bg



tank surveillance

/files/images/2005/7/mob946_1122639048.jpg
Monitor etoy's TANK-17 using our newly installed remote-controlled camera.

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contribute to MISSION ETERNITY

For the recruitment of the first regular MISSION-ETERNITY users during this year's burning man festival in the nevada desert (august 29 – september 5, 2005), etoy urgently requires a know-how infusion from an etoy.SHAREHOLDER/toywar.VETERAN who attended previous burning man festivals and is planning to participate this year as well.

In particular, etoy depends on experiences regarding necessary equipment/precautions and required infrastructure for the setup and maintenance of a small media station. The following issues must be addressed: construction issues (ground consistency, sand), climatic issues (heat and temperature fluctuations), agent survival (food/water/shelter), power supply, social networking.

Please send descriptive responses to . etoy will establish up to three promising consulting contacts for collaboration before and during burning man to be compensated with 25 etoy.SHARES.


thanks to toywar.VETERAN SITO.jon! more obviously welcome!
***********


To: eternity@etoy.com
Organization: UnderWorld Industries
X-Mailer: ELM [version 2.5 PL6]
Subject: mission-eternity / burning man
From: jon Date: Tue, 26 Jul 2005 11:05:09 -0700 (PDT)

greetings. sometimes-operative SITO.jon with my 2 euro-cents on
burning man. most of this info you can get from the web, but maybe
i will give a little bit of help. hopefully.

i went to burning man 1997, 1998, 1999. the desert pretty much stays
the same though, so this should be valid info.

addressing your points from the website:

* construction issues (ground consistency, sand)

anchoring in the playa is difficult, but not impossible. in recent
years they have really discouraged doing much damage to the ground.
even when you *could* dig big trenches or such, it was tricky.
in short: GO DEEP. the tool of choise is REBAR -- its a cheap
construction material (that can often be found for FREE at construction
sites... at night!) http://en.wikipedia.org/w/index.php?title=Rebar
best to sink it approx 1-2 feet (0.5 m) or more. this is difficult,
the playa is hard -- bring a sledgehammer
http://en.wikipedia.org/w/index.php?title=Sledgehammer
it sucks to get it out at the end (use ropes, hammer), but that
is what you have to do because of the wind (see below).

rebar is easy to tie rope to or fasten other items to (pipe, etc.)
if it is going to be used as a stake for a rope, you *must* mark
it and protect it -- an empty plastic water jug works perfectly --
because if it sticks out, someone *will* smash their foot on it
in the dark!

rebar is all about anchoring for the WIND. there can be very
heavy winds. build any tent/shade structure with lots of ropes,
and leave flaps to "luff" in the wind, so you dont end up with
a kite, not a tent.

any other design issues should, in addition to withstanding wind,
especially be ready for SAND. fine dust off the playa will
get in *everything*. sealed plastic containers still get dust in
them. so expect it to get kinda ruined! haha

rain is a possibility, but less likely to affect overall construction,
because when it rains the wind is usually a bigger problem, and if
it rains, everything will be dry within hours because the air is so
dry/warm out there.


* climatic issues (heat and temperature fluctuations)

it is very hot during the day, or can be (one year i went it never got
above 32C... but as a general rule, you can expect days to be much
hotter -- 37C is pretty normal, and it was fairly common to have
temperatures of 40C. and the sun is likely to be out all the time.
SHADE is a key word... if you dont like suntan/sunburn, dont forget
to shade yourself! there can be cold at night, but never freezing.
just bring a warm coat and some blankets. its no fun to walk around
in all the night fun and be chilly. make a "warm costume" in your
pack of cool/crazy costumes to wear. it never gets freezing, so
that should not be an issue (e.g. water freezing).

something that is sometimes forgotten is the DRYNESS of the air.
it is drier than anywhere i have ever been. wet food you have
will have the fluid taken out of it -- an open container of humus
or beans, etc will be dried in hours. bread will essentially be
turned to something like a cracker if left open at all. the same
effects happen to the body -- you do not SWEAT -- the liquid is
pulled off your body before it forms; so you often do not know
you are losing water.


