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"if you wanna tell the truth, you write fiction. 
if you wanna tell a lie, you write a biography"
HANS BERNHARD, vienna university hospital, march 2002


copyright hansbernhard.com 2002


this text could be seen in relation to the book about etoy, 
eToys and the internet in general::: "leaving reality
behind, Inside the battles for the soul of the internet" by 
regula bochsler and adam wishart. 

relate the # with the original manuscript, archived in vienna, pls email
brainhard@etoy.ag, hans@ubermorgen.com for relational infos, later this
manuscript will be put online [gotta scan it first! 80 pages or so];





#01	as discussed, the community aspect and organic organisation of etoy as it
was, is held down by a very high number of "zak/zai and his gang", or even,
"zak/zai and his acolytes", which is a pretty hard word I guess. the parts tagged
with #01 are just the ones where I think its way too much... and should probably
be "etoy" or so.. to express this.. ?

#02 HIRN-lein, gino and goldstein were doing the technical parts and the
compositions of the music, brainhard was doing idea-input and performance stuff
for HIRN-lein.. also as we discussed, HIRN-lein was sort of the first corporate
approach of all the future 7 etoy.MEMBERS [except anya]. Additionally,
"supersex", the band goldstein and gino founded and anya was also a member, had
its studio in the cellar of US embassy in zurich. Also in the beginning of etoy,
this studio was used, and the spirit of this location was pretty cool and
exciting.

#03 this is partially wrong. because zak/zai and brainhard have already been in
austria together and we decided that we should try to get in there.. not together
as a team in the beginning. we both heared about the school independently, then
talked to each other whether to search for another school in germany as
alternative or not.  we decided to go to vienna and play it on one card.. also in
this part, it seems like brainhard/hans was gone for a while, but as mentioned
under #02, during HIRN-lein, we collaborated on some level, and I was there when
zak/zai came to the anna-goeldin gymnasium.. the next level of the
emigration/collaboration was then in december 1993, when zak/zai was alredy
student, and zak/zai and brainhard met in basle and agreed to form an alliance to
get into the visual media class of prof. peter weibel.


#04 WORDWAR always in capital letters ://) pls see the logo under
http://www.ubermorgen.com/WORDWAR

#05 there is the spirit of this time definitely missing, we were TOTALLY CRAZY..
lsd, beer, 48h work-sessions, computers, cameras, labtops, the prostitutes on the
"linzerstrasse" in the bad disctrict we were living, our drinking trips to the
"jaegerstueberl" fucked up prostitutes and alcoholics low-life bar.. we were
totally desperate for success, we were totally focussed on producing mad
animations and concepts. There also the "hans x" concept was written, which was
found a year later and can be seen as one of the basic etoy.CONCEPTS even before
etoy was founded.. like HIRN-lein, "hans x" was one formulation of the future..
there you also see how this etoy.TRIP was coded into us all [supersex, HIRN-lein,
gramazio/ETH, hans x, zak/zai/bernhard!.. and then joined forces ... etoy]. At
the same time.. supersex was in manchester meeting with gramazio and then also
with kubli, also talking about collaborations... zak/zai and bernhard did the
same in vienna..

#06 such thoughts were products of 100s of hours of discussions between zak/zai
and brainhard, so it is not really his analysis, we were a team at this time,
working under the name zak/zai / bernhard! [heinrich / hans! Hehehe..]

#07 anya is missing, she was part of supersex, brainhards girlfriend and the only
women until today who was a member of this future etoy.GANG. it would be hard to
understand [its hard anyway], why the etoy.BOYS were not able to deal with women
as a collective.

#08 the historical value was one thing.. the other thing is because we were
strongly believing that we need these tapes as protocol of our meeting, in case
some argument would come up and we needed to proove that someone said this or
that. We looked at this as "professional", like a company who needs protocols for
important meetings.

#09 discussed this intensely in our meeting 21.9.01 in zurich; the only thing
which I wanted to specially take : I always saw the corporation as the
"GESAMTKUNSTWERK" of our times, the unbelievable size, the structures, the
products, the people, the brands, the power, the glamour of the CEOs and other
ppl, the political force, the social impact... and this still counts corps., etoy
merged pop, art, business and private/public spaces and persons in a new
configuration, grounded by lsd, and idols [such as for zak/zai and brainhard:
mick jagger and keith richards]. we always talked about this, I always wanted to
be keith richards, kaputt, lonely, great, fucked and front-man in one.. zak/zai
always wanted to be mick jagger, the biz-genius and sex-symbol, the singer and
front-man [there must also have been one big emotional killer, when will linn
from blasthaus called brainhard the mick jagger of etoy, which obviously is not
the case, neither from the function nor from the aspiration, but we were so
degenerated as it seems, that it even appeared this way]

#10 this is not correct, it was democratic, but not unanimous but simple
majority, although we actually NEVER used the voting process, but from the
rule-set, it was not base-democracy [zak/zai and brainhard experienced this at
the ANNA-goeldin gymnasium and we were both clear that we didn't believe in this
form of "meinungsbildung", because the weaker articulated always would agree in
the end, but then be pissed off, we just believed that this form doesn't work]


#11 somehow the internet and our first contacts and interpreatations are
strangely told. We didn't see the internet as a fax/phone thing in the beginning!
We didn't know it existed really, only udatny knew.. I only knew about it when
penz showed me and zak/zai, and he didn't only show us the web.. the moment I
understood was when I was on the shell level, having 3-4 remote windowns in
different cities, it was so strong, because it was not clear where this exactly
happened, wheter I was in tokyo [I knew I wasn't, hehehe], or the computer was
somwhere else.. that IS the internet, this uncertainity what is where and when
and why and how... and then, we first setup a BBS [before we knew about the net
collectively], then penz showed us the net [and at the same time, goldstein and
gino, eventually also udatny and gramazio went to the university to get their
"illegal" accounts]. So.. its more of a dynamic, first bbs, then internet, then
web, otherwise I think the development of the net within etoy is very well
described.. also, page 24, heinrich and hans started demanding web-access,,
basically we brought it to the class.. they had a very very old modem with a
practically non-functional line, so we made a deal with weibel and with the
university, and really worked [I organized a leased line for the class] to get
better internet access. At this time, all our colleagues from the uni were
laughing at us, the stupid guys doing what? Internet? What should that shit be?..
then at the ars electronica, they were all trying to do online-projects, and etoy
was coming back from the net, doing physical installations with
internet-metaphors, that was a very strong moment for us, and very hard for
others to see.

