<?xml version="1.0" encoding="iso-8859-1"?><rss version="2.0">  <channel>  <title>RE: MAGAZINE</title>  <link>http://re.cont3xt.net/</link>  <description>AN E-MAIL CONVERSATIONS ZINE BY CONT3XT.NET</description>  <lastBuildDate>Thu, 16 Oct 2006 12:30:00 +0100</lastBuildDate>  <language>en-us</language>    <item>	<title> #007 MARIUS WATZ / A Form of Technological Mimesis</title>	<link>http://cont3xt.net/re/007.pdf</link>	<guid>http://cont3xt.net/re/007.pdf</guid>	<pubDate>Sun, 01 Jun 2008 10:00:00 +0100</pubDate>	<description>	<![CDATA[AN E-MAIL CONVERSATION WITH MARIUS WATZ | Colourful explosions	 of organic forms, visual structures that can only be percieved 	 when the spectator allows herself to enter the flow of contemplative 	 effects one has got viewing the artworks: generative practices have 	 first been developed at the intersection of scientific and artistic 	 settings to research visual patterns and form. Issue #007 of Re: MAGAZINE 	 deals with nowadays generative systems which are used by artists, 	 as well as in Design, Architecture and the culture of everyday life. 	 Marius Watz, an artist concerned with generative systems for creating 	 visual form, still, animated, or realtime, argues in the following 	 interview: "One of the privileges of Generative Art is that the 	 author can easily be surprised by her own creation."]]>	</description>	</item>      <item>	<title> #006 MARK EDWARD GRIMM / Undecisive Contexts</title>	<link>http://cont3xt.net/re/006.pdf</link>	<guid>http://cont3xt.net/re/006.pdf</guid>	<pubDate>Sun, 09 Nov 2007 10:00:00 +0100</pubDate>	<description>	<![CDATA[AN E-MAIL CONVERSATION WITH MARK EDWARD GRIMM | The net establishes	its significance as artistic medium no longer in specialized communities but 	has become dispersed more and more into contexts commonly assigned to the 	"classical" art business. Issue #006 of Re: MAGAZINE deals with the artistic	 work of Mark E. Grimm which—covering different contexts evaluated by 	 conventional criterias—could be considered as undecisive. The collaborative 	 work in and outside the net, the study of the working processes and the 	 transfer of net-related working methods into real life are all practices 	 deliberately dealt with as artistic statements but rarely leave 	 material-related marks. Perhaps we observe here the reversal of the 90’ s 	 Californian Ideology and its "Second Life": the reality is not 	 subordinated to the net but the net turns with its constant 	 use into a part of the reality.]]>	</description>	</item>     <item>	<title> #005 MARY-ANNE BREEZE [mez] / Versatile Communication Modalities</title>	<link>http://cont3xt.net/re/005.pdf</link>	<guid>http://cont3xt.net/re/005.pdf</guid>	<pubDate>Mon, 12 Nov 2007 10:00:00 +0100</pubDate>	<description>	<![CDATA[AN E-MAIL CONVERSATION WITH MARY-ANNE BREEZE | mez, netwurker, 	data[h!]bleeder, ms post modemism, mezflesque.exe, ova.kill, net.w][ho][urker,	Purrsonal Areah Netwurker, Phonet][r][ix ... The pseudonyms of the	Austrialian Internet artist Mary-Anne Breeze are as multifaceted as is her f?	artistic work. In issue #005 of Re: MAGAZINE mez talks about her	own language of artistic creation called mezangelle which is composed by 	the playful use of aspects of form and content like orthography, semantics 	and punctuation and mixed with the hybrid use of segmented code and 	programming languagees, Internet-slang and literary texts. In her own words,	her wurks "r never really finished; they kinda hang together in a faux_fixed 	state, rdy. 4.the.next.incarnation."]]>	</description>	</item>    <item>	<title> #004 SCOTT RETTBERG / Curating Ambiguity, Electronic Literature</title>	<link>http://cont3xt.net/re/004.pdf</link>	<guid>http://cont3xt.net/re/004.pdf</guid>	<pubDate>Mon, 28 Sun 2007 15:00:00 +0100</pubDate>	<description>	<![CDATA[AN E-MAIL CONVERSATION WITH SCOTT RETTBERG | In autumn 2006 the 	Electronic Literature Organization (ELO) released the Electronic 	Literature Collection Volume One, including selected works in 	New Media forms such as Hypertext Fiction, Kinetic Poetry, 	generative and combinatory forms, Network Writing, Codework, 3D, 	and Narrative Animations. One of the main common characteristics 	of Web-based literary products is that they often can be read (or viewed, 	listened, played with, used) in multifaceted ways. Accordingly the 	curation of Electronic Literature is challenged by ambiguity 	and heterogeneity on different levels.]]>		</description>	</item>        <item>	<title> #003 MIA MAKELA (a.k.a. Solu) / Live Cinema</title>	<link>http://cont3xt.net/re/003.pdf</link>	<guid>http://cont3xt.net/re/003.pdf</guid>	<pubDate>Mon, 28 Sun 2007 15:00:00 +0100</pubDate>	<description>	<![CDATA[AN E-MAIL CONVERSATION WITH MIA MAKELA | What is Live Cinema? 	Depending on how you set the boundaries, Live Cinema could be 	anything -- from the visuals of the VJ in the club last night to 	sophisticated realtime performances based on complex interaction 	between musicians and visual artists at renowned festivals like Sónar 	in Barcelona. Generally it may be defined as „a recently coined term 	for realtime audiovisual performances“.]]>	</description>	</item>      	<item>	<title> #002  THE AMAZON NOIR TEAM / The Big Book (C)rime</title>	<link>http://cont3xt.net/re/002.pdf</link>	<guid>http://cont3xt.net/re/002.pdf</guid>	<pubDate>Wed, 06 Dec 2006 19:00:00 +0100</pubDate>	<description>	<![CDATA[AN E-MAIL CONVERSATION WITH PAOLO CIRIO, ALESSANDRO LUDOVICO, 	UBERMORGEN.COM | About one year after the release of Google Will Eat Itself 	the artists Paolo Cirio, Alessandro Ludovico, Hans Bernhard 	and Lizvlx foxed out Amazon.com, the second global Internet player. 	The results of the Media/Art-event Amazon Noir - The Big Book Crime 	were presented on the 15tf?h of November 2006.]]>	</description>	</item>  	<item>	<title> #001  JEREMY HIGHT / Possibilities in Locative Media</title>	<link>http://cont3xt.net/re/001.pdf</link>	<guid>http://cont3xt.net/re/001.pdf</guid>	<pubDate>Thu, 16 Oct 2006 12:30:00 +0100</pubDate>	<description>	<![CDATA[Locative Media - recently becoming more popular in Media Art	discourses - has roots dating back to the dawn of history. Early myths	like the Gilgamesch Epic or - more specific - Homer's Odyssee deal with	issues of location and the recording of movement on earth's surface.	Developments since then include mediaeval cartography as well as the	Situationists' approach to mapping a city. Nowadays Locative Media uses	technology to trigger artworks in a specific physical space. ]]>	</description>	</item>  </channel></rss>