* agent survival (food/water/shelter)

as everyone likes to point out, WATER is very important. because
of the affect of not-sweating, you do not know you are losing water.
you do not feel dehydrated til you start to feel sick. so the rule
of thumb is to do what *feels like* over-drinking of water. just
keep it with you and learn to sip on it. you probably have heard the
rule of "piss clear". if you piss and it is NOT clear -- you are not
drinking enough water. its not a reason to panic, but just a good
warning -- drink more water.

best to bring food that will not dry out. (e.g. better to bring
crackers than bread.) refridgeration is a luxury, therefore dried
foods (i always like dried hummus and tabooli), canned or packaged
foods (like camping food). beef or salmon jerky work out great
when you need protein (if you are not vegetarian). peanut butter
or similar (nutella!) is good. if you do not have a stove to bring,
you can often find a friendly camp who will let you use their stuff.
doing dishes sucks, so try to eat out of the containers. if you
bring paper/disposable dishes -- make sure you can bring them out
with you. as a rule, try to minimize trash; there is no trash
disposal, so it has to stay with you and leave with you.
i always had a lower appetite -- i think cuz of all the water
i drank and the heat. make things easier for yourself -- dont
bring pasta to cook, if you can bring already-made pasta in a
package, etc.

shelter is pretty easy -- just make SHADE for yourself. it can
get a *little cold* at night, so bring a blanket (if you plan to
sleep!) and a warm coat. mostly people just end up crashing all
over the place! a tent works well for sleeping unit.


* power supply

generators are very common; remember you need to bring enough fuel,
which can be a pain. if you need a larger commercial one, it can
be quite noisy and irritate people. in the old days people would
bury big generators in a hole -- but no more digging on the playa.
so now most big camps (needing big power) place the generator out
in the open playa and run a long cord to camp. if you have only
need for a smaller one, it will probably only be a little annoying.
even placing it between two cars can help reduce noise. if you can
afford it (and dont need much power) solar is awesome, of course,
as the sun is in endless supply. some day maybe this will be more
of a possibility for everyone at burning man.


* social networking.

there was never computer-network infastructure back when i was
there (e.g. wifi); i guess there is now. however, i can promise
you people are pretty overwhelmed and probably arent really into
tapping on a laptop, so consider "old-fashioned" means.

paper (e.g. flyers, handbills) is a bad idea. people will
fumble with them and they will just end up blowing all over the
place and making a mess. i recommend some creative solutions.
a favorite of mine is a rubber stamp -- you can have fun stamping
all sorts of body parts! the down side is the stamp pads will dry
out, so you need one that can be brought back to life with water,
or some other creative solution (e.g. using a marker on the stamp).
stickers are good if they are small and strong (glue dries out and
playa dust will render them useless). if low-quality, they can end
up trash like flyers. if you are going to hand out something, make
it heavy and easy to carry. ideas: something like small luggage tags,
pins (little pin/buttons, like:
http://microcosmpublishing.com/manufacturing/buttons/), etc.

information that is kinda important to know: location ... where is
your camp? if you can pick a location before, then you can put this
on your material you are handing out. if not, be creative. one year
we made small literature and had a map of burning man. then we brought
a marker to put an "X" where our camp was. problem solved.
you can make like a small booklet/zine for people to read. sometimes
people just want to relax (in the shade) and read, so this works.

no one really can remember or cares about (most) scheduled
events ("friday at 10pm!"), so if you can, just present events
that are on-going (e.g. an installation that is always open) or
predictable and regular (e.g. every night at sunset, all mornings, etc.)

its nice to make some special info for popular camps. a large
sticker or similar can work for this. if you have 10-20 of these,
you can find where people seem to be clustering, and make your mark.
even a small sticker with "visit camp etoy" in the right place can
get the idea into peoples minds -- then they might try to find you
while wandering. it is this reason that you see many such things
at the *portable toilets*! those are popular "gathering" places. haha

on another front, bring a bike. social movement at burning man is made
MANY times easier with a fast way to move around, and a bike is the
only good way to do this. make your bike an etoy advertisement, too!



wow, that was a long rant, no? hopefully out of all this noise you
can find some signal! please let me know if you have any questions
or anything. have fun!

best,
-jon
_____________________________________________________________________________
jon@scribble.com * http://scribble.com * http://sito.org * http://gracies.org
We target your mind. //

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platoon & etoy interview on rocketboom

N.Y. based video blog rocketboom included a short interview of Christoph from platoon and agent.HAEFLIGER from etoy in their current broadcast. The interview was conducted by the swiss corrspondent of rebell.tv who in turn provides an extended interview with agent.HAEFLIGER via their channel.

/files/images/2005/7/mob945_1122323195.jpg(screenshot courtesy of rebell.tv)


Footage from rocketboom
Footage from rebell.tv

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INVITATION: this saturday! FRIENDLY FIRE in Berlin

PERSOENLICHE EINLADUNG: etoy&PLATOON
---N20-GRILL-POOL-WLAN-BOTOX-APERO--



TARGET DESCRIPTION: friends of etoy.
interested culture tourists welcome.