#12 etoy. this story grew dynamically, nobody knows who invented it, probably
nobody but collective.

#13 the tanks and pipes [global] metaphor is a collective creation of zak/zai, brainhard
and gramazio [meetings, chats, emails, telephon-calls], it represents the art
aspect within etoy. The metaphor is very good, because of the paradox it
represents. In the net you can go from one room, take the door and come into
another room, which is "physically" not next to the room you just left.. and the
pipes represent the lines/connections between the rooms, but also paradox,
because theoretically, every room on the net is connected to every other, you can
jump from any room/site to any room/site, without transit trough other spaces.. ,
for page 44, the above written + somehow the etoy.TANKSYSTEM is described
correctly with its features, but the underlying methaphor and also features such
as the "hyperjump" and the alternative navigation on top is not in there, would be
important to understand why the etoy.TANKSYSTEM was our first and most important
piece in the web. The underground-tank was not only primitve sex, drugs and
rock&roll, but also i.e. the net_maniacs, we were keen to collect mad ppl around
the world and to expand our madness through them, also, the underground-tank
featured the aesthetic of zak/zai and brainhard from their visual stuff, the
japanes style that gramazio and zak/zai and brainhard loved some much..

#14 I am 99,9% sure that AT-net from penz was the second provider in austria. The
first was Eunet, coming out of the university. Pls check this quickly with penz.

#15 alberto did not have a computer at this time. It is practically impossible
that he installed a internet audio player. That must have been either esposto or
udatny, or goldstein.


#16 would be good to mention the term: "intranet" next to "office", cause this
detail shows exactly the advanced level etoy was doing things at this time, we
constantly did develop such things which later or also parallel were becoming
important tools for the net and internet-business, like the intranet [we didn't
invent this, we just did it early, we just needed it and without really knowing
about it, and then it came out that every business needs this].

#17 the "boredom" was not really a motivation, we were on high-speed anyway, we
wanted excitement not out of boredom but out of curiosity, we wanted to explore
the world, ourselves.. like we did later collectively in the net, explore, find
borders and jump over them, but still come back and tell people about it in a
pop-way, so we could tell our stories to a broader mass [like this book now does,
hehehe, that's bytheway one of my, brainhard, basic motivations, tell stories, I
love good stories, but I can not tell them via lyric or prosa, I have to tell
them through mass media, through technology, alcohol, sex, psycho-stuff, ...]

#18 yes and no, some ppl like goldstein always wanted broad-band, but zak/zai and
brainhard, but also udatny and esposto were thrilled by the limitations, we
understood that we could use the limitations of speed and graphics to convert our
venture into a global brand such as coca-cola, on the web in the beginning, due
to the limited speed, everyone was equal somehow. Picture, grey-background,
text.. no frames, no tables, nothing, no movies and sounds in the beginning.. so
we instinctively understood that we have a great chance there and we did it, ppl
in the beginning [also later, see toywar/etoys] couldn't determine wheter it was
big, fucking big.. or just a imposture. There, the "hans x" concept also comes
into play, cause hans x was exactly playing with this trick of one branding for a
wide range of people and media [sound, products, architecture, text], in order to
get the massive effect of multi-channel appearance, that's what only a big corp.
could do at this time [bring out music, do architecture, do other products..
etc..], with the net, suddenly we were able to do so and be seen and felt like a
huge multinational corporation working and distribution global! [with 30.000
us-dollars budget per year!!!]

#19 transsexual, coco would turn around in her grave if she is mentioned as
transvestite in this book :) :( 1 / 2 / 3 )
 
#20 zak/zai und brainhard have been on ars 1994 togehter, full greenhorns...[not
so important really.. hehehe], anyway.. we were going around with open mouth,
similar to what you describe 1995, but we were so greedy and hungry, and we
sucked in a lot..

#21 if you quote us/etoy with "digital lifestyle", we always wrote lifestyle in
one word, without the - , at least that was strict CI-policy and also done that
way as far as I can remember.

#22 also after our CI-policy, we always wrote xxx.XXXXX as a system, that would
mean if you wanna have this style in the book, that you should use
agent.GOLDSTEIN, etoy.GOLDSTEIN, etoy.CORPORATION, etc.., the "tank-system" was
always refered to as: "etoy.TANKSYSTEM" or etoy.TANK-SYSTEM, but never
tank.SYSTEM.

#23 directories and databases [otherwise you only talk about the yahoo indexes,
but not about the crawler indexed search-engines]

#24 udatny in general, very well described, but here, it seems he was asocial,
which is not true. He don't talk a lot, but he was the one with the most real
social contacts and friends in vienna. zak/zai and brainhard were only hunting
for ppl to use, udatny was hanging with very cool ppl from SILVER SERVER and
other music and digital underground-scenes in vienna. zak/zai and brainhard were
always total aliens in these scenes, we didn't understand them and our position
in the game... we just wanted to use ppl, cause we had each other to talk and
work, so we just needed ppl to help us in functional ways, udatny was very
different, he was working in this network of social and professional ppl.. that's
also the reason, I guess, why he left etoy, he wanted to use his social skills
and he wanted a private life.. like all agents wanted but were not able to really
do it.

