
Rotwandstrasse, 39 (Holf)
Zurich (CH)
Get info: +41 (0)1-240-30-55

Find art exhibits in other cities, in the DEC/JAN issue of "Arte Six."


Kilometer Zero event
Dec. 15

This 15th of December, Kilometer Zero is proud to celebrate with the latest edition of the magazine.

We tell you what. After dormancy for we can't remember how long -- through the damn art squat closings, the moving and the moves, the splitting ups and downs, the broadening of horizons individually -- not one of us has sold out; none have dropped out; none have quit believing in the project.

Tonight, here in Paris, a big show is lined up for you and us to present the latest and the best of what's going on, down, and continually up in this busy, busy world of cock-eyed power, elections and consumerism.

The latest issue is diverse and beautiful -- politics, literature, art, philosophy, with half the magazine devoted to a very important look at the port city of Marseilles, one of the most representative European cities of an Arab-Western world.

In celebration, musicians, actors, film-makers, and poets amidst masks and photography are throwing a helluva party tonight.

People are flying in, jumping the TGV, swimming the channel, coming out of bookwork and woodwork to get their souls and sounds charged anew.

From Sparkle Hayter concerning the event: Vive l'Amour, Vive la Liberté, Vive le Bourbon, Vive la France and not Bush's America:

Kilometer Zero is a non-profit association and collective of artists, writers, and journalists devoted to providing a forum of ideas through a magazine, theatre, spectacles and shows, and action.

Kilometer Zero began in Paris in 2000; since then, it expands in participation and involvement throughout the world. This is our fifth magazine.

Other current events include the political pamphlet series "Pssst....America!" where 40,000 pamphlets concerning the rights of working mothers were distributed throughout the United States this past October.

We've put on shows for seven seasons, in Paris and abroad. We thank everyone for their continual participation and belief in the project -- even though it was rumored that we were dead and floating in the Seine following police brutality, over-extension, carpal-tunnel syndrome, heartache and a lack of financial means.

Fuck that. Here we are. See you on the 15th.

Place/lieu: opa
9, rue Biscornet
Metro: Bastille (derrière l'Opéra à droite, vers le canal)
Free entry/entrée gratuite
Spectacle: 21h/Shows start at 9pm


'The Waterlogs'
Bremner Duthie and the Paris Playwrights
laughing and le rire dramatique

'Paris Vampires'
Chris Mack with test screening
motion and midnight / minuit

musique sexy et al.
Velvet Nin
sound and sexiness / musique sexy

Frédéric Nevchehirlian
voice sound and rhythm / son rythme poésie

mouvement fragmentaire extra
'Fragments on the Boulevard'

photography and dream
Sebastien Merlet
rêve et photographie

mythe et création
Nevin Hayter
creation and myth

film motion sound
Rene Likata
sound and motion / motion et son

interpretation and theory
Société Réaliste
théorie et interprétation

l'appel et la voix
Robert Grimm
voice and call

Musique extra bien
sound and soul

Fresh minty surprises
aloe menthe et douceur

En Français:

Kilometer Zero a la grande joie de vous inviter à la célébration de la
sortie du dernier numéro du magazine (5e) ce mercredi prochain 15 décembre, ici à Paris.

Ça fait un moment que l'on ne s'est pas vu, et pour bonne raison. La participation de l'un de nos fidèles le plus célèbre, M. Nicolas Sarkozy, a entamé la fin des bureaux de Kilometer Zero dans le 9e et ensuite, le 2e (il ne peut malheureusement pas assister à la fête du 15).

Nous avons dû changer d'optique pour de quêtes individuels, et al., et néanmoins, nous n'avons jamais mis à l'écart le projet de fournir à tous les croyants de 'fais ce que voudras' un forum et un moyen de s'exprimer et de battre contre les folies actuelles et consommées dans notre monde. Si l'on le célébrait?

