text:
agentur: in transit: location: Jaqueline's house: Govert Flinckstraat 299, Amsterdam
Thursday, 28 February, 8.30 pm
Doors Open 8.00 pm
Free entrance
Language: English
A time-slot for imagining alternate realities
"One day in a summer 2003 a famous TV journalist in Lithuania phoned the director of the Contemporary Art Centre, Vilnius and invited him for a cup of coffee. Their conversation was about a new commercial TV channel about to be launched. Its content and program were not yet very clear, but the journalist didn't waste time to exclaim: "We would like to have a program by the Contemporary Art Centre on our channel". While the CAC had no experience in making television, it ventured to reinvent the medium itself. CAC TV started as a reality meta-show and was broadcast weekly between 2004 and 2007. Produced by a rotating cast of artists, cable-access producers, TV sceptics and enthusiasts, it followed multiple adventures in TV-land through planned accidents and unscripted actions. CAC TV will now be presented by agentur: in transit: in a private residence in Amsterdam, where the signal can still be picked up."
CAC TV will be introduced by Virginija Januskeviciute, one of the co-producers of the CAC TV, a curator at the Contemporary Art Centre in Vilnius and a curatorial fellow at de Appel Arts Centre in Amsterdam, currently developing the project "Master Humphrey's Clock" (www.masterhumphreysclock.nl).
agentur: is an agency for international curators that aims to point out new artistic tendencies within and beyond Europe, organizing presentations in different locations throughout Amsterdam.
'Do not adjust your set' is an article by Sally O'Reilly on current affairs of Art and Television published by The Financial Times. As CAC TV has a honorable mention in it, we are posting a link to the article in its original context: http://www.ft.com/cms/s/9b457392-537a-11db-8a2a-0000779e2340.html
June 7, 2006: Rytis Juodeika and Gintautas Mažeikis in the "Protest Lab" talk show about creative industries and destruction (thanks to www.vilma.cc for the archive footage of 2005)
June 14, 2006: Simple program about things with Stasys Bonifacijus Ieva.
June 21, 2006: Artist's program: Kęstutis Šapoka about football as another kind of art and art as another kind of football.
June 28, 2006: CAC TV GRAND: Sven Augustijnen film "L'école des pickpockets".
July 5, 2006: Anthony Howard film "Oui We".
James Fuentes works at Deitch Projects, NYC and is a producer of ARTSTAR reality TV show. The interview is republished here from "Arts & Leisure" (co-published by Art in General and e-flux) in relation to the article in "The New York Times":
Raimundas Malasauskas: You are the producer of reality TV series that blend the competitiveness of the art-world with the extreme format of competition which is reality TV. Would it be appropriate to claim this merge eludes a certain critique of the artworld?
James Fuentes: It can be read different ways. For me it works like this... Reality TV is perhaps the most banal, played out, horrendous format on television today. It brings about very interesting issues about objectivity and is a threat to the believability of even the most objective seeming anthropological documentaries. This idea of a format (the documentary) being endangered by Reality Television is very interesting to me because ultimately no matter how well intentioned and seemingly precise a representation of a real occurrence is, it is automatically fictionalized by the medium of film. As for it being a critique of the art world, by its very name ARTSTAR it is playing off a phenomenon that the "art world" (for lack of a better term) would prefer to think it is above. Witnessing the success of artists whose practice weighs heavily on their ability to be celebrated by the media (that includes high minded art publications and journals which all seem to be commenting n the same artists over and over again) it is clear that marketing and hype as Jeffrey Deitch stated in 1985 IS a new medium competing with more traditional mediums such as painting, sculpture etc...
RM: "There are no big winners in artworld anyway" claimed Ignacio Gonzalez-Lang, NYC artist, whom I had coffee with recently. Do you think your reality TV show can turn artists into "bigger winners"?
JF: That depends on how well the artists seize the opportunity. So there is a little bit of pressure.
RM: What were the most interesting reactions about the project from its participants or your friends and colleagues so far?
JF: A professor at a prestigious New York school took me aside and told me "James, I love you and all but I had to tell my students to stay as far away from this project as possible. I told them that they would be making fools of themselves if they went to your ARTSTAR open call." I can respect that perspective. The artist has to be very strong willed to participate in ARTSTAR. ARTSTAR is like a school of hard-knocks, an immersive DEITCH PROJECTS group exhibition experience, totally exposed to the world.
RM: In the program of CAC TV program that I've been co-producing we say that through "re-programming reality show we aim at re-programming reality." What do you think about this statement?
JM: I think it's confusing.
RM: John Waters claims that "My life is a reality show. Everybody has a great reality show if you go out, if you live a life. I think the only people who really love reality show don't go out of the house." (aRUDE magazine: Look Issue 2004). Any comments?
JF: The statement really says it all, this is John Water's genius. He always has such an insightful outlook on life and the medium of film.
RM: Were any of the previous art - TV collaborations (like do it by Hans Ulrich Obrist, Arkipelag TV by Alexander Kluge or TV experiments in the 60s by Michael Auder, etc.) of any inspiration or source of solutions for you?
J.F. No, however I am a huge fan of all of the aforementioned individuals, except for Kluge (I don't know who he is)... Obrist is a brilliant curator and critic and producer. Michel is a good friend of mine. In my early discussions with Jeffrey Deitch we were thinking about Glenn O'Briens TV PARTY and Warhol's MTV show I believe it was called Warhols 15 minutes.
RM: Do you find any difference in the way this show is perceived in the art-world and the TV world?
JF: For a TV audience it is an opportunity to have a glimpse of a very small section of world. For the art-world (God I hate that term!) it is a opportunity to ridicule a TV format that some feel represent the lowest of low culture, what is interesting is that many of those same people are always tuned in to reality shows and from what I can tell they had quite a fun time talking about ARTSTAR when some media about the project came about. Academics should be particularly interested in this subject‹art on television‹because it examines the convergence of high and low culture, the central focus of postmodern criticism. What's funny is that the show may come out in the fall and people have already processed it and judged it. At this point I am also personally interested in moving on to the next topic of discussion!
RM: Do you watch TV a lot? What are your favorite programs/shows/why?
JF: I love The Chappelle Show because I think he is one of Comedy's most significant artists. Other generations had Buster Keaton, we have Dave Chapelle.
1. Workshow V poster
2. Workshow V at Off Corso featuring "Gala" by Laura Stasiulyte
3. Workshow V cook-up area
4. Thisisnotparis buttonhole swap at Workshow V
5. Thisisnotparis buttonhole dissemination
6. Workshow V cook-up
7. Algirdas Stravinskas at IFFR Late Night Talk Show
8. Algirdas Stravinskas
9. CAC TV Surprise Party at Witte de With
10. Surprise Party: people become sources of light
12. CAC TV wall
13. Séance at The Locals International Restaurant / Witte de With
14. Telephoning the future
17. Séance participant
18. Collection by Darius Ziura playing in the background
19. Leftover clothes from Thisisnotparis arrive at Locals International
20. Algirdas Stravinskas singing in the rain at Off Corso
(the missing bits will be filled in. always.)
December 15, 8pm at the CAC
Address: Vokiečių g. 2, Vilnius
CAC TV is not just a phenomenon, it is a TV programme that you can see on TV1 channel and at www.tv.lt. It is a project of the Contemporary Art Centre, Vilnius, that broadcasts artists run programmes and films that you would not see anywhere in Lithuania and will not find on internet.
On December 15, 8pm you are invited to come and see all 49 programmes and artists' films broadcasted during the year 2004–2005. In the black and white spaces of the CAC you will not only have an opportunity to see what you want to see but also to meet the makers of CAC TV and to become one. Thus bring with you that something that you want to show on CAC TV.