#25 for the ppl knowing about the early internet, it is a good detail to mention,
that we understood that the search-spiders could quickyl learn and see that you
simply repeated a word oover and over [i.e. sex sex sex sex sex..], so we used
the NETIQUETTE as a base text and worked the word "sex" into it instead of the
word NETIQUETTE, which appears about a 1000 times in the NETIQUETTE. The
netiquette was in early internet-days the rule-book about how to behave on the
web and at this time it was discussed broadly in practically all
internet-communities. Logically, etoy was pissing on it, and we showed our
disrespect with misusing it as our base-text for this spamdexing action "digital
hijack"

#26 brainhard was thinking together with zak/zai about how to communicate the
hijack, brainhard was working a lot in terms of communications strategies but
also acting as the PROMO-HAMMER, the etoy.PRESS-SPEAKER was one of the official
description, PROMO-HAMMER was internal speak. In general, in this text, this
point, my strong communications skills, my will and power towards front-end,
towards voice and speaking-out, coupled with my constant work on strategies and
concepts [mainly together with zak/zai, sometimes with gramazio or goldstein
also], don't really come over, but in the end, that is and was my function within
etoy.

#27 here would be one opportunity to spice the text and story up with flesh
[goldstein talked about and udatny also at our meeting today..] the strip show...
goldstein was, as described before in the text, at the end, he was put down and
forced out.., but at the same time, he is such a person that in the strip-club we
drank our whiskeys, the rest of the gang and himself were pervert enough to have
him go on stage and strip for money which the gang put down, we urged him to go
further and further with the stripping, it was pure hardcore, prostitution,
power, sex, everyhting mixed in this difficult situation,, and goldstein was
enjoying the show and perversion as well, and the slovakian public was also
enjoying a a lot, cause goldstein is a great dancer and sexy guy when it comes to
performance.. it was such a strong moment, sooo perverse, but so honest on the
other side.. I was convinced that we can not lose ever, if we would be capable of
having such situations. Such events and actions were part of the soul of etoy
[this male gang, hehehe :( ].

#28 actually, the backbutton was just disabled, he didn't disapear in the
browser, he simply didn't work.

#29 for this, jodi.org should get credit. It is their ascii-design, and they were
our no.1 net.art heroes for many years, they had very strong influence on our
net.art thinking! Behind this ascii design if you open it, you see beautiful
space-ships in ascii. We just took this green-ascii-style from the jodi.site and
used it for the hijack, so it would really be correct and proper to give em
credit. [http://www.jodi.org]

#30 they were delivered into the digital hijack site / www.hijack.org, not into
the tank.system [otherwise the hijack would have been as cheap as
porn-advertisement, which used the same technique already!], a strange web-site,
built by zak/zai and brainhard in vienna mainly, it was the way to formulate the
communications-strategy of the "digital hijack", but in the first place, to
expand this action into story-telling, our methaphor was the film,
hollywood-films, that's also the reason why we had an "abspann", we described the
robot "ivana" in a "popular" way, we had the free kevin mitnick email-form there
to send emails to the president, we had our sound-track and the flexi-disc
distribution, and there was just net.art stuff and the crew.. a huge site.

#31 this was not na•ve, this was cold blooded. I knew exactly what we were doing,
I knew what spam means and I was handling all the mailme and hijack-email
communications over about 3 years. All the agressions were constantly coming in,
and I answered in usually highly aggressive way. There we also found out, that
the worst critique and most infuriated people become your biggest fans if you can
convert them, if you show them that you care by either responding agressively or
by being nice, depending on your mood, hahaha.. but if you react and take them
serious, they will thank you for it with attention, that's what they already did
by sending you email, they give you attention and we knew we have to use this
attention. Also, here I would like to refer to #26, my function as PROMMO-HAMMER
and press.speaker.

#32 this is described as if we were not fighting with the search-engines or if
they won the fight just by erasing us. Not true, udatny was constantly seeking
for new ip-addresses where we could park some hundred or so hijack-sites, then
get the script to submit these sites/pages from this ip. At this time, the
search-engines were really battling with us. Also the second part, we were not
stopping the hijack because of counter-measures. zak/zai always talked about the
necessity of a start-and-end of a project. And for us it was clear from the
beginning that we would run the project for approx. 4 months and then take it
out. That's what we did. And it was important not to just let it go, but to
finish and rework the site-entry in order to promote the project better.

#33 brainhard was overcome with joy, but at the same time I was totally in panic,
I felt that this was the end of etoy. I was so afraid of the fame, cause I
analysed many pop-starlets how they came and went. So I talked to zak/zai and
wanted to organize a crisis-meeting in order to be prepared what of what would be
our next challenges. We never did this meeting but started to do our work as it
is very well descibed. But anyhow I think this was the beginning of the end of
etoy as we imagend it in weggis, some year or so ago..

#34 staatspolizei, nicht staatsschutz. "Als besorgniserregend bezeichnet der
Redner auch den Zustand der Geheimdienste und der Staatspolizei, wo er eine
Totalreform im Sinne des Ausbaus der parlamentarischen Kontrolle und der Stþrkung
der BŸrgerrechte fordert. Vor dem Hintergrund des derzeitigen Zustandes der
Staatspolizei ist seiner Meinung nach die EinfŸhrung des Lauschangriffes
jedenfalls nicht zu verantworten. "
http://www.parlinkom.gv.at/pd/pk/1996/PK0296.html +
http://www.ad.or.at/publikationen/alpen.html die stapo ist im innenministerium,
ist glaub ich die bundespolizei von oesterreich.