Artistes, musiciens, activistes, comédiens et metteurs en scène seront sur scène mercredi prochain pour célébrer, pour nous montrer, et pour nous faire parler de nouveaux horizons. Cet entourage remarquable saura bien encadrer le dernier numéro: sont abordés philosophie, politique, littérature, arts plastiques, avec la moitié du numéro dédiée à un reportage artistique sur la cohabitation arabe-européenne dans la ville-mer de Marseille.

Pour la fête, fidèles viennent par avion, par TGV (trajets offerts par la SNCF, apparemment), par la nage en mer, par tous les moyens pour être présent, pour être entendu, pour assister, pour changer (et je crois qu'il y en a quelques uns qui viennent pour draguer et pour teufer, ce qui fait également changer les choses --quêtes d'Eros, de Dionysos).

Venez donc le 15 décembre. Les portes s'ouvrent à 20h. Bien sûr, il n'y a pas de paf -- l'entrée est gratuite, et nous allons également vous offrir des boissons entre 20h30 jusqu'à 21h, quand les spectacles commenceront en anglais et en français. (Je ne peux vous dire comment ça va être énorme et comment je les kiffe!) Comme je vous ai précédemment dit, venez nombreux et non-nombrilistes.

Le Kilometer Zero Project a été conçu en 2000 à Paris. Un collectif d'artistes, d'écrivains et de journalistiques ayant pour objectif d'explorer la pensée libérée de la surconsommation, nous sommes une association à but non-lucratif par la loi française de 1901.

Depuis la création, notre magazine est distribué dans 15 pays; nous avons organisé des expositions, des performances, et des soirées de spectacle engagées
et pour but fun. Pour plus d'information, venez le 15 décembre; d'ailleurs, notre site est Kilometer Zero.

Le dernier numéro du magazine explore les relations entre la communauté arabe et celle des occidentaux, avec Marseille comme visée et laboratoire sociale. Essais politiques, poésies, dessins, photographies, et nouvelles traditionnelles Algériennes et contemporaines.

Find more art events in the DEC/JAN issue of "Arte Six."


NYC/KGB Bar/Reading
Dec. 15, 7pm

The Fantastic Fiction series, curated by Ellen Datlow and Gavin J. Grant, is on the third Wednesday of every month at 7pm at KGB. Come early.


Paul LaFarge, "Haussmann, or the Distinction"
Baron Georges-Eugene Haussmann, who transformed Paris from a filthy and haphazard medieval city into the jewel of Europe, is rumored on his deathbed to have wished all his work undone.

Why? The answer lies in the story of Madeleine, a foundling from the magical old world Haussmann destroyed; of de Fonce, a "demolition man" who sold the rubble of Paris as antiques; and of a three-sided affair that reveals the moral bankruptcy of the city, a corruption hidden by the transformative work of its brilliant architect. Other books by this author: "The Artist of the Missing"

Also reading: Carol Emshwiller, "The Mount"
The Hoots own the world, but the humans want it back. Charley knows how to be a good mount, but now he's going to have to learn how to be a human being. Emshwiller is also the author of "Ledoyt."

Find it: 85 East 4th Street (just off 2nd Ave)
New York, NY 10003
Get info: (212) 505-3360

Find books/writers events in other cities, in the DEC/JAN issue of "Arte Six."


Lives Mini-view: Marianne de Pierres, novelist

“An anti-hero is kinda easier to relate to, in my mind...as a friend she'd die for you -- and she'd be handy to have around when you got into a fight.”


Parrish is the protagonist of my three-book series, which begins with the novel "Nylon Angel."

She becomes, in the course of things, a tough action hero, a grrl who decides to take back control of her life.

She has features of both hero and anti-hero. An anti-hero is kinda easier to relate to, in my mind, and I certainly wanted to make a few statements about beauty and [societal] expectations of women.

On the other hand, it is SF and you’ve got to take a few leaps, so she's got some enhancements.


The books are set in a near future Australia with very clear lines of wealth and poverty.

The Tert, where Parrish resides, is what’s left of a vast villa-tropolis that has degenerated into a slum.