Super-films and super-artists
During 2004 and 2005 CAC TV broadcasted works by international artists as Muntadas, Laurel Nakadate, Jennifer Allora & Guillermo Calzadilla, Gabriel Lester, Christian Jankowski, Una Szeemann, Pierre Bismuth, John Baldessari, Reverend Billy, Katrina Neiburga, Amiga TV (Pablo Leon de la Barra), Catherine Forster, Sara Jordeno, Gints Gabrans, Julika Rudelius, Jakup Ferri, Nicolas Trembley, John Miller & Richard Hoeck, Esto TV, Robert Cauble, Cane Capovolta, Johan Grimonprez, Rainer Ganahl, Matias Faldbakken, Alex Bag, Joe Scanlan, Melvin Moti, Oliver Michaels, Warren Neidich, Dieter Lesage, Miklos Ehardt, Sarah Tripp, Pink Bloque, Sean Snyder, N.I.C.J.O.B., Jeroen Kooijmans as well as Lithuanian videos and projects by Gintaras Makarevičius, Eglė Budvytytė, Dainius Liškevičius, Inga Kaupelytė and Rudolfas Levulis, Evaldas Jansas, Eglė Rakauskaitė, Emilis Vėlyvis, Akvilė Anglickaitė, Darius Mikšys, Darius Žiūra, Kristina Inčiūraitė, Rokas Tarabilda, Andrius Go Kirvėla, So Called Records and others.
Here should follow a list of tens of professional and non-professional analysts and activists, enthusiastic TV skeptics who have been involved in discussions, events, production and programming. Among them are a guest director for one episode Daiva Bilinskienė, leader of a band Inculto Jurgis Diziulis, a new star of graphic design Povilas Utovka, choreographer Algirdas Stravinskas, fashion designer Sandra Straukaitė, sculptor Duonis and numerous others.
All of the films and projects intended to shed light upon the context of contemporary art (or to employ art as a means to experience mass media and other realities) have merged with the intentions of a fluid CAC TV team to rediscover the format of a TV programme with every new broadcast. The project made its debut October 1, 2004 with a new TV genre – a reality metashow (a show about making a show), and a slogan "Every programme is a pilot. Every programme is the final episode". New formats of a programme appeared with every new broadcast, their hybrids merged with the programme of artists films and their comments, and soon the genre of CAC TV could not be defined any more; nevertheless, in the spring of 2005 CAC TV introduced one more pure, non-existent yet format: an artist's programme. Deimantas Narkevicius and Evaldas Jansas were the first to produce them.
The readers of www.ore.lt forum have already called CAC TV "an invisible television", and the gallerist Vita Zaman-Cookson has said it is an "intervention to normality". The very first comment received from the audience was "Beavis and Butthead Doing Dogma in Vilnius". Editor of the Dutch magazine "Metropolis M" has included CAC TV to her top 5 of 2005 in "Frieze" magazine. According to her, CAC TV is "remarkably unsullied, on occasion silly, always transparent, self mocking and, at times, dark. Its own demise calculated in its root, it describes itself in episode 2 as "a multidimensional street, (where) every programme is the final episode". Many events and discussions with guest curators and artists coming though Vilnius are recorded in or around the CAC kitchen, or, say, in a car. As if to say we're on the road, going somewhere, we'll see where, which makes it all very much an in-crowd affair without being in-crowd, like voyeurism without a total lack of content. Granted it creates a hype around a community but a community where things seem, at the risk of sounding like a Nike commercial, possible and doable; simply. And because it's so candidly homemade and so openly in a state of trying to find itself (of becoming), CAC TV's brazen self-absorbedness becomes acceptable. The viewer sees how someone IS instead of only hearing what it is they have to SAY."
CAC TV has been introduced on multiple occasions in various artistic venues including ICA London, Iaspis (Stockholm, Sweden), BAK (Utrecht, Hollland), Venice Architecture University (Italy), Slade School of Visual Arts (London, UK). The programme has recently been invited to make live events in the International Rotterdam Film Festival in January 2006.
The missing programme
The programme with this title has already been broadcasted and you will be able to see it during the CAC TV Night, but the TV season continues and the project invites all potential TV producers to join in. One thing that you will have to know besides that the programme is 25 minutes long is that it tends to be (and promote) a genre of infotainment. The second thing is that the programme and its programming relies on the method of black boxing that emerged from the interview between Rene Gabri and Manuel De Landa. What is black boxing? It's not boxing. It's an attempt to understand how the machines work: the machines of social relationships, brain, art.
Are we watching a TV programme about black boxing?
CAC TV programmes will be available on DVDs in exchange for anything (material, footage, suggestion, appointment, …) for CAC TV. CAC Café will be open throughout the CAC TV Night. Please drop in for a moment if you wish but feel free to stay as well. The event won't be over before 3am.
The event is organised with support from TV1, Užupio radijas, Pravda , ClearChannel, Flexpro, Carlsberg.
No entrance fee.
For a week after the CAC TV the programmes will be running among the other exhibitions at the Contemporary Art Centre.
For more information please see www.cac.lt or send an email to email@example.com.
On 14 September CAC TV offers a hallucinating trip with videos by Rainer Ganahl, Matias Faldbakken, Alex Bag and Oliver Michaels; speeding against traffic in a multiple u-turn that will not end.
Join us for a new TV season.
…to re-run its favorite episodes (double portions) on TV1 channel every Saturday night
Johan Grimonprez' "Dial H-I-S-T-O-R-Y" on CAC TV GRAND: 8th of July, 11pm to midnight
'Buckle up for dial H-I-S-T-O-R-Y, the acclaimed hijacking documentary that eerily foreshadowed 9-11. We meet the romantic skyjackers who fought their revolutions and won airtime on the passenger planes of the 1960's. By the 1990s, such characters apparently are no more, replaced on our TV screens by stories of state-sponsored suitcase bombs. Director Johan Grimonprez investigates the politics behind this change, at the same time unwrapping our own complicity in the urge for ultimate disaster. Playing on Don DeLillo's riff in the novel MAO II: 'what terrorists gain, novelists lose' and 'home is a failed idea', he blends archive hijackings with surreal and banal themes including fast food, pet statistics, disco and his quirky home movies. David Shea wrote the superb soundtrack to this roller coaster through history, best described in the words of one hijacked Pepsi executive as: "running the gamut of many emotions: from surprise to shock, to fear, to joy, to laughter and then again, fear." '
Alice, unhappy with her prim, proper existence in Victorian England, travels through time into an age that allegorically resembles our own. There, she encounters malicious, elitist tea-partiers, a burnt-out hippie bird, rapping flowers and a philosopher cat, before being swallowed by an assaulting music video. Her only hope for understanding this foreign world of spectacle is to somehow find Guy Debord.
"Alice in Wonderland or Who is Guy Debord?"
Animation by Robert Cauble
May 25, 2005 10:50 pm
But don't forget the songs
That made you cry
And the songs that saved your life
Yes, you're older now
And you're a clever swine
But they were the only ones who ever stood by you:
For the shy, the dissatisfied, narcissists, superstars stuck in the bedroom, and anyone who ever wished they could be someone else for a night:
Filming takes place at CAC on May 27 in Vilnius
Now is your chance to shine.
Call: 2623476. Email: firstname.lastname@example.com
Evaldas Jansas is one of the first artists who produced a CAC TV program (after Deimantas Narkevicius' program with a legendary art historian Alfonsas Andriuskevicius and a fictive interview with art critic Laimute Kreivyte by Kristina Inciuraite). Since October 2004 the producers of the CAC TV introduce a weekly program to the audience of a commercial television with a slogan "Every program is a pilot, every program is the final episode" and intend to cannibalize and alter the format of a cultural or a publicist TV program. Evaldas Jansas adapts the TV format in order to raise questions of endings, evolutions, degradation and re-volution in the social and economic field of culture. His program is an obituary to the "Lietuva" cinema (more info at www.vilma.cc/LIETUVA), TV (illustrated with the cuts form yearly ceremony of awards for the cultural TV programs), cultural politics (introduced with the shots and discussions raised by the official assemblies of Interdisciplinary Artists' Association and Lithuanian Artists' Union). Also, it is an "accompaniment for karaoke capitalism", to use the words of J.Ridderstrale and K.A.Nordstrom that are adapted by Jansas, and a virtual forum of discussions about a "falsely portrayed position" (Donatas Vaisnoras) as well as the possibility of a revolutionary act.