#35 yes, but they were first looking and knocking at 3 adresses/doors, i.e.
SILVER SERVER lorenz-mandl-gasse, and old living addresses of brainhard. And the
nice thing was, they didn't expect brainhard to be a real human being, they
thought I was a fake, a wrong name and were totally pleased and asthonished when
they really understood that I was a person with blood & flesh. So somehow they
understood something from the internet or from secret service work, hahaha.. they
knew that not every name is really connected to the person they think..

#36 in a very strange russian hotel = klausur

#37 that was a brainhard job.

#38 before we were the stupid guys.. as described #11 ["At this time, all our
colleagues from the university were laughing at us, the stupid guys doing what?
Internet? What should that shit be?.. then at the ars electronica, they were all
trying to do online-projects, and etoy was coming back from the net, doing
physical installations with internet-metaphors, that was a very strong moment for
us, and very hard for others to see."] and now we were feeling like the first
pop-stars of the net, but more important, the first ones to come back from the
digital emigration to the physical world, and everybody was trying and trying to
get a good internet-project, because it was hip and trendy, but we were way
advanced, playing a pervert game with the audience and the producers.. elegant,
and pop-wise strong, cause we really had the urge to explain some stuff we have
seen on lsd and in living and communicating in the net. The reality-emigration
was not just a slogan, it was a reality. Virtual reality was reality for us, we
never understood why ppl could talk about virtual reality with straight faces.

#39 there is also a nice little story, austrian chancellor vranitzky [predecessor
of klima] was there. Brainhard wanted to have a picture from udatny, the golden
nica and the chancellor. So brainhard approached him, his bodyguards went nuts,
they were afraid of me/us, then brainhard talked to him... I thanked him as
representative of austria  pathetically that zak/zai and brainhard can get their
educations/study in austria for free. Then I asked him to make pic, and udatny
came and took it with vraniztky.

#40 it was a toshiba notebook, not an apple/mac.

#41 the whole USA thing is very strongly based on zak/zais strategy. But in
reality, brainhard [by the way, US-citizen because of birth in new haven, ct,
lived in the USA as a child and later 1 year as a teenager] was one of the
driving forces behind the move to the US. I wanted to go there because it was my
play-ground, I felt comfortable with the language and the ppl, the culture, etc..
and I knew it was not possible to leverage out the differences between zak/zai
and me, and the gang in zurich or vienna. I thought it would be good to find a
playground which could not be fully defined and controlled by zak/zai. And I also
strongly wanted to go on tour.. but first we had to build/do something.. and the
US was a good place to start/emigrate to from my point of view. also, I was
"sent" to siggraph, but the more important thing I wanted to do is contact the 2
people kathy rae huffman [a very important curator in the art world, bytheway a
good friend of suzy meszoly also] gave me as california-contacts, prof. lev
manovich and peter lunenfeld. I met lunenfeld in santa monica and talked him into
inviting us to art center college of design. Then I drove together with lizvlx
["the etoy.GIRLFRIEND"] to uc san diego to meet lev manovich. There I managed to get
an invitation too, so at least we could go there and negotiate terms and
conditions when zak/zai and brainhard landed.


#42 in budapest we invented the etoy.SHARES idea, the etoy.TANK idea, we invented
and decided on new agent names... it was the last highly intense and "creative"
moment collectively! Afterwards the collective was dead and never worked again
together!

#43 zak/zai and brainhard worked collectively on the etoy.FOLDER. to quickly
explain the general collaboration/work-level of zak/zai and brainhard.. i.e. also
the development of the "digital hijack" web-stie, the etoy.SHARES, the etoy.TANK,
etc.. brainhard always HAD to work with zak/zai on these concepts, cause zak/zai
was not able or willing to write and conceptualize the stuff. also I had to
"produce" his graphics.. so over the the whole time in etoy, brainhard spent days
and days next to zak/zai, writing some text, but basically constantly feedbacking
his graphics, his ideas, talking about the concepts and strategies, etc.. this
kind of production doesn't really come out, neither in budapest/folder, nor with
the shares, the container and the digital hijack site. and on even another level
[probably the most important], it was the collective that worked on the
etoy.PRODUCTS, the ideas were around.. and the agents talked about it and gave
input from time to time! zak/zai would be responsible that they [the ideas and
then products] became reality. ACTUALLY THROUGH THE WHOLE book, i couldnt really
tell what i was doing all these 5 years... probably nothing from the pow of the
reader.. hahaha! maybe i was always just fullly stoned...

#44 zak/zai might have planed the trip [I think he bought the flight-tickets]. I
did a lot of the organization too, and goldstein and esposto also, cause they had
to prepare for their later take off, but that had to be coordinated. Bytheway,
that was also a fucking disaster, the transport of the sound-studio and goldstein
and esposto not working properly on the thousands of lists that zak/zai requiered
to have for their lift-off to san diego! Oahhh that was pure terror, and a lot of
hate and manipulation against goldstein and esposto, when they arrived, they were
the super-idiots and "schwarze peter" for zak/zai and brainhard. zak was fucked 
already there and i should have challenged the situation right away, but that 
was simply not possible.. 