I think the Tert came from my own experience living in a flat complex: hi-population,
lo-rise. You could hear what everyone was doing and it wasn't always pretty.

I used to think about how easily it could fall to slum living, under certain circumstances. I also foresee one giant mega-city along the east coast of Australia. We've already gone a good way towards realizing that.


As a characterization: She’s so bombastic and abrasive she could be a real handful, but as a friend she'd die for you -- and she'd be handy to have around when you got into a fight. So, yes, I'd like to know her.

Her character is definitely pieces of people I've known. Believe it or not, Parrishes exist --they’re just not gun-toting.

The 'good grrl' attributes are evident in her obsession with personal freedom, and in her compassion for the forgotten and mistreated.

I think everyone would like to kick ass sometimes. No safer, more legitimate way to do it than on the shoulders of a fictional character.

Also, her brand of justice vacillates up and down the spectrum of an 'eye for an eye' and 'live and let live', which I think is where most of us operate.

As an aside: One of the things I am conscious of is this myth that physically strong, capable women are men in disguise.

Therefore, if you write about a female character with those attributes, it shows you're actually doing a poor job of characterization, because woman just aren't like that.

What crap! I rail against this because I think it contributes to the ongoing disempowerment of women and the perpetuation of the 'weaker sex' syndrome.

Many woman can handle themselves better than their male counterparts. That doesn't make them any less female, and while we stay in those stereotypes, women will continue to be physically abused.

I'm not suggesting that women should become combative (like Parrish!), but neither should we accept a divisive perception of ourselves. That's a bit of an off-the-subject rant, sorry!


I'm an expert on a number of things at a very superficial level. I think that the more you write fiction, the more you realize how little you know.

I've researched everything from voodoo, chaos theory, the autonomic nervous system; to guns and knives, wireless technology, Australian aboriginal mythology and the properties of mould.


Parrish's journey through Dis in Code Noir is an allegory for Dante's "Inferno."

I wanted to introduce notions of spiritualism into the story, but the overall theme remains the same: the price of personal freedom is social responsibility.

I guess spiritualism and its mysteries recur in much of my short fiction. Of course, writing about spiritualism with Parrish crashing around in amongst it is an entirely different experience than in other instances of my work.

I am also committed to exploring the concept of family and community – what it means, how it works, how it serves the human race.

I believe that with better understanding and a conscious effort to nurture the health of these social structures, we can make the world a better place.


Book-length fiction vs. short fiction: Actually I enjoy both mediums. Short fiction often gives you an opportunity just to play in a world. I personally prefer a conclusion in a short story, and so many of them seem to puff out because a good ending is so damn hard to do.


The last book in the trilogy (with a working title of "Shatter Deluxe") is due for release in the UK in May 2005.

Soon after that, “Nylon Angel” (book one) comes out in the US.

My next project is something I'm very excited about. It's set in a city of clubs where it is always night and you can only gain admittance if you are under the age of twenty three.

It's a hedonist's paradise where the pay-off is death from adrenal burnout.

The book explores themes of ageism and the contrasts between extremes in lifestyle. It will be a very confrontational story.

I also have a Parrish short story in the September 2004 issue of "Simulacrum."

It's set between book two and three, and is about 'Parrish the Warlord' getting it wrong.


I guess that's up to the readers! There's an embryonic reader's community just started up on livejournal called Parrish's Patch. I'll be checking in with them to see what they think.

Bio: Australian speculative fiction writer Marianne de Pierres is the author of "Code Noir" and "Nylon Angel." Her short stories have appeared in anthologies alongside authors like Harlan Ellison, Gene Wolfe, Jack Williamson and Terry Dowling. She is currently at work on the third book in the Parrish Plessis cyberpunk series.