May 3rd is the day when CAC TV broadcasts "Something for Everyone" by Richard Hoeck and John Miller: a narrative about a frustrating day of a UPS man, where the expectations of the main character Ken Kenwood mingle with those of the viewer, clichés of the soft porn genre blend with the soft technical language of the service industry, and deliveries bring joy and disillusion according to the addressees behaviour towards Ken's desperate universe.
In between the release of "Sullivan's Travels" and "The Palm Beach
11. A pratfall is better than anything.
Would these rules work in the TV industry or contemporary art? We ask Lars Bang Larsen, one of the curators of Populism show, that just has opened at CAC Vilnius. The program will also introduce videos by Julika Rudelius, rapping by MC Justas whom we've met last Saturday at The So-Called Records open mike party, the performative lecture by Dieter Lesage at CAC Cafe and some moments from the dinner with Populism artists at CAC guesthouse where two legs of lamb were roasted in the oven for one.
Right after the Easter CAC TV talks about troubles caused by Evaldas' Jansas' films (with the lips of the artist himself) and presents the best of one-minute films from this year's Pravda film festival, Vilnius (a report from the studio of the winners – XLD team – shot with their own cameras).
If you're in Vilnius, join us to watch the trouble-generating Jansas' "Easter" at 22:30.
WORKSHOW 2 is an opening event of the project PARTICIPATION: NUISANCE OR NECESSITY curated by Natasa Petresin at www.iaspis.com, Stockholm. Special guest – Dorinel Marc.
Within parts of the contemporary and new media art field, but especially within the open source culture and various creative communities, we encounter the intention to participate and collaborate in order to exceed one's individuality and come closer to the notion of hospitality as a powerful catalyst for altering many of society's layers. By using different strategies, the projects in "Participation: Nuisance or Necessity?" invite the visitors to take part in open talks with the artists, express their opinion through TV-voting, remix and share sound files on the internet, stamp money bills with warning messages, learn about recent artistic participatory TV stations, purchase futuristic yet possible additions to their body or critically reflect on participation as such. The question of 'nuisance or necessity' touches upon the hesitation of the viewer towards the social contract with the artwork or the artist. However, once established, contract can help produce alternative models of knowledge and experience as well as encourage ideas of participatory democracy and direct actions. - N.P.
Participating artists and projects:
Henrik Andersson (Stockholm), Building Transmissions (Antwerpen), CAC TV (Vilnius), Good TV (Stockholm), Davide Grassi (Ljubljana), Lena Gustavsson (Stockholm), Lise Harlev (Copenhagen/Berlin), Andreja Kuluncic (Zagreb), Leo Nordwall (Stockholm), Öppna Kanalen (Stockholm), Fia-Stina Sandlund (Stockholm)
CAC TV continues the discussion on TV stardom and presents a project by Gints Gabrans that was realized in Latvia and received the annual Hansabank art award in 2004.
Gints Gabrans is a Latvian artist who develops a scenario of Starix – a tramp who is being transformed into a "star" by changing his appearance and pushing him into the focus of mass media. You could have followed the transformations of this man in 2001 in the 8th Baltic triennial of International Art "Centre of Attraction" at CAC, Vilnius. Back then he was trying on a white glossy suit and its implicated position for the first time. This Wednesday on CAC TV you will see the anthology of his appearances on TV – in talk shows, news, musical gifts programmes etc. Starix proves to the experts of this particular industry that it's very easy to get in the focus of mass media, and they immediately come up with a fundamental question: does Starix exist at all? And they find the answer.
This week CAC TV features Christian Jankowski and his "Holy Artwork". Check out http://www.riverfronttimes.com/issues/2002-09-18/culture/muse_print.html for Eddie Silva's review of the work, including few "making of" matters and comments by the Harvest Fellowship senior pastor Peter Spencer who on occasion of this video has given a TV sermon worshiping contemporary arts.
CAC TV not only wonders how mass media shape its consumers or how subjects construct its identities, but also records how the image of CAC TV is shifting because of influence of the surrounding environment.
The image of CAC TV was altered and became an authentic part of Kaziukas fair after skilful producers of culture reinterpreted CAC TV posters. Thus CAC TV posters became perfect portrait maquettes for photo ateliers with empty spaces for the faces of all of us.
If sharing and linking describe television and internet, then the interview by Raimundas Malašauskas is about it: http://www.16beavergroup.org/journalisms/archives/000755.php
Below you will find few fragments from the interview:
What is weblog? Or: When is weblog? Or: Why is weblog? The participants in the following interview don't even agree with the term weblog itself. For example, Paul Perry calls them "attention bastions and mines" or "web opera".
[Paul Perry]: Monday March 9, 1998. Paul Perry stays up half the night playing with Frontier, a content management system for creating websites. During the course of the evening Paul thinks 3 things:
(1) that a single website should contain everything – why should he create separate sites for separate projects? – one site should fit all...
(2) that this website would function best if it was updated daily until he died.
(3) that the most useful thing this website could do for him was to keep a record of his attention. Map his attention's one thousand distractions.
www.alamut.com was the result.
Sara Jordenö. THE POOL. 2004
Moscow, in the 1980s: At an outdoor pool, where communists once destroyed a cathedral, a lesbian cruising site emerges. In the Southern California Desret, residents live in a sonic war zone. An isolated researcher is cruising women from a safe distance, failing to see that this time someone is watching her. Mixing history with innuendo, fact with fiction, The Pool is a story about desire as it intersects with the rise and fall of political utopias.
Also on this program:
Lisi Raskin. =
=, 2004, is a landscape portrait that examines and compares three different sites: the desert, an active nuclear power plant and an Olympic diving and swimming pool that was once a large Jewish cemetery. The common denominator in all three landscapes is the presence of a certain fear. This fear is introduced by an alarming message on an answering machine and is followed by an elevator ride that skips the 13th floor and carried through to a serene yet desolate puddle with rippling reflections. The imagery is beautiful yet eerie and the artist's interjection of juvenile humor acts as leverage to the frightening possibilities of these sites. - Jeffrey Walkowiak
CAC TV outdoor posters in Vilnius. December 2004. The TV tower is upside down, however the city's life continues. In the beginning we thought of using clouds for the logo of CAC TV, gradually they have transformed into the speech bubbles and other figures designed by email@example.com. Still surfing through speech clouds, data-bubbles and other elusive vistas of shared space.
rai on air
New media helps not only to change subjects' identities but also may bring them back from the dead. The full interviu with media guru Marshall McLuhan may be found at http://www.wired.com/wired/archive/4.01/channeling.html?pg=1&topic and below you will find a short fragment from the interviu if you can't browse for it:
Q: Do you watch much TV, and what do you watch when you do?
Marshall McLuhan : The only good TV is live TV. I had three ideas for live TV shows. My first idea came back in the early '70s. It was called Up Against the Wall, and was almost produced. Contestants were to have explained to the audience how they got into a financial pickle. The more entangled their financial disaster, the more energetically the audience would applaud. At the end of every episode, a check would be issued to the most dismal contestant. This emphasis on misfortune would have been appreciated by advertisers, since they need a big dose of "bad news" in all programs in order to balance the "good news" in the ads. If TV actually were to broadcast more good news, as some cultural reactionaries want, the advertising market would collapse, and the ensuing economic crisis would probably lead to some sort of popular dictatorship, which they do not want.
A review by Mark Holcomb of three new books on TV opens with:
"Television is a box that accommodates practically anything we care to throw in, from lofty sociopolitical theories to disproportionately mean-spirited grudges, unnatural attachments to self-conscious detachment."
friedrich tietjen has sent us this invaluable info on art-tv related projects. thanks a lot!
you may remember OF who was a researcher at maastricht, too - he together with some colleagues since years does a show on the free radio in hamburg called lignas musik box; its basic concept being that people can call in and do not ask for music to be played but to play music via the telephone that then is being aired. they became a bit more famous with their radio ballet in 2001 (i think) when they invited people to come to the train station in hamburg equipped with small receivers and perform to what they hear being broadcast. the dramaturgy explored what kind of gestures are prohibited and which ones were allowed on a station. and there is quite an impressive video on the whole story. and if you're interested in this kind of material you may as well get in touch with DS at XXXX; she did a film on a project i was involved in 1998 called reiseradio/radio's trips (the concept of it still being available at http://users.mur.at/rera/concept.html ).