#45 pls check the etoy.FOLDER to see that this story is wrong this way. It might
have been some inspiration of zak/zai, the bowie thing.. sounds good.. but there
is already the investment concept in the folder, the basic concept of the shares
was developed collectively in budapest, I remember long meetings about this
topic... back in the usa.. then, when we had to really do the work brainhard had
to be there! [which in the art world is considered the most important part, not
the conceptual side, ideas are everywhere,, but the doing, the transformation of
an idea into an object, that's the work, sometimes.. and sometimes just concept,
your right... anyway, we did it collectively]. Also see # 43. The business-plan
copy-paste [but without the no. of shares, etc..] was what he did during this
time in san diego, but the terror against brainhard started, when some objects
had to be produced, when the thing had to become reality, and not only the
objects, but also the concept had to be pinned down. I remember very well
calculating the 640.000, playing with figures,, I remember very well writing the
stuff for the etoy.SHARES, discussing days and nights about how to release the
shares, how to trade, what graphical images should go on, I went through our
picture-database and selected the best helicopter pics, etc.. etc.. gramazio was
discussing via email, he was sometimes consulted, kubli was sometimes urged to
organize i.e. aktiengesellschafts-vertraege from switzerland, etc.. but gramazio
for example didn't work on the etoy.SHARES in san diego! He came to work on the
etoy.TANK, which he also did, together with zak/zai and brainhard and a swiss
product-design-student, specially flown in to draw the plans of the container.

#46 gramazio didn't work on the etoy.SHARES in san diego! [only as
remote-consultant via email]. He came to work on the etoy.TANK, which he also
did, together with zak/zai and brainhard and a swiss product-design-student,
specially flown in to draw the plans of the container.

#47 brainhard has arranged to buy the container. zak/zai had to delegate this,
cause he is too complicated in doing things like buying a container for 6000 usd,
or writing a proposal for MIGROS jus like that himself.

#49 performed by brainhard and esposto, in 24h welding sessions, cause we
"illegally" used the big torch/welder, otherwise the task would have never been
completed.

#50 the san francisco trips are very confused. and it looks as if just zak/zai
was travelling there doing all contacts. not true, brainhard for example went in
autumn to san francisco, meeting many ppl and connecting and talking [avatar
conference by sandy stone]. we were both, at different times, in san francisco
meeting ppl, making contacts and trying to do deals and suck lifestlye. also, on
another trip, zak/zai and brainhard went to los angeles to talk to ICM agency
person [I just recently saw the name of this woman we met there, if you need
proof, I can deliver on request]. They were working on the world-tour of the
"rolling stones" together. They wanted to check out etoy, wheter we could tour
with the "stones" and be part of the rave-and-multimedia event that was part of
the "rolling stones" concerts.

#51 if he met him, it must have been way later, even after the blasthaus-event.
Goldstein and brainhard went to meet this strange guy supposed to give away money
for strange projects. Brainhard and zak/zai heard through some contacts about
RTMark, then brainhard made a anonymous contact to jaques [ray thomas
pseudo-pseudonym], which agreed to meet them downtown san francisco in a
restaurant. We didn't know how to identify each other, but we found each other.
We talked and later on went to ray thomas appartment. There brainhard and ray
thomas made a deal. RTMark would get all the etoy email-addresses [about 10.000
at this time], and in exchange etoy would get RTMark addresses [about 3000-4000
at this time]. So its also funny to see, that the press-work and mobilisation of
RTMArk during toywar was also based on etoy.email-addresses.. :) but most
important, it was goldstein and brainhard that met RTMark for the first time, I
can say this for sure, cause he was a mistery to all of us, and zak/zai would
have told us who this was, or at least how this guy was, if he met him before.

#52 brainhard was there as well in the car, packing and driving next to
goldstein, zak/zai and esposto. On the way back from this trip [10 hours from san
diego to san francisco, 17hours back from sf-sd], with 100 miles/p/h, during the
early morning hours [that's when the 76 picture was taken], we passed a cop in a
police-car, we were going nuts cause we thought that's it, we are done, he will
hunt us down and put us in prison.. it didn't happen, but we were totally crazy
and freaked out after the moma hardocre, zak/zai was desperate and very tired,
brainhard was panicking, cause he thought, with the moma hardcore-fuckup, we
killed our changes to go to san francisco, cause it just was way beyond
acceptable behaviour.. it was a nice trip, we stopped at a tourist-FORT in the
mountains just before los angeles, we stoped at a water-cleaning facility and
went into the museum there..

#53 ZDNews did a special show about etoy. They had a 3-person camera team there
and brainhard did the interview walking throught the streets of sanfrancisco,
while goldstein, esposto and zak/zai were performing in the back, flashlights,
strange moves, etc.. , the camera-team was waiting for us, we arrived late..

#54 on the way to this boat-party, goldstein, zak/zai, brainhard and esposto were
driving with will from blasthaus, the journalist from sfweekly and some 
photographes, we were in disco/clubs to make photo-shootings [this feels 
like a real fucking pop-star], internet-biz parties on the roof-
appartment of some downtown house [met the red herring chief editor], 
went to some strange investment/broker partie in a
over-styled hair-saloon [goldstein and brainhard tried to sell them etoy.shares,
hehehe], it was like pop-heaven on speed. Then on the way to the house-boat
party, brainhard pissed/urinated somewhere, esposto pushed the car-door as
accident into zak/zais face, will linn said, brainhard is mick jagger, brainhard
comes back, raises his finger on the shooting, zak/zai is pissed and tells him to
not do that, brainhard goes along, zak/zai hisses victory-fingers,
esposto/linn/zak/zai are in one car, gold, brainhard, photographers and
journalist in another car, in the car, esposto makes a small joke about zak/zai,
zak/zai tells him to shut up.. we come to the boat-party, goldstein goes right
in, meets heide foley, she tells him about the kerouac, jagger, etc.. ppl that
have visited the boat in recent years], esposto, brainhard, zak/zai and the
journalist stand in front of the boat, zak/zai starts bragging, esposto tells
him: "shut off" [this sequence is damned good in the book!], zak/zai goes nuts..
starts to scream, starts to threaten esposto, they argue, brainhard sends the
journalist off to the boat, covers them up from journalists and party-people
asking what going on... after about 2 hours, the agree to go to the boat,
brianhard hunts women and meet strange lsd people in strange rooms on the boat,
very drunk and excited.. then the next day, brianhard, goldstein and esposto
agree, on the strong impulses from esposto, that we all HAVE to talk to zak/zai,
he has to do something otherwise its all gona fuck up. zak/zai doesn't want, he
tries desperately to get out of what he already knew is gona happen, we grab him
and go to the restaurant..