Official site: Marianne de Pierres

Read interviews with other creative artists in the DEC/JAN issue of "Arte Six."
Original post date: OCT/NOV 2004

Excerpt: "Code Noir", by Marianne de Pierres

The Tert boundaries spread peninsular-style to the south of the super-city, Viva. Slick and sick Fisher Bay on one side, the ailing Filder River on the other: a despoiling one hundred or more klick strip of rabble – animate and

It was once a massive engineering works site that got ripped down and disguised as a villa-tropolis - until the locals started showing signs of heavy metal poisoning from the industrial landfill.

Now it was a weird territory for serious offenders. Every kind.

A sterile strip of wasteland like an excessive firebreak divided it from the rest of humanity.

To look at, nothing much had been altered by the short, intense war. The already patchwork human dwellings that had been damaged were now
re-patched and as functional as they would ever be. Not so their inhabitants.

Nearly a thousand people died in a few days. The stink had got so bad that they'd allowed the militia in to clean up. The mass cremations happened on the wasteland near Teece's patch. Sometimes when I woke up in the night I could still smell it.

The Media gave all the death a heap of airtime. One-World, Common Net, Out-World - you name it. Nothing like a stack of burning, expendable bodies to boost the ratings!

Priers – pilot/journo’s and their intrusive
cam-cording ‘Terrogator’s in fruited-up ‘copters - supervised the whole affair, jostling their militia lackeys out of the way for the best, close-up footage. Image scavengers!

I became so desperate to lay my hand on some anti-aircraft hardware Teece had practically chained me up to stop me chucking grenades at them...

I jogged onwards until my energy waned then I walked. Eventually I hauled my arse into a cafe for beer and food. Transport was around: scooters and Pet's.

I'd never been a fan of Pet’s. It didn't seem right riding on a back of a kid even if it was half mekan. A more pragmatic person would have said,'yeah but you're putting cred in their pockets.' But practical isn't always
my bag. More like hyped-up gut reaction! And getting worse.

The food was average but the beer was good. Funnily enough it was one of the few things in The Tert that always was. Humanity might be on the fast track to hell but the beer in Tert town’d always be cold.

I sipped my way through it and enjoyed being alone for the first time in a while.

Not that I was really alone here. Since Jamon went down with the Cabal spear in his back, and I’d put a bullet in a shape-shifter named Io Lang, everyone knew me. Sometimes it was good, mostly it wasn't, and some of the time I had
to stop myself from hurting them.

See, I was carrying a load of aggression inside that wasn't entirely mine.

It had to do with the needs of the parasite and the way it manipulated my body. The more epinephrine that flowed, the fatter and happier it got. The less human I got.

Most of the time I controlled it. I'd even taken up meditation. But sometimes it got me so bad anyway that I turned rabid: angry and lusting. I likened it to a werewolf in the change - not that I'd ever seen one – but sometimes the need overwhelmed the rest.

I guess you could say there was a new confidence in my look now - but it was shadowed by a dark preoccupation. I'd become the sort of person I used to admire - the person no one messed with, the one with nothing to lose.

It wasn't the way I expected it to be. Not one little bit. When is it ever? People didn't mess with me but they competed endlessly.

I drained my tube and asked for another. I wanted to get smashed but I didn’t have time.

Besides, even that pleasure denied me. The parasite kicked in when I reached a certain point of getting stoned and annulled the effects. You wouldn't think you could crave waking up with a mother of a hangover and a mouth drier than six-month-old bread. But I did.

One-World blathered on the bar vid. I switched sides of the booth to avoid seeing it. I didn’t watch net news anymore on account of a personal grudge.

Business conglomerates and politicians used to control the world. Now the steering wheel was in one set of reality-murdering hands.

The Media. They’d tried to frame me for the death of Razz Retribution, media hound and presenter. A capital offense. One I entirely did not commit.

I was taking that grudge to the grave.
I didn’t forgive a lot. Or forget.

For the moment though, they seemed to be leaving me alone. Too much public controversy, I guessed, over the truth behind Razz Retribution’s murder.

Normally they didn’t give a canrat teste about the veracity of their viewing matter, but somehow enough doubt had separated the audience’s collective mind. Opinion had divided into camps. Parrish guilty. Parrish not.