TIMING: 23.7.2005 / 8pm - 1am.
in case of nice weather->pool open->3pm.

TARGET LOCK: north 52°31.53' east 13°24.28'
weinmeisterstr.3 / berlin (alexanderplatz)
map link

TROOPS: etoy.AGENTS and PLATOON cultural
developers


CONTEXT: 10 etoy.AGENTS from all over the
world gather this weekend to discuss and
vote on the strategy & content 2006. the
etoy.GENERAL-MEETING-2005 takes place on
the 35th floor of the PARK INN Berlin.

the group plans massive investments in
MISSION ETERNITY - a multi user sarcophagus
for the information age. So far, one beta
test pilot (82 years old mr. keiser,
microfilm pioneer from the city of zug)
works with the crew on the production of
the first interactive ARCANUM CAPSULE in
which mr. keiser will be traveling trough
space and time forever.

the first regular users will be recruited
during the burning man festival in the nevada
desert (august 29 – september 5, 2005).


prospective users may contact: pilots@etoy.com


-------------------------------------------

PARTNERS: EUnet/Celebration Hotels/TEC-IT
/PLATOON - cultural development incl. Adidas
/Produkt & Vision - www.produktundvision.com
/Pro Helvetia/LISTA - making workspace work
/Sitemapping.ch/City of Zug/Kanton Zurich
/MIGROS kulturprozent - science & future
/La Claustra/BONOWI

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Der Kasten, der die Welt bewegt

the Berlin press about the recent conference on containerization with a contribution by etoy.CORPORATION. only in german. thanks to our hosts from Platoon for the link.

Aus Welthandel und Seeverkehr ist der Container nicht mehr wegzudenken. Das Emblem der Globalisierung funktioniert aber auch als Kristallisationskern dissidenter Theorie und Praxis. So zu erleben beim Workshop "Welt aus dem Container" in Berlin
VON BENJAMIN STEININGER

Er ist überall. Und alles Mögliche war und ist in ihm drin. Im Container. Elektronik, Klamotten, Jürgen und Zlatko, Südfrüchte, pakistanische Kleinwaffen, pakistanische Flüchtlinge, der Bauleiter vom Potsdamer Platz, sein Auto - in Teilen, am Stück, der Schrott wird selbst Container. In kaum einem Objekt ist die globalisierte Welt, dieser gigantische Terminal für verschobene Ware, verlagerte Arbeitsplätze und entsprechend zwangsmobiles Personal, so eingespannt wie in den 8 Fuß breiten und 20 oder auch 40 Fuß langen ISO-Container.

Anlageberater, Logistikkonzerne und Reedereien fahren im Linienverkehr mit heute 12 bis 15 Millionen Stahlkisten weltweit satte Gewinne ein. Doch neben Großbaustellen und Autohändlern haben längst auch Künstler, Theaterleute und Architekten den universalen Behälter gekapert; außerdem interessieren sich längst Kultur- und Medienwissenschaftler für die philosophische, ökonomische wie gestalterische Bedeutung des nur scheinbar simplen Kastens. Wie viele Disziplinen zur Erstellung einer "ersten Karte des Prinzips der Containerisierung" Entscheidendes beizutragen haben, zeigte der Workshop "Welt aus dem Container" am vergangenen Wochenende in Berlin. Eingeladen hatten die kulturwissenschaftlichen Graduiertenkollegs "Mediale Historiographien" (Weimar) und "Codierung von Gewalt im medialen Wandel" (Berlin) in Gestalt von Alexander Klose und Lars Denicke. Auf dem Podium im Prater der Volksbühne diskutierten Experten aus Architektur, (Militär-)Geschichte, Kunst, Informatik, Theater, Logistik, Film, Kultur- und Medienwissenschaft.

Am Anfang der Containeridee steht 1937 die Ungeduld eines Lkw-Fahrers aus North Carolina über die langsam manuelle Verladung von Baumwolle vom Schiff auf die Straße. In den 50ern stechen unter seiner Regie erste Stückgutfrachter in See, die Waren aller Art in maschinell stapelbaren Behältern transportieren. Wenig später hat der Trucker Malcolm McLean als Gründer der legendären Containerreederei Sealand unauffällig Geschichte gemacht. Der althergebrachte Seehandel samt massenhaft schipperndem und schleppendem Personal ist seither passé. Mit dem Anblick und der Logik der Häfen änderte sich die Welt. Die grandios verbilligten Transporte ermöglichten erst die Verlagerung klassischer Produktionsreviere nach Übersee. Die Monteurs- und Flüchtlingskästen passen ins Bild einer vielfältigst vom "Twenty-feet Equivalent Unit" - als "TEU" der Standard im Containerhandel - überformten Welt.