#55 also #54, but.. it was not really that brainhard has taken side with esposto,
it was more that esposto initiated the conflict, because it was very necessary,
then brainhard joined in, he had a lot to say to zak/zai, goldstein also joined,
but at the same time had to be the  mediator, but also goldstein put some
arguments into zak/zais face. zak/zai focussed his agression against rival
brainhard, but was so psychotic already, no chance..

the massive tension which was there over the course of about 2 weeks,
negotiations in different locations, the shared appartment [no other place to
sleep!] where all agents gathered at night, without ANY contact, then gramazio
arrived and tried to mediate, but failed.. brainhard and fabio talked, gramazio
said he will leave etoy, it doesn't make sense. Brainhard and gramazio strike a
deal, brainhard says to gramazio, if you leave, I will leave too, just tell me
before you communicate it so we can jointly leave this shit. Then some days
later, brainhard recognizes, no chance, blood is thicker than water, and the
situation was growing highly dangerous, so brainhard jumped off, esposto jumped
right along and split this etoy.SHIT into at least 2 pieces...

There was no sense to make a compromise with zak/zai. The only way he could deal
with his major problem was to take off for some time, to leave etoy behind and
care for himself, and then to return with power und health in order to take over
again his very important function within the team. We were in the beginning
trying to communicate with gramazio and goldstein, that we have to manage the
etoy.TOUR somehow, but we were somehow confident that we can do it [there, we
didn't know yet that we all would be very soon capable of building our own things
very successfully, and doing things that etoy [ourselves] was always telling us 
we were unable to do because we were not good enough, not precice enough, etc.. ]. 
So when zak/zai showed that he is not willing to move one inch from his position,
the logic reaction for me was to go, to leave it behind, with all the losses and
already knowing that zak/zai will claim all for himself soon after he recovered.
Besides the whole shit, brainhard was still loyal to etoy and the idea. He was
organizing with goldstein the trip of the container back to switzerland. And 2
months later, he would specially travel to switzerland to make the tax-free
import of the container [it was delcared on the customs-papers as brainhard
private studio and belongings!!! Hahaha.. it saved etoy a lot of money and work -
later brainhard, esposto and goldstein had to each pay back 1500 pounds
borroughed on each ones name to build to container, the container stayed in
zak/zais, gramazios and kublis hands :( ]. So, sorry these long words, but its
a dirty story and it has to be told correctly, also the etoy.com domain, the
etoy.USA trademarks, the golden nica [heheehe], they were all just taken over
by these insecure boys, zai-zak and kubli, not knowing what to do before zak
provoked eToys, so the TOYWAR started and there was now a moral reason to 
sit on the archive, to protect the collectively invented brand with all means...

#56 goldstein and esposto. They were doing all the music, goldstein was singing,
lyrics and some producing stuff [new styles, etc.. technical innovations],
esposto was composing, producing stuff, technical stuff.

#57 I didn't want to use etoy for my company and platform "ubermorgen" [i do
this with lizvlx and she doesnt want to be involved with this shit], I wanted 
to use it for myself. I wanted to and did tell people that I did etoy, I 
wanted to and did hold lectures, I wanted to be able to hold lectures 10 
years from now as keith richards type of character of etoy, etc...

#58 its true that I was irritated, it is true that sometimes I was bitter about
the TOYWAR, specially because I knew, the dispositiv of it, that was only possible
thankx to my power/energy, we built the system that made it possible, so I was pissed,
but I was not sooo irritated that I just on an instinct registered the
trademarks. I was talking with esposto and other people over 1 year how to
personally and professionally deal with the etoy.HISTORY and our separation. 
I want the right to publish, and appear under etoy without getting harassed
everytime, I want the right to cash in if etoy.com sells something [it was all
 ours, but suddenly zak/zai gramazio and kubli claimed it was all theirs, 
the container, the domains, the golden nica, the archive, EVERYTHING!]. 
so I started to test what I could do, etoy.brainhard reactivated,
illegal etoi.brainhard, held lectures in south africa, england, italy, slowenja,
etc.. appearing as ubermorgen and as etoy. Then etoy started to attack me, my
biz-partner and girlfriend lizvlx, my friends and business-partners, and even my
family. That was a bit too much. Negotiations with goldstein, esposto and udatny
were some result of that, it was clear for all of us, that we could work together
[micromusic, R.O.S.A., ubermorgen], we just did it, we ran our projects, got more
and more famous with them and decided that it would be great to have a legal
basis for our collective history, then we decided to found a ltd. company in
order to cover the bases, incorporate the trademarks, take the pressure off
brainhard [goldstein is ceo and owner of the etoy.HOLDING/etoy ltd, berlin, 
udatny, brainhard and esposto are only owners with each 25%]. And also we 
imagined that someday, we would have cool stuff [technology, ideas, sound, ..] 
that might produce the perfect etoy.PRODUCT, and we didn't want to loose 
this chance by just ignoring the "ugly" situation we were in, so we 
behaved PROactive, exactly what zak/zai ALWAYS told us we were not able to do, 
cause in his psychotic situation and fear and stress syndroms, he thought in 
the end we were total idiots, incapable of ANYTHING. so now we have the 
etoy.ltd corporation under our full control, we have stakes in the 
etoy.VENTURE-ASSOC. [16%??? Nobody knows exactly], we have stakes in esof.ltd 
[bulgarian it-software company]. So we will launch etoy ltd berlin as what 
it is, the etoy.HOLDING, the roof of the etoy.EMPIRE. the mother corporation,
the honest corporation. etoy is dead - long live etoy.