As I knocked back my second tube a young, slick turk came hanging around my table. I picked him straight away - competitor!

I raised an eyebrow. 'Problem?'

He was lean and dark, and from the way he arched his back reflexively, on a testosterone high. Hard to say if it was natural or paid-for.

‘No problem,’ he said ‘Jus’ enjoying the view. Heard you’re the one that’s pretty dangerous? That true?’

I sighed heavily. Whatever tiny interest his looks might have aroused in me, dampened instantly.

'You got the wrong person.'

'Pity,' he said. 'I been wantin’ to meet her. Real bad.'

'Whyso?' I asked, vaguely curious.

'Heard she could match it with anyone. Heard she was real good at one-on-one.'


Now his mouth was geared up there was no stopping him. 'Yeah. I wanted a piece before she got disappeared.’

‘Disappeared?’ Now he had my interest.

'There's talk,' he mock-whispered and winked, sidling closer. ‘Someone’s put cred out to bag her. I got friends who know.’

I'm pretty funny about my personal space but I let him into the fringes of it. My hand fell casually to my holster.

Hormone boy stopped dead when he saw what I was packing but I had the Luger drawn in the second it took him to breathe.


His legs folded under him, so that he just caught the edge of the booth seat. His face flushed with anger and embarrassment.

'You are her. I knew it,' he cried.

He was beginning to irritate me. 'Who wants her?'

A smirk ventured across his face. 'What's it worth?'

It was the second time someone had said that to me today, only this time I wasn't feeling so charitable.

I examined him closely, my free hand fingering the collar of poisoned pins around my neck. 'You could get to keep your own eyes. You might not need bone transplants. The benefits are endless, really.'

His smirk transformed back to anger – and a flash of fear. A reputation could be handy.

I shifted my aim to the spot right between his legs. I expected he was keen to keep his gonads in working condition.

'Names,' I said quietly.

Sweat appeared on his upper lip and his hair-freeze began to thaw. ‘Someone up Tower Town way.’

My breath caught in my chest. I leaned forward. Tower Town was Daac’s patch. Bastard!

Hormone boy saw my reaction and sucked up a deep breath like it might be his last.

I jerked the pistol, firing it off reflexively. The booth's table splintered to pieces.

Vaguely, I saw people scrambling away, but my sanity had waned as the parasite gorged greedily on my reaction to the news.

Somehow hormone boy avoided the bullet, crab crawling, all the way to the door.

I let him go, flicked some credit the bartender's way for damages and got the hell out of there.

The backwash of my neuro-chemical reaction struck as I lost sight of the cafe. I went down in a heap with the barest survival instinct to get my back against something solid before the hallucination took hold. It was the same
as last time and the time before...

An Angel, massive, rose from a stream of blood, spraying droplets. My blood.

'The change is close, human.'

I screamed my denial, a long, terrified sound.

Excerpted from "Code Noir" (Orbit).
© 2004, Marianne de Pierres. All rights reserved. Used with permission.


“One must draw the line somewhere”
Through Dec. 11

“One must draw the line somewhere” is the fourth project of the international exchange program “Her und Hin/(Back and Forth),” a series of collaborations between artists working in Berlin and in various cities of Eastern Europe, including Skopje, Macedonia.

The exhibition connects Berlin to Skopje through “D,” a journal issued twice a year focusing on drawing as a practice and a medium, conceptualized and edited by artist Yane Calovski and co-published by Revolver.

In the accompanying exhibit at K&S, artists reference themes in science, media, film and art history as well as narrative strategies or personal histories in pen-and-ink drawings.

About the artists:

Aleksandar Stankovski (b.1959), one of the most influential artists living and working in Skopje, has created an impressive series of comic-book novels, consisting of four volumes (“Labris,” 1989-92, “Unidentified,” 1993-97, “Minorities of Reality,” 1998-2000; and “Fun,” 2000-present;) of over 600 pages each.