# HCD in berlin. he together with CS in the late 90s ran a bar in hamburg, the tele 5, mainly illuminated by flickering tv sets. but earlier he was involved in the utv project with the basic idea to make a cheap, self-organized tv-station which for instance could rent out air time to individuals for ads, and years ago i saw some of those being displayed in the anti-art-fair in cologne; for a talk with heimo zobernig on the project (in german, sorry) see http://www.xcult.org/texte/dany/zobernig.html .
# the surveillance camera players new york. but as there is or was a similar group in vilnius, you might already be in touch with them. if not: check http://www.notbored.org/the-scp.html;
# ... some tv-pirate broadcasters in amsterdam in the 80s ... the pirates' projects names were PKP, rabotnik T.V., PARK 4D, TV 3000, and at least the tapes of rabotnik t.v. were later given to the stedelijk in amsterdam.
# somebody adorably weird must be UA: he collects photographs of the testpatterns that once were used to calibrate the screens of tv sets. check out his webpage (for instance http://www.stiebritz.de/uwe/testbild/testbil1.htm ); a guy in vienna who once was active with an initiative 'save the testpattern' is FK from vienna, whom I don't know personally; but his webpage is at http://www.suedsee.tv/
# and in 2001/2002 there was an exhibition at the wiener kunsthalle: televisions. they produced quite a nice catalogue (format of a video tape) with a lot of information on artists and tv; but i have no idea whether that book is still available - the exhibition website at the kunsthalle at least is unavailable by now.
Slice up one Amiga TV report from London, add Food Not Bombs from LA and Amsterdam presented by Maria Bustes and Gintare Kavaliunaite. Pour some Tequilla Mexicana, spill flour on the TV screen and mix the languages. If you don't succeed, try again in Latino vibes together with program's guru-mand Jurgis InCulto. Every program is a pilot. Every program is the final episode. Don't forget avocado!
Guests: jurgis didziulis
amiga tv (london)
pablo leon de la barra
gintare kavaliunaite
maria bustnes
The themes of unlimited consumption and production of unlimited desires resulting in ever-growing supply of unnecessary goods were triggered by our last program containing a film by Reverrend Billy and explicit criticism of the way corporations operate. It seemed logical to explore the issues further in our next program dedicated to spam and junk in the jammed space. The decision of European Commission to force them to stop advertising junk food to children if they do not adopt self-regulatory measures (read more http://media.guardian.co.uk/advertising/story/0,,1394610,00.html) put some extra oil to the debate. The seminal text of Rem Koolhaas on junkspace http://www.btgjapan.org/catalysts/rem.html added some optimism to think about spam and junk as another source and strategy of creative solutions. And the question remained whether art is another type of cultural over-production (=spamjunkspam).
next festival
(Runaway of future films...)
deadline: 10 February
duration: up to 15 minutes
more info at www.nextfestival.net
pravda one minute film festival
(first of it's kind. if it's not, it is definitely the first one you can win)
deadline: 21 February
duration: up to 1 minute
more info in Lithuanian www.pravda.lt/festivalis, email email@example.com for English and other languages
This Wednesday, January 19, CAC TV presents a program dedicated to Not One Damn Dime Day (Jan 20, 2005).
The Reverend Billy, a.k.a. Bill Talen, is an actor/performance artist and a leading figure in the anti-globalization movement. His work combines the forces of social and political change with the means of performance art to counteract our media culture and is influenced by various concepts of "street theatre." Reverend Billy is famous for his "shopping interventions" in Starbucks, McDonald's and Disney stores, different supermarkets and other sites of mass consumption in which he declares truths about life and invites people to think about their life values.
In the CAC TV program you will see:
Reverend Billy film "Stop shopping church" (2002);
interviews with anti-consumerism experts from Environmental Information Centre (Vilnius, Lithuania) and their colleagues from abroad;
conversation on consumption with pupils from Labour Market Training Centre (Vilnius);
invite Reverend Billy to your school or party: www.revbilly.com
what Duonis has done to M.K.Ciurlionis, what Baldessari has done to "Sentences on Conceptual Art" by Sol LeWitt and what Egle, Anders and Raimundas were talking about on the 31st of December in the CAC TV studio
In 1969 Sol LeWitt, NY artist, wrote "Sentences on conceptual art".
They have a great influence on forthcoming artists generations.
In 1971 artist John Baldessari in Los Angeles sang the paragraphs written by Sol LeWitt.
In 2001 artists from Paris and Berlin Pierre Bismuth and Jonathan Monk visited Lithuania and translated paragaphs sung by Baldessari into Lithuanian.
On the last day of the year 2004 artist Egle Rakauskaite from Vilnius and curator Anders Kreuger visited the CAC TV studio.
Together with Raimundas Malasauskas they are discussing what have been done by LeWitt, Bismuth, Monk and Baldessari.
This Wednesday at 11 pm on TV1.
in contrast to their previous routines, the CAC TV crew did not break eggs or theories while preparing the third pilot program. During a regular meeting they were found by children who, with their friends Duonis and Bubis (the dog) took everyone to the unknown place where they tried to teach adults to do a proper TV show. But finally, they did everything themselves, right from the end.
Dominyka and Paulina, the hosts of the CAC TV program, have agreed to give an interview to their favorite cartoon character Raimundas:
R: - Do you play computer games?
D: - A lot. Now there is a very popular game called "Sims". I like games where you live with people, do everything with them, watch that they don't be late to work… Where you can get children, raise them, etc.
R: - So what is your role in these games?
P: - Just an author. There is a narrative, there are characters, and you show, what to do.
D: - You show an example.
P: - No, you do not show any example.
R: - But can you be just a normal character? Let's say, if I would like to be a part of Sims, and I show up there like a...
P: - Like a human?
R: - Yes.
P: - You are a part of all these characters. Because you make them. Their hair, their faces.
D: - You choose the clothes for them. With a computer mouse you can show that, for instance, they should go to a bathroom to wash themselves. On the side you see a diagram of their needs – if they need games, food, sleep or just to sit down for a while.
P: - I think you named everything.
R: - Does not it happen so that Sims would revolt against your will?
D: - They can show that they refuse to continue looking for a job. In that case, you have to do everything that their diagram is filled up again well, and they will continue searching for a new job.
P: - It does not happen so often that a computer revolts against you, because it is rather perfect – it is a machine. The characters are programmed.
R: - Does this mean that they would not do something completely against your will?
P: - Yes.
R: - Are there many similarities between playing Sims and making a TV program? I would imagine, that while making a show you also invite certain characters, make up certain narratives for them, just like in computer games, right?
P: - You could say so...
CAC TV: Every program is a pilot. Every program is the final episode.
An amorphous group of social misfits and cultural outcasts are handed the reigns of a fledgling television program. Not having any experience in making television, they decide to re-invent the medium.
A time-slot for imagining alternate realities.
Frequently Given Responses:
- It is a new project of the Contemporary Art Centre, Vilnius.
- It is a TV program about making a TV program.
- It is produced by artists and television enthusiasts worldwide.
- Yes, the interest has been surprising. In fact, it had its official review of 1500 words before it went to an editing room.
- No, we prefer talking heads being inside the soundtrack instead of on the screen.
- Actually, it introduces the genre of reality meta-show both as a deconstruction of the format of reality (programming) and as an attempt to create one's own (reality)(programming)(reality-programming).
- Well, one possible premise would be to imagine what kind of television could be produced if we were to invite a group of thinkers (i.e., Pierre Bourdieu, Avital Ronell, Paul Virilio, Raymond Williams, Jacques Derrida) to collaborate with a rotating cast of artists, cable-access producers, anti-capitalists, tele-evangelists, and day time talk show hosts.