#58 it would be fair to show a bit more the power of the people that once founded
and ran etoy, zak/zai aswell as kubli and gramazio. Brainhard, esposto, udatny
and goldstein all used their etoy know-how and brought their skills and
experience onto the next level.

Brainhard started the highly successful company "ubermorgen" together with
lizvlx. They consult coroporations in terms of communications-strategies and
marketing, they are at the same time activists, producing massive "media hacks"
such as [V]ote-auction [www.vote-auction.net, over 2500 news-features, include.
30 min. CNN special show on vote-auction], NAZI~LINE [naziline.com - a neo nazi
integration programm powered by siemens, the innenministerium of germany and
schlingensief] and about 20 other projects. They exhibit digital and analog work
in museums worldwide, they give lectures and talks [CCC chaos computer club,
design indeba south africa, asu2, hull timebased arts, etc.. etc.. about 20
lectures 2000], they produce art work transforming digital activism/media hacking
into objects for the art-market, at the same time the consult companies in order
to make money to invest into ventures such as esof.ltd and technical ideas of
udatny, they collaborated with micromusic for the initial underground-marketing
of mm, etc.. etc.. . And all this power could be cross-used for the etoy.HOLDING;

Esposto started micromusic.net, the ultimate music platform and publication
platoform for his own "band" and other skilled electronic musicians, the
elite-community is joined by 5000 producers and high-end music-users, they
release "micro-superstarz" compilations and special tracks, they have
microfestivals [events] all around the world, san fran, nyc, london, las vegas,
etc.. , micromusic is currently famous in a global online-scene of musicians,
cultural and art workers, music-industry, etc.. they could soon pop-up in the
charts with their performance, release success-cds and tracks. And all this power
could be cross-used for the etoy.HOLDING;

Udatny founded R.O.S.A. together with marcy butz, rosa is a highly innovative and
well respected design-company in zurich. Along, he develops strange code and
technical ideas which he can produce throught the joint-venture he, brainhard and
lizvlx own in sofia bulgaria, esof.ltd. And all this power could be cross-used
for the etoy.HOLDING;

Goldstein is CEO of R.O.S.A. for now 3 years, running a successful business and
meanwhile going after his ideas and maddness, working together with udatny,
esposto and brainhard on different levels. And all this power could be cross-used
for the etoy.HOLDING;




2] additional infos
______________________________________________________________


etoy ltd., berlin/germany

if you need official documents, dates, etc.. please ask goldstein to supply them.

If you want an url, email, etc.. pls also contact goldstein

Official name:

etoy gmbh berlin/ deutschland



micromusic.net


[home] WoZ-Online

13.9.2001




Fiepende Taschenspielertricks

Von Nick LŸthi , http://www.woz.ch/wozhomepage/37j01/micromusic.html

Die Schweizer KŸnstler- und Musikergruppe Micromusic.net arbeitet mit Sounds von
alten Computerspielen und tauscht ihre Bricolage via Internet mit
Gleichgesinnten.

Nach dem Platzen der Seifenblase New Economy das Internet als tote Zone zu
beschreiben, ist inzwischen ebenso angesagt, wie es noch vor Jahresfrist Ÿblich
war, das Netz als ultimativen Business-, Kommunikations- und Kulturraum in den
hšchsten Tšnen zu loben. Doch Mittel- und Augenmass waren noch nie fŸr die
Beschreibung der elektronischen Datennetze massgebend. Wie sich der
kontinuierliche Niedergang des virtuellen Wirtschaftswunders lþngerfristig auf
andere Bereiche des Internets auswirken wird, ist gegenwþrtig noch nicht
abschþtzbar. Die Netzkunst im Besonderen und die digitale Kultur im Allgemeinen
sind jedoch nach wie vor blŸhende Landschaften. Erst jŸngst wurde an der Ars
Electronica in Linz der Beweis dafŸr erbracht. Vor dem Hintergrund der Frage nach
der Kunst von morgen war auch ein Trio aus der Schweiz anlþsslich des Festivals
fŸr elektronische Kunst in der oberšsterreichischen Metropole zugegen. Was auf
den ersten Blick nach der Internetadresse des musikalischen Ablegers von
Microsoft aussieht, ist der Name eines der innovativsten Musiklabels, das sich
derzeit an der Schnittstelle zwischen realer und virtueller Welt bewegt.
Micromusic.net wurde Ende 1998 vom ZŸrcher Gino Esposto - MitbegrŸnder der
Netzterroristen-Gang Etoy - und dem Basler Mike Burkhardt unter dem Projektnamen
Futurelab ins Leben gerufen. Im Zentrum stand fŸr die beiden Micromusic-GrŸnder
computergenerierte Musik - in erster Linie jene eingþngigen Melodiesequenzen, die
als Alarm- oder Bestþtigungshinweis nach einem Spielzug auf Game Boy, Playstation
und den frŸhen Homecomputermodellen wie Commodore 64 oder Atari zu hšren sind.
Das zweite Element war die Verbreitung und der Austausch der persšnlichen
musikalischen Vorlieben mit Gleichgesinnten rund um den Erdball.