These volumes (edited and exhibited for the first time) trace the slow, yet persistent process of social disfiguration and political marginalization of the individual, drawing up parallel realities where worlds clash but do not collide.

Florian Zeyfang‘s (b.1965) installations incorporate drawing, animated film and the projected image.

Over the last fifteen years Goran Dachev (b.1970) has been focusing on the development of concepts for comics that articulate issues prevalent in the social context in which he lives and works. Influenced by Robert Crumb, his drawings address police brutality, homophobia and the social alienation of the youth with vigor and black humor.

The multi-lingual, text-based drawings of Ivanka Apostolova (1974) are autobiographical, anti-comic style narrations.

Sandra Boeschenstein’s (b.1967) highly detailed drawings at first glance suggest the technique of scientific sketches. However, in Boeschenstein’s case it’s not easy to identify the portrayed objects and figures, nor are the textlines she incorporates with the images articulating a logical explanation. Within parallel constellations, the artist proposes new alignments of objects vs. meaning.

Shown above/header image: Untitled, Aleksandar Stankovski

Find it: K&S Gallery
Linienstr. 156-157
10115 Berlin, DE
Get info: +030-283-8-5096

Find art events in other cities, in the DEC/JAN issue of "Arte Six."


LIVES: Liz Williams, novelist

"[He] told me that facing death had been 'nothing like he supposed.'I asked him what it was like and he said he would tell me later, but shortly after this, he died. So it will have to be later. I'm still counting on him telling me. He's not getting out of it just because he happens to be dead."


I often start with images; dreams, impressions, and occasionally characters, but those tend to come later, after the setting has developed.

For example, I've just written a short story that started life as an image of a unicorn in Kew Gardens in London -- from that developed a far-future SF story. I also quite often misread things, and that sparks off ideas as well.

But I also go looking for story ideas -- I read a lot of mythology, and things like “Fortean Times” magazine, which is full of weirdness. And I travel a great deal, too.

Completing a new work takes about nine months to a year. I have a nine-month contract with Bantam, so that has to be the gestation period, like it or not. But I'm quite a quick writer.


Rituals or routines? No, not really, apart from gallons of mint tea and a lot of vacuous gazing into space. I find I write better in winter. I seem to have the opposite of Seasonal Affective Disorder.

I have a very close friend who inspires me and I bounce ideas off him a great deal.


Writers: born or created? Hard to say. In my own case, my mother was a writer, so it seemed an entirely natural thing to do, but I know a lot of writers who come from very unliterary backgrounds and are yet driven to write.

My mother was a writer and artist, and my father worked in a bank but was an amateur stage magician.

They certainly tolerated eccentricity and still do -- I suspect they would have done had they both been chartered accountants. But I was certainly encouraged, and they still are incredibly encouraging.

I just think of myself as Liz, who does what she does. I kind of think of myself as a writer, but who knows, that might change and it's not wise to pin down your identity to something that's essentially external.


My doctorate was in the history and philosophy of science, so I became used to looking at scientific enquiry and seeing how it influenced, and was influenced by, the history of ideas.

Philosophy underpins science -- questions about the nature of existence and the nature of consciousness, for example, but scientists don't like to admit that.

AI has philosophy as its basis; as mentioned above, if you want to have some idea about the problems encountered in developing artificial consciousness, you need to consider what consciousness actually is, and that's primarily a philosophical question.

So, the separation between them is actually illusory.

What’s more important: hard science or philosophy? Both - hard science to provide the power sources and the rockets and the IT, and philosophy/psychology to provide the warnings about all of the above.


The opening scenes of "Nine Layers of Sky", in which there's a traffic queue on the Kazakh steppe and people freeze to death, is based on a true story.

I used to read the tarot on Brighton Pier and a short story came out of that. And working for an educational consultancy got me to Central Asia, so I suppose you could say that this was a job which generated a story idea.

Otherwise, not generally [used to folding real-life events into fictional stories].