- Failure is the underwriter of this program, and cancellation is one of several goals we have before we can call this a success.
- Yes, it follows the adventures of strangers, fans and TV-sceptics inside TV-land through planned accidents and unscripted actions.
- Good question. The show consists of two basic formats: the broadcast version (including a showcase of artists films, games and devices) and TVlog (whose excerpt please find below).
- It dreams of turning audience members and spectators into an active public possibly even producers. It dreams of inducing wakefulness and tapping into the inherent power of the multitude to counter the sleep inducing nonsense that often passes as entertainment. Activating the creativity and critical skills of the viewer while still remaining watch-able. You know what we mean?
- We would not be doing it if we did not think that it would in fact be an invitation to the viewers/participants to dream together.
- Believe it or not, it airs once a week on TV1, a commercial TV channel in Lithuania.
- It lasts 30 minutes minus a commercial break.
- Yes, the obligatory website plug, http://www.cac.lt/tv where you can find much more including The First Episode: Behind The Scenes (featuring the unforgettable performances of Egle Rakauskaite and Evaldas Jansas as well as editing by Maria Bustnes), which premiered in Lithuania in October and received a number of enthusiastic reactions including the famous "Beavis and Butthead doing Dogma in Vilnius..."
- Yes, this reminds me of a dream I had during the L.A. Riots in which the police were carrying television sets instead of guns. And instead of threatening people with lethal force, they induced them into a strange slumber by zapping them with programs from central command.
- Thanks, we truly are hoping to meet you online or on air. We also look forward for your suggestions for films as well as ideas and proposals for the CAC TV.
In the second CAC TV episode nobody remembers about the first one, but they are again raising up a question : "How to make a TV programme?".
New episode of reality metashow – this Wednesday at 11 pm.
The director of cultural TV programmes Daiva Bilinskiene
Journalist and TV critic Vaidas Jauniskis
Legendary dancer Algirdas Stravinskas
Enormous number of brand new artists
and Gabriel Lester
Editor: Ignas Krunglevicius, composer.
Photographs: Thomas Manneke
CAC TV idea: Rytis Zemkauskas.
Reality metashow concept and production: Raimundas Malašauskas.
Co-pilots: Virginija Januškevičiūtė, Valentinas Klimašauskas, Andrius Rugevičius, Julija Fomina.
Evaldas: Jansas.
Eglė: Rakauskaitė.
Petrovičius: Petrovič.
Nastia: Nastia.
Editors: Maria Bustnes, Andrius Go, Andrius Rugevičius, Raimundas Malašauskas.
Vignettes: Povilas Utovka, Rimas Lukavičius, pb8.
Texts: Audronė Žukauskaitė, Eglė Rindzevičiūtė.
Talking heads: Aurelija Maknytė, Rytis Juodeika, Sandra Straukaitė, Renata Mikailionytė.
Cameramen: Egidijus Surma, Tomas Andrijauskas, Andrius Rugevičius, Julija Fomina, Evaldas Jansas,
Raimundas Malašauskas, Eglė Rakauskaitė, Bartošas Polonskis, Linas Citvaras, Daiva Citvarienė, Aurelija Maknytė, Vidmantas Plepys, Gintas Smilga.
Video trailer pilots: Eglė Budvytytė, Evaldas Jansas, Andrius Kirvėla Go, Gean Gediminas Šiaulys, Gintaras Makarevičius, Arūnas Gudaitis.
We are looking for people of different ages who want to become artist in the CAC TV programm. Artistic experience is not necessary. Send an e-mail to: firstname.lastname@example.com or a text message to +37061819216 for details.
Send an e-mail to email@example.com
Artist Egle Rakauskaite and CAC TV invite people of different ages to take part in the shooting of mass scenes. The topic of the shooting session: "My address is neither home nor street, my address is a shopping centre". All volunteers should come to the CAC (Vokieciu str.2) this Saturday, 6 November from 11.30 to 12 a.m. Shooting session will take place in the furniture store "Audejas". All participants will be provided with transport. Shooting session will last about 2 hours. We will serve snacks and warm drinks. Registration and more info 2623476 or 8 698 03497.
send your suggestions and ideas to: email@example.com
Next week CAC TV together with Gintautas Mazeikis, philosopher and head of the centre of cultural antropology of Siauliai University present video film "Naicai" by Gintaras Makarevicius that was shown in the first Vilnius gay and lesbians film festival. On air on TV1, Wednesday, November 10, 11 pm.
This Wednesday, November 3, the day after 2004 USA presidential elections CAC TV is showing political ads anthology compilled by artists Anoni Muntadas ir Marshall Reese.
The film is commented by politics reviewer Virginijus Savukynas and art critic, author of political ads Jonas Valatkevičius.
Muntadas and Reese have been documenting the selling of the American presidency since 1984, and have expanded and udated the series with every election. Political advertisement VI features ads from the 1950's to the present, including the 2004 campaign.
Edited without commentary, the artists show an endless stream of candidates, from Eisenhower to Kerry, who are marketed like commercial products. As Muntadas and Reese trace the development of the campaignTV spot, what becomes apparent is a consistent sameness of political issues amid complex, changing visuals. 'In so well-informed a nation, no human politician could play God; whereas, within the propaganda system now in place here, anything is possible.' - Mark Crispin Miller.
Antoni Muntadas, artist of Spanish origin, lives and works in New York. His work addresses social, political and communications issues, the relationship between public and private space within social frameworks, and investigations of channels of information and the ways they may be used to censor central information or promulgate ideas. One of his projects – a website dedicated to censorship – www.thefileroom.org
Marshall Reese is a NY poet, a videotape editor and installation artist who works in "new documentary" style. He often collaborates with Nora Ligorano on video and performance projects, focusing on the meaning of icons and spectacle in social, political, and religious contexts.
- Editors Notes on carelessness as means for production
Part One. Behind the scenes (the party)
Why is being someone's tool, preferable to beings someone's product (star)? A theory of invisibility, oh yeah. A crazy mind experiment on the limits of experience, give me more. It can never get hot enough, long live heavy metal.
What does the carelessness of the shooting talk about? How could these traces of low budget production be seen? Geographical marginality? Political reality?
The party was going strong and I was talking to our magician – the philosopher. The lamb was almost all gone and the apple-pie number two was on its way. The picture of the crew had been taken.
What kind of story had emerged out of our mood of production? What difference would it made if the people behind the cameras really had care about the shots? If they had the skills, the worry? Is there or is there not, in our picture, talked about a political reality? And if so could this reality only possibly been seen of through the victimizing gaze of the centralized European?
Empathy is a frame of mind. Our main star was not there. Not that I really asked the question why, but I noticed. No one had (yet) taken the central role and focus for the attention. He was probably just at home or doing something else with his new girlfriend. That's what Rai suggested when I mentioned it.
Common - give me some space. I was arguing now. Underdog bullshit. Would even a disappearance act put you on the outside? Who is to decide how the story goes? Is there another possibility not to care at all?
The message was floating. It was off market. It was a tool for you to think for yr self. The open-ended is nothing but another provoking metaphor. During the editing of the episode the computer shot down and a lot of information was lost. Don't worry I promised, I can remember the order of the images. But I could not. But that
was okay. We just did it again.
Later I was talking with Tomas in a bar. Café de Paris was so nice and soft Sunday afternoon. We had very late breakfast and some beers to kill some more time. He was the only one I talked with who liked the show. He did not understand the language either. But he could like the images a lot and said nice things about my edit. Meta TV. Reality show. Yeah, but, this is his comment now. Most people, they don't see the Meta level, all they see is other people.
The illusion hides the tools used for you. Want to make you disappear into it. Do you let go? What would it take? No one gets blown away unless the product is really bad. Everybody is a star these days. It's a monkeys business.
And now, this is my suggestion, lets kill some idols. Or at least kick some ass. A theory of invisibility, oh yeah. A crazy mind experiment on the limits of experience, yes give me more. It can never ever get hot enough, so viva forever yr heavy metal.