Eine Institution, die die durchschlagende Wirkung des Containers schon lange bühnenwirksam überdenkt, ist die Volksbühne am Berliner Rosa-Luxemburg-Platz. Man kann wohl sagen, dass der global erste Versuch, den universalen Katalysator Container in seiner ganzen Komplexität zu skizzieren, nicht in Schanghai, Rotterdam oder am für Containerriesen schon zu schmalen Panamakanal stattfand, sondern in Bert Neumanns Bühnenbildern im Palast der Republik und am Prater der Volksbühne.

Den philosophischen Auftakt des Workshops machten der Initiator Alexander Klose und der Kulturwissenschaftler Peter Berz im ausgeweideten Stahlbauch des Palastes der Republik, vor der Containerbühne zu "Berlin Alexanderplatz" in der Regie von Frank Castorf, die hier gerade läuft. Gleichsam aus metaphysischer Ferne wurde in ihren Vorträgen die Logik des Containers als Objekt gewordenes "Enthalten", als Gipfel abendländischer Fixierung auf "Form vs. Inhalt" verständlich. Zu standardisierten Modulen verschaltet und schließlich vernetzt, bedeutet der Container "totale Zirkulation". Und doch stiftet er im Schatten der intendiert geordneten Funktion bizarre "Anders-Orte", Foucaults "Heterotopien".

Im derart abstrakt zwischen den Begriffsblöcken "Behälter", "Standard", "Netz" und "Raum" aufgespannten Untersuchungsfeld konnten schließlich die unterschiedlichsten Zugriffe auf den Container kommunizieren.

So referierte der ordensgeschmückte, amerikanische Militärhistoriker Salvatore Mercogliano über militärische Vorläufer des ISO-Containers. Die Schweizer Aktions-, Konzept-, und Netzkünstler der etoy.CORPORATION gaben Einblicke in ihre mobilen Ausstellungsflächen. Und der Logistiker und Informatiker Ingo Timm stellte seine autonome Agentensoftware vor. In derart weiten Diskussionsrunden wurde das Prinzip "Container" ausgelotet.

Interdisziplinärer Dialog auch im Block "Standards". Die präzise Strategie des gastgebenden Bühnenbildners Bert Neumann, über die Verwendung standardisierter Bauteile den widerständigen, nicht zur Rangiermasse der Regie entfremdeten Akteur zu stützen, wurde hier mit den Ausführungen der Delfter Standardisierungstheoretikern Tineke Egyedi konfrontiert, für die Standards überhaupt Handlungsfreiheit erst ermöglichen und garantieren. Die explizit problematischen Seiten der Containerisierung wurden dagegen in den vom Prinzip "Container" formulierten "Zonen erstarrter Bewegung" (Mark Terkessidis) sichtbar. Wie schon die Baracke zeitigt der Container zwar architektonisch keineswegs nur ästhetische Katastrophen. Der funktionale Fluchtpunkt des modularen ("Städte"-)Bauens ist und bleibt aber trotz fröhlicher Kinder in der Container-Kita das (Flüchtlings-)Lager.

Fast rührend bedankte sich der Filmemacher Tony Grisoni ("In this World") über die "neue Obsession". Er hatte in der Nacht von Containern geträumt.

taz Nr. 7696 vom 22.6.2005, Seite 16, 187 Zeilen (TAZ-Bericht), BENJAMIN STEININGER

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art and art and some business

Preparing for a group exhibition in September, Produkt & Vision engages the participating artists, and art organizations (among them etoy.CORPORATION), and academics in a dialogue with Cornelsen, a German text book publisher. Yesterday's meeting in Berlin surfaced a few essential guideposts for navigating an interactive experiment involving various art producers and a publishing house.

12 art producers, 7 academics, consultants and architects, the Kunstfabrik crew, and members of management of Cornelsen are in the game. This is not a consulting gig or a quick fix for anything. It's a dialogue, a process, and an experimental, collaborative artistic venture that involves a firm as a catalyst and point of crystallization. The form of collaboration among the art producers and the firm was subject to intense discussions. And what crystallized yesterday includes an inspiring method discussion across art producers about the production of contemporary art: needless to say that the methods employed by the 12 art producers vary substantially.

etoy.CORPORATION's share model contrasts with Cornelsen's. The German publishing house relies on a strong concentration of ownership whereas etoy.CORPORATION endorses the participation of a large community of shareholders, not least in order to motivate and compensate etoy.AGENTS and to access a highly skilled pool of art investors, who are also art users and consumers, and whose knowledge is sourced regularly in etoy's product development process.

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