Real-life vs. fantasy worlds: It depends on the world. The world of "Nine Layers of Sky" is highly similar. Other worlds are similar in that they have humanoid life forms, but the social structures tend to be radically different - e.g. the world in "The Ghost Sister," where people put their children on the mountainside to fend for themselves until puberty.

The major difference between fiction and real life: real life is much weirder.


I've always been lucky enough to be surrounded by highly original people, and they are constantly saying things to me that make me think or make me laugh.

The one missed opportunity was that my partner, who had recently been operated on for a brain tumor, told me that facing death had been “nothing like he supposed.”

I asked him what it was like and he said he would tell me later, but shortly after this, he died. So it will have to be later.

I'm still counting on him telling me. He's not getting out of it just because he happens to be dead.


How I chose the title for my first book: actually, I didn't -- my friend, the writer Peter Garratt, gave me that one.

I'm much better at finding titles for short stories than I am for novels. Usually the novel title is a panicking last-minute process between myself and my editor. I think "The Poison Master" is the only one that survived from start to finish.


“Dancing Day” is about a demon who accidentally possesses someone in an alternative version of Constantinople. It's the only story I've ever written that started life in a workshop and serves me right, because I was very cynical about the workshop process up until then.

“Banner of Souls” started out as a story about Martian princesses, but since my partner died in the middle of my writing it, it gradually turned into a work that was more and more about death and the boundaries between life and death.


Themes that appear in my work: death, transformation, the importance of myths...

I think I'm trying to work out what I think. It's a long process but probably saves me a fortune in therapist's fees.

Things I think about: Fundamentally, the nature of the soul and its continuation. I have no answers. The more you study philosophy, the fewer answers you get and the more any initial certainty is eroded away.


What drives me crazy: Political stupidity. Fanaticism makes me furious and so does intolerance. I'm completely intolerant of intolerance.

Also puzzling: Why so many people pride themselves on being stupid.


I don't suffer from it, but that doesn't mean I never will. If I run into a block with a story, I tend to go off and do something else until it resolves itself.


Books: LeGuin, Aiken, Bradbury, Vance, Wilkie Collins, the Beats....

Music: I listen to a lot of Celtic stuff and a lot of women's music, but I'm not sure whether it influences me.

The one book I wish I’d written: "The Left Hand of Darkness."


I met a fascinating man on a boat on a Czech lake: he was a lecturer in psychology at the local university and we ended up having a conversation about hypnagogic imagery.


What interests me: The occult, herbalism, hallucinogenic drugs, spirituality, SF and fantasy (I'm still a fan as well as a writer), yoga, poetry, the Celtic countries and travel generally, other people...

Eyes: Ronald Hutton's history of British witchcraft, "The Triumph of the Moon." It's a fascinating read and has a great deal of scholarly rigor (as indeed does Ron, who is a friend of mine).

Ears: A Breton group called Gwalarn and Lisa Loeb's “Firecracker” are being alternated right now...


The biggest myth about being a creative: That you have to be literally mad.

The hardest thing about being a writer: The money is usually terrible.

What I wish someone had told me when I first started out: They told me everything, several times. I ignored most of it, though.

Musical motto: Patti Smith's "Babelogue": "I haven't fucked much with the past, but I've fucked plenty with the future."

Necessary things: In my case, a reasonably ordered environment, a supportive other person, and Wales.

If I wasn’t a writer, I’d definitely be: Terry Pratchett's chief witch Granny Weatherwax. I'm heading that way, anyway.

Bio: Novelist Liz Williams has degrees in philosophy and artificial intelligence. She has taught English as a Second Language in Kazakhstan. She is the author of "The Ghost Sister" (2001) and "Empire of Bones" (2002), both of which were Philip K. Dick Award finalists, "The Poison Master" (2003), "Nine Layers of Sky" (2003), "Banner of Souls" (2004) and numerous short stories.

Her book of collected short stories, "The Banquet of the Lords of Night," has just been released. Williams is currently at work on a sequel to "The Snake Agent" (Nightshade), called "The Demon and the City."

Visit official site: Liz Williams

Read blog: Liz Williams