CAC TV could be a worldwide-regional-otherworldly TV project, produced not only by artists, but by anyone who would collaborate with the program at some point. Each program could be different as well as based on the idea of a pilot program. It should have an open TV studio, which would move from city to city. It should be black and white as well as color at the same time. It's an open source reality TV including multiplayer role-playing game happening on many levels at the same time. You can purchase a program on a DVD and watch it at home. It's collectively filtered via Internet. It has a slot for a cooking show. It involves a network of tele-programmers and tele-advisors (i.e. people who possibly could not only design concepts, but also make investigative or entertaining reportages) worldwide.
One day in a summer 2003 a famous TV journalist in Lithuania had phoned Kestutis Kuizinas, the director of The Contemporary Art Centre, Vilnius (www.cac.lt), and invited him for a cup of coffee. Their conversation was about TV1, a new commercial TV channel, which was about to be launched in a few months. The content and program of the new channel was not very clear yet, yet the journalist didn't waste his time to exclaim: "We would like to have a program of the Contemporary Art Centre on our channel." Mr. Kuizinas got surprised: this was a first time the CAC had been approached by a TV with such a proposal and it was a first proposal of such a kind to come from a TV to any cultural institution in Lithuania. "What about other countries?" – a question raised in our mind when we started to think of the situation this proposal had created, "Would a commercial TV channel in France ever propose its prime-time to Palais de Tokyo, for example?" And does it make any sense to collaborate with a purely commercial entity whose main principle is the audience-law and the basic objective is economic profit? – another doubt followed. Naturally there were more doubts and questions that multiplied as soon as we started to think about the CAC TV in more pragmatic terms, not to forget our big enthusiasm and delight of doing it.
CAC TV is a project run by the Contemporary Art Centre, Vilnius. Led by multiple goals such as
the project delves into a genre of Reality meta-show.
Motto: Every program is the pilot. Every program is the last episode.
Content of a program is making of a program. How should the content be produced, distributed and consumed? – this is an ever returning question.
Content of a program: Directed and improvised reality show, intellectual entertainment or infotainment, pieces of docudramas and docufictions constantly washed by a hail of videographic and animated images, round table discussions with public figures invited to evaluate one or another shooting session, interactive presentations of the most interesting contemporary films on air, in the web and in the actual space of the Contemporary Art Centre.
Team: CAC TV is made by nonprofessionals; it is a content and not a source of technical mistakes.
Members of a team:
a) permanent workgroup of (non TV) professionals of culture analytics and managers, artists, technical crew etc.
b) open group for production of single episodes, programs and events together with artists and audience.
a) reality meta-show of 12 episodes per year, b) the broadcast of artists' videos: 40 sessions per year. In total: 52 weekly editions, 30 minutes each. 1st screening: October 20, 2004, Wednesday, 11pm.
The web format would make the program and its episodes accessible for anyone interested worldwide. At the same time it would ensure a constant feedback and possibility to combine the promise of open-source TV with the reality meta-show.
Possible subjects of a program:
What could be the role of such television? How should it be made? What kind of issues it should address? Can artists offer television anything except of a set of entertaining postures? How far do we have to believe in audience in order to have it completely open source? Is it possible to retain one's agenda while collaborating with a commercial TV? Could it be an unpopular TV?
Historical premises that should have been mentioned before
The history of art, TV, business and advertising is more and more mixing up. In 1976 artist Chris Burden created the work "TV ad Chris Burden Promo" in which he placed himself among the four major figures of the art history : Mikelangelo, Leonardo da Vinci, Rembrandt and Van Gogh. Showing his commercials on main commercial NY and LA TV channels, he declared himself a part of Art Pantheon. In 1985 – 1987 the film "15 minutes by Andy Warhol" was broadcasted by MTV in the USA. So far Andy Warhol has been the only artist in the USA who had his own TV show on commercial TV channel.
Today the Contemporary Art Centre in Vilnius is probably the only institution in the world that got a proposition from a commercial TV channel to create and broadcast its own program. The workers of Haute Couture industry could not resist a proposition to create their own TV model and use the facilities of a TV. Only TV sceptics could begin to work so enthusiastically transforming and recreating the genres of TV. Protesting against the old-fashioned and obsolete principle of TV producing - "artists for artists about art" - CAC TV team has chosen the most relevant and open public TV production methods.
How Sponsors can participate in CAC TV?
a) Active or passive video, audio and graphic Sponsor ads in all CAC TV formats;
b) Products placement in different CAC TV contents;
c) The role of "Sponsor" in CAC TV episodes.
Sponsor logo and partnership can be announced in CAC TV advertising campaign beyond the formats listed above. For detailed information please write to: firstname.lastname@example.com
Meta (from Greek beside, after) – something that is happening beyond clearly outlined and perceptable.
Metashow – the show about the things that (do not) exist on the reverse side of the parameters of the show; show about the show.
Trailer or pilot – advertising of already existing movie, program or any other temporary piece, the summary of the most interesting pieces of the plot.
Thriller - a suspenseful adventure story or play or movie with criminal and espionage elements.
Pilotage, pilot - activity planned as a test or trial.
Pilot program - is produced as a prototype of a series being considered for adoption by a network. Such program has a unique idea of a TV program production and endless number or interpretations and further developments.


text:
A table displays collections of raw data grouped into rows with supporting headers.
Short description
Good data tables allow users to scan, analyze, compare, filter, sort, and manipulate information to match their current needs.
When and how to use it
Use tables to structure information and provide an overview, allowing the user to spot patterns and possible issues without being overrun with all the details.
A table always contains a header row that holds the names for each column. Summary should be located at the bottom of a table.
If a table does not fit horizontally, it should then be scrollable within its container or device viewport.
The whole row should be clickable, with a few exceptions;
- when a value needs special attention (highlighted value)
- if a row contains additional information (chevron)
The above actions supersede the default behaviour of a row for contextual actions.
When necessary, table row layout can be converted to a regular list that groups the content within a row in a stack.
Do's and don'ts
- Try to keep the column names short, preferably to one word. Use tooltip if needed to further explain.
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- Normal = Grey 7 (#B2B3B3), Selected= Dark Blue 2 (#007AC7), Hover = Blue (#41B0EE)
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subset: commoncrawl


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Amanda Rain founded Speaking the Unspeakable® to inspire the courage to meet our challenges and empower our lives through effective communication. A mix of passion, training, and real-world experience has given Amanda a unique perspective on how communication can be utilized to support our personal self growth and evolution, while simultaneously fueling our professional success.
The study of rhetoric first captured her attention while debating the collegiate circuit from 2002-2004. She learned that communication can be both effective and powerful with the right combination of simplicity, skill, and strategy. Many times, we make things far more complicated, messy, and painful than necessary. Amanda distills what is complex and challenging into clear understanding. She supports people in getting to the heart of what's important and how to effectively move forward.
While debating, she earned many speaker awards for her skill and delivery. As a policy advocate and community organizer, Amanda has spoken at colleges, conferences, special events, community meetings, city council and county board of supervisor meetings, as well as various media outlets. Her ability to captivate audiences uplifts and inspires. She shares what she has learned over the years in engaging and sometimes provocative ways.
The breadth of her experience enables Amanda to cover a wide range of topics. She engages the unspeakable within and between us with heartfelt empathy and fierce compassion. She has worked on sensitive issues such as drug policy reform, diversity and inclusion, sexual assault and trauma, consent
culture within sexuality and intimacy, and tense discourse across ideological and political divides. Her analysis of our collective experience in these areas is dynamic, nuanced, and insightful.
Amanda inspires the willingness to face our challenges, while confronting them with skill. Her voice offers hope for the spirit and medicine for the soul.
Kate McNulty LCSW (503) 312-6788Gottman Certified Relationship Therapist www.portland-counseling.com
Asha Lerae is a trauma-informed sex educator and consent advocate. She is committed to deepening power analysis, advancing social justice, and promoting the healing potential of pleasure.
BesottedBunny is the former organizer of From the Ashes, a local support group for abuse survivors in the Portland BDSM community. As a survivor who identifies with a number of invisible disabilities, they have organized workshops on being an ally to neurodivergent people as well as on recognizing patterns of abuse within intimate relationships.
Dr. Betty Martin has developed of Wheel of Consent workshops over the last dozen years. She is a Chiropractor,
a Body Electric School trained Sacred Intimate, Certified Sexological Bodyworker, Foundations of Facilitation trainer, and a self-propelled erotic adventurer and intimacy coach. That makes about 30 years as a hands-on professional, first in therapeutics – Chiropractic, Somato-Respiratory Integration, Educational Kinesiology, Reiki, Neuro-Emotional Integration – and later in body-based erotic education, including sensual massage, Taoist Erotic Massage, Kashmiri tantric massage and Sexological Bodywork.She's taught peer counseling, gender liberation, embodiment and empowerment, fantasy play, goddess awakening and erotic massage. She's played with contact improv dance, Authentic Movement, Non-Violent Communication and Shaivic tantra.
She's a student of The Work of Byron Katie. She is a Board member and she trains and certifies new facilitators for a touch and communication workshop called Cuddle Party.
Evelin Dacker, MD is a sex-positive Integrative Family Medicine physician. She is active in creating a safe space for LGBTQIA youth and adults and helping people through illness, trauma, and life transitions towards finding balance and joy. She incorporates a multidisciplinary approach with principles of gratitude and pleasure to support her patients in creating their own wellness.
In addition to practicing medicine, Evelin (pronounced Ev-ah-leen), is the current Executive Director of SexPositive Portland. She created the safer sex communication model STARS to help facilitate open and honest sex conversations. She is a consent and sex educator, sexual health activist and TEDx speaker (on STARS).
Helena Palmqvist De Felice is the Clinic Service Director of Options for Sexual Health (formerly known as the Planned Parenthood Association of British Columbia), a full-spectrum birth doula, Wheel of Consent facilitator, and High Priestess of Aphrodite Temple. Within these roles, Helena works with practitioners and clients to develop skills and empower themselves in setting and respecting boundaries of themselves and others.
Judy Guerin is a well-known activist, writer, speaker and educator on issues of sexual freedom and gender expression and has been advocating on these issues for over 30 years. She is a long-time practitioner of BDSM, a sex educator and proud former pro domme.
She is a former board member of GenderPAC, the Woodhull Freedom Foundation, Forum 21 and the Black Rose. She is a former steering committee member of the National Policy Roundtable of GLBTQ/HIV groups, former executive director of the National Coalition for Sexual Freedom and advisor to the European Union Human Rights Commission on issues of sexual freedom and GLBTQI issues. She has directed the National Coalition for Sexual Freedom's Consent Counts Project to decriminalize consensual sex in the U.S. since 2008 and currently serves on NCSF's Board.
She has presented at numerous national and international conferences, including the World Congress of Sexology, the Society for the Scientific Study of Sexuality, The American Society of Sex Educators, Counselors and Therapists, Creating Change, Desiree Alliance, the Leather Leadership Conference, the International Foundation for Gender Education and the National
Organization for Women. She has authored numerous articles on sexual freedom and gender expression. She has actively lobbied on issues of trafficking and decriminalization of prostitution.
Kate McNulty, LCSW, has extensive training and experience working with relationship issues and sexual concerns.
She is certified as a Gottman Relationship Therapist by the Gottman Institute of Seattle, a research institute that has spent 40+ years studying couple and family relationships with true scientific rigor.
She also holds certification as a Sex Therapist through AASECT, the American Association of Sex Educators, Counselors and Therapists.
Lark Ryan, LCSW
A Licensed Clinical Social Worker in private practice, for twenty years Lark has been an EMDR provider, specializing in treating sexual trauma. She is Certified as an EMDR therapist through the EMDR International Association. In her psychotherapy practice Lark honors diversity and offers a safe place for members of the polyamorous and BDSM communities.
She is a consent activist and has provided outreach/education at raves to the EDM (electronic dance music) community. She teaches classes on the STARS model of informed consent through Sex Positive Portland. She is a member of Portland Sex Positive Community Town Hall in her position as an administrator of a private online forum with the mission to share information about consent and its importance, to discuss incidences of abuse, assault, and consent violations, and to provide a safe space to discuss difficult, upsetting, and traumatic topics in a supportive environment.
Lark has a particular interest in addressing consent violation within community. She is strongly rooted in social justice, and founded an annual scholarship for therapists training in EMDR who are dedicated to work with low-income clients. She offers free therapy for veterans through ReturningVeterans.org. Previous work includes serving as a counselor in residential treatment, as a therapist in low-income clinics, and as an ER social worker.
Kristen Reynolds has been student and teacher of nonviolent communication for twelve years, and has studied at the Processwork Institute. She has a passion for group dynamics, and has been facilitating and mediating for a decade.
Patrick Califia is a transman, a long-term activist within the kink community, a widely-published author,
and a retired therapist who specialized in sex and gender minority clients.
He became involved in the leather community in the late 1970s with the Society of Janus and went on to found Samois, the first
lesbian-feminist S/M support group. His first published books, Sapphistry and Macho Sluts, sparked controversy that contributed to the sex wars that raged within feminism during the 1980s and 1990s.
His opposition to censorship included testifying in the legal case Little Sisters bookstore successfully brought against Canadian Customs for seizing and burning LGBT books, magazines, and visual material.
He was one of the earliest authors to put information about safe and consensual kinky play into print. This included Sensuous Magic, a BDSM manual. He has done readings and workshops in the US, Canada, and Europe, and his work is widely quoted in social-science literature and research regarding BDSM.
In his clinical work, he often treated differently-gendered and kinky community members who were suffering from trauma related to childhood sexual abuse or assaults suffered as adults. So he is keenly aware of the way the concept of consent has evolved over the decades and its central role in protecting
all of us from further trauma.
Reverend Teri D. Ciacchi MSW's, being Reverend Ciacchi includes being the relational matrix of the Living Love Revolution®, a holistic design for creating new cultures based on love and consent.
In July 2017 she received a grant to start Interdependence and Autonomy LLC, a for profit business that builds consent culture by healing conflict through education and legal advocacy, while creating consent-centric events. For Reverend Ciacchi, generating a Living Love Revolution requires many skills and includes: being a teacher and practitioner of Ancestral Resonance®, a Priestess of Aphrodite, a leader of the EcoSexuality movement, and an EcoMagicks practitioner.
She has been generating classes in the Cascadia Holistic Peer Counseling system since 1997 and holding sacred sexuality events called Aphrodite Temple® since 2000.
In 2018 she produced and taught at Ecosex Celebrating Lover Earth, on Orcas Island to celebrate the Summer Solstice. She produced an co-created Surrender:The EcoSex Convergence ® from 2013-2017. Reverend Ciacchi looks to Nature for guidance and wisdom. She translates the teachings she receives from mycelium (mushrooms), bees and stardust into useable social skills for human beings. They lead collaborative workshops and events that honor the innate connections between humans and the Living Earth.
Recent publications include essays in the books: Ecosexuality: When Nature Inspires the Arts of Love and Queer Magic. You can find her works at the following websites: www.LivingLoveRevolution.org www.ianda.space www.AphroditeTemple.com and www.ecosexorcasisland.org.
Richard O. Cunningham, B.S., M.A., J.D., has advocated for over 30 years on issues of gender,race and sex. He has played a leading role in landmark legal cases, including being the supervising attorney on the Supreme Court Case regarding women in military academies and the initiating attorney for the lawsuit during the Vietnam War that resulted in equal media political coverage. He has served as chair of the boards of both the National Coalition for Sexual Freedom Foundation (NCSF) and the Woodhull Freedom Foundation.
He is senior international trade partner at Steptoe & Johnson, LLP in Washington, D.C. Dick is currently
legal counsel for NCSF and advises on legal and policy aspects of the NCSF Consent Counts Program.
Dick has become a member of the American Law Institute and is participating in both the project to reform the Model Penal Code provisions on sexual assault and sexual contact and in the Institute's study of Sexual Misconduct on College Campuses. In both of those projects, NCSF is focused on important issues relating to consent and criminalization of consensual sexual contact.
Dick has been actively involved in advocating for sex workers' rights through his roles in NCSF and the Woodhull Freedom Foundation. He has lobbied against trafficking laws affecting sex
workers and other sexual minorities and lobbied for decriminalization of prostitution
Ruby B. Johnson LCSW, LCDC
469-708-6387 (business cell)
Ruby Bouie Johnson has almost 16 years of experience as a behavioral health therapist and educator. In the last years she has been in private practice as a sex therapist and educator in Plano, Texas. Her practice area is non-monogamous and Kink/BDSM clients. She has several publications and has been interviewed by many media outlets on topics, such as sexual health, sexual liberation, and non monogamy. She is listed as one of the top 25 POC sex educators. Playboy Magazine and Women's Health magazine have sought Ms. Johnson's expert opinion.
She wrote the forward for the groundbreaking book Love's Not
Colorblind by Kevin Patterson, which explores intersectionality and the polyamory community. Ms. Johnson received the Professional Standard of Excellence Award from the American Association of Sexology,Educators, Counselors, and Therapists.
Sar Surmick is a Licensed Marriage and Family Therapist in the state of WA and also directs the Consent Academy, a non-profit educational collective based out of Seattle. Sar is a nationally known consent expert with hundreds of hours of consent education and curriculum design. Sar is also one of the authors of The Consent Primer: Foundations for Everyday Life.


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Feb 02, · Welcome to Reddit, On my car I can select Bluetooth as the audio source, and I have no problem getting all audio from my phone (music, maps navigation, phone calls) to play through my car's speakers. But most of the time I just want to listen to the radio, and that means I can't hear the Google Maps voice directions over the car speakers. May 30, · Why is Music Playing Through Car Bluetooth During a Phone Call? By Alicia Katz Pollock on May 30, in Tips & Tricks After a recent iOS 7 update, when I'm on a phone call and I turn on my car, the car switches the call to my car's Bluetooth speakers and music starts playing too. Sep 30, · Some Bluetooth receivers do not play at all, some target the stock music player, this puts you in control of what happens when Bluetooth audio connects. **Important Note** This App assumes you already have the subject Bluetooth device Paired to your phone using the BT device manufacturer's unique approach/5(K). Mar 30, · The service is a bit limited. There is no interface to place calls from the computer, but once an outbound call has been made from the phone, the Hands-Free interface will work. Specifically, I purchased the Zexmte Bluetooth USB Adapter, able to be found on Amazon. EDIT: Additional warning: This software is very temperamental. There are certain procedures you have to . VZW S7 Bluetooth Call Audio Only. During this time, I have used Bluetooth without problems for both calls in my car, via the factory oem stereo, and for music, also via the car stereo, a set of Bluetooth headphones, and a Bluetooth speaker. All of the sudden in the last week, the only thing Bluetooth that works, is for Call Audio in my car. Jul 12, · For example, it'll play music over USB, but make phone calls over Bluetooth. And since your phone stays plugged in, it's always charged. Much like Android Wear, Auto has an app that runs on the smartphone, which does all the heavy lifting for you. As soon as you install the app and plug the phone into an Auto unit, it pairs the smartphone Author: Cameron Summerson. Play as Bluetooth phone call: Your music volume will lower automatically when Waze makes an announcement. Waze announcements will come out of your Bluetooth system. If you receive a phone call, make sure to accept the call and have sound coming from your iPhone speaker. What do Bluetooth's version numbers mean? Bluetooth has been through a number of major iterations since it was first introduced in and its first version () is difficult to find on any Author: Scott Adam Gordon.
I've tried putting it in Airplane Mode for at least 5 minutes. Labels: adapter bluetooth car audio. I'm also hoping for an answer to this as I desperately need this function to work. Showing results for. The reason I bring it up is because my car has Bluetooth option but for phone calls only.
Use this dialogue to pair the devices. Privacy Policy. I have been looking for a good year on how to do this. As far as interface is concerned, the Auto phone experience is pretty similar to that of a head unit, though the layout is slightly different. It's always something so simple right? Accepted Solutions.
Last edited by flurgx; 27 Sep at By default, the name of the device you want to connect to should be very clear. Bluetooth Mono Media. Change the language On your iPhone or iPad, go to your device settings. Just tap the jump links below to have all your Bluetooth questions answered! IN simple terms you can connect a blue tooth head set to your phone and talk or listen with out a cable running from your set..


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Where should livestock graze? Integrated modeling and optimization to guide grazing management in the Cañete basin, Peru
Hamel P., Blundo Canto G., Kowal V., Bryant B.P., Hawthorne P.L., Chaplin-Kramer R.. 2019. Socio-Environmental Systems Modelling, 1 : 14 p..
Integrated watershed management allows decision-makers to balance competing objectives, for example agricultural production and protection of water resources. Here, we developed a spatially-explicit approach to support such management in the Cañete watershed, Peru. We modeled the effect of grazing management on three services ¿ livestock production, erosion control, and baseflow provision ¿ and used an optimization routine to simulate landscapes providing the highest level of services. Over the entire watershed, there was a trade-off between livestock productivity and hydrologic services and we identified locations that minimized this trade-off for a given set of preferences. Given the knowledge gaps in ecohydrology and practical constraints not represented in the optimizer, we assessed the robustness of spatial recommendations, i.e. revealing areas most often selected by the optimizer. We conclude with a discussion of the practical decisions involved in using optimization frameworks to inform watershed management programs, and the research needs to better inform the design of such programs.
Mots-clés : modèle de simulation; Érosion; production de bétail; intensité de pâturage; bassin versant; gestion des eaux; pérou
Thématique : Ressources en eau et leur gestion; Alimentation animale
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It was a South African-like sun that brought the smiles and covered the RDS for Paul Simon's farewell tour last night.
Emotional scenes played out as the singer gave a tour de force of his rich catalogue, a musical voyage that may be his last across the globe.
Coming from Manchester earlier this week, where the artist originally penned 'Homeward Bound', the name for the tour, Simon has not disappointed. Last night was no different.
Indeed, his farewell tour will reach its pinnacle when in his native Queens on September 22, where he intends to turn off the mic after more than six decades touring.
Simon was preceded at the RDS by US blues singer Bonnie Raitt — joined by Irish legend Paul Brady on stage — and singer-songwriter James Taylor, who showcased a catalogue of classics that lifted the RDS crowd before the main act, with songs such as 'Fire and Rain' where the sun was beating down as the crowd sang along.
'You've Got A Friend' received a standing ovation. Taylor also rewarded fans with 'Sweet Baby James' and 'Carolina in My Mind', tipping his cap to cheers.
From Dublin with love ❤ #homewardbound #paulsimonfarewelltour pic.twitter.com/qpLoVZpoYw— Paul Simon (@PaulSimonMusic) July 13, 2018
After a modest arrival on stage, Paul Simon started off with the Simon and Garfunkel hit 'America'. Now 76, Simon still exhibits that laissez-faire hippy familiarity that warms fans to him.
Just like his last visit to Dublin at the 3Arena in November 2016, Simon also hits those high notes, reaching familiar parts of his rich archive of folk and pop anthems.
From his iconic Graceland album, Simon played 'Me and Julio Down by the Schoolyard' and 'Diamonds on the Souls of Her Shoes', among others.
Indulging in a bit of stage repartee, he said it was his final tour but that he would still keep coming back to Dublin. He then admitted he'd said the same line when playing in Scotland!
Fans were also told of his first musical moments, aged 13, when he learned guitar and how to put a song together. It was a special moment.
One of the most intimate moments at the RDS was when the music toned down for Rene and Georgette Magritte's 'Dog after the War', with accompanying violins and wind instruments.
He may seem at times frail, but Simon keeps reinventing his classics. At one stage, a rendition of 'Bridge over Troubled Waters' was delivered like a Joni Mitchell number. More importantly, Simon is still enjoying this. Even if Homeward Bound. And let's keep the hope for years to come that every stop is indeed planned for this poet and his band.
© Irish Examiner Ltd. All rights reserved


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