Musik aus dem Game Boy Showtime im Showroom ist angesagt. Eine Mischung aus
Spielsalon, cleaner Laboratmosphþre und dem Mief einer Mehrzweckhallengarderobe;
flimmernde Videoleinwþnde, surrende Computer, gedimmtes Licht. Wir befinden uns
in der so genannten Electrolobby im Erdgeschoss des Kongresszentrums Brucknerhaus
in Linz, konzipiert als ÇShowroom for Digital Culture & LifestyleÈ. Auf der BŸhne
- oder genauer, hinter einem nur geringfŸgig als solche kaschierten
Garderobentresen - steht die Crew von Micromusic; bereit, ihre vielfþltigen
Gerþtschaften zum Klingen zu bringen. Seiner Pilotenbrille und der Rukka-Jacke
entledigt, entlockt Micromusic-MitgrŸnder Gino Esposto alias Carl einem Laptop
vorerst sonderbar klingende Gerþusche. Das knallrote T-Shirt mit einem weissen
FigŸrchen aus dem Computerspiel Spaceinvaders auf der Brust gibt inzwischen einen
deutlichen Hinweis auf die Herkunft der Klangfetzen. Neben Carl macht sich Mike
Burkhardt alias Superbacon mit einer Playstation und zwei Plattentellern ans
Werk. Und als Dritter im Bunde hockt Paco Manzanares alias Wanga lþssig auf dem
Tresen, den Blick konzentriert auf das kleine Display des Game Boys fixiert, so,
als wþre er im Begriff, das nþchste Level von Super Mario zu erklimmen. Wanga ist
aber nicht am Spielen, sondern er generiert Klþnge, wie sie der
Taschenspielcomputer hergibt. ÇWir arbeiten mit Klþngen, die allgemein bekannt
sind. Unsere Rolle sehe ich so, dass wir Aufklþrungsarbeit leisten, indem wir
vertraute Melodien den Leuten in anderer Form wieder nþher bringen.È Carl spielt
damit auf die Omniprþsenz computergenerierter Musik an, die neben ihrer
ursprŸnglichen Verwendung als Warntšne bei den Bildschirmspielen lþngst in
Bereichen Verwendung gefunden hat, wo man sie kaum vermutet. ÇGerade
Hitparadenbands wie die Vengaboys beginnen solche Geschichten aufzunehmen. Die
Gamesounds sind ein sehr klares Popelement, weil der Klang die Aufmerksamkeit
automatisch auf sich zieht. Du kannst dich nicht dagegen wehren. FŸr mich ist Pop
ein Paralleluniversum zum Micromusic-Sound - die Melodien sind eingþngig und
gehen direkt in den Bauch.È

Weltweit verstreute Community Noch steht die Menschentraube mit einer Mischung
aus Staunen und Faszination vor den drei Micromusic-KŸnstlern, doch die eine oder
der andere kann das Wippen nicht verbergen. Gegen Ende der Performance wird sogar
getanzt. ÇIn den Anfþngen von Drum and Bass und Breakbeats war es ja auch so,
dass nur ein paar wenige zu den gebrochenen Rhythmen tanzen konnten. In der
Zwischenzeit hat dieser Stil eine enorme Verbreitung gefunden. Ich kann mir eine
þhnliche Entwicklung fŸr unsere Musik vorstellen.È Zukunftsmusik, von der Carl da
spricht? Die Begeisterung fŸr computergenerierte Klþnge nimmt rapide zu.
Quantitativ ist dies an der Mitgliederzahl der eingeschriebenen Mitglieder auf
der Internetplattform Micromusic.net abzulesen. Von den rund 5000 Micromusic-Fans
ist rund ein Zwanzigstel selbst aktiveR SoundtŸftlerIn und stellt seine/ihre
Kompositionen den anderen Mitgliedern der Community zum Herunterladen zur
VerfŸgung. Im Gegensatz zu anderen Musiktauschangeboten im Internet wird auf
Micromusic.net jedoch nicht alles veršffentlicht, was auf den Server geladen
wird. Carl, Superbacon und Wanga haben dazu das so genannte Quality Filter System
- .qfs entwickelt. Entgegen der hochtrabenden Bezeichnung basiert das .qfs in
erster Linie auf den Fþhigkeiten des menschlichen Ohrs. Einmal im Monat werden
dann jene Tracks veršffentlicht, die in den Ohren der Micro-Musiker als ihren
Stilvorstellungen entsprechend betrachtet werden. Als besonderer Anreiz, um sein
eigenes Soundgebastel einzusenden, winkt die Veršffentlichung der besten, sprich
stilechtesten Tracks auf CD. Die erste CD ist seit vergangenem November mit dem
Titel ÇMicrosuperstarz 2000È bereits erhþltlich. Am Entscheidungsprozedere wirken
neben den drei HŸtern des .qfs auch eingeweihte Community-Mitglieder mit, die
mittels Online-Abstimmung in regelmþssigen Abstþnden eine Hitparade der
Einsendungen erstellen. Obwohl das Internet als Kommunikations- und
Distributionsmedium gewþhlt wurde, strþuben sich die Computermusiker gegen die
Geschwindigkeit und Schnelllebigkeit das Datennetzes. ÇWir haben bewusst eine
Kultur der Langsamkeit entwickelt. Wenn du ein verhþltnismþssig grosses Projekt
nur zu dritt und neben der Erwerbsarbeit betreust, kannst du nicht anders, als
auch mal Pause zu machenÈ, beschreibt Carl die Herangehensweise. Es gehe letzten
Endes auch um die Existenz von Micromusic, doppelt Superbacon nach, denn Çwir
sind lieber langsam unterwegs, dafŸr gibt es uns umso lþnger. Ich mšchte
eigentlich nicht, dass Micromusic in einem Jahr von der Bildflþche verschwunden
ist.È Eine BefŸrchtung, die sich derzeit alles andere als zu bestþtigen scheint.
So genannte Micro Events spriessen zwar nicht gerade wie Pilze aus dem Boden.
Dennoch ist die Kontrolle Ÿber Liveveranstaltungen, wo unter dem Banner von
Micromusic Computergame-Sound zum Besten gegeben wird, den GrŸndern von
Micromusic inzwischen entglitten. Ob nun in Las Vegas, Stockholm oder London -
rund um den Erdball finden im Monatsabstand solche Events statt. Angesichts
dieser Entwicklung will die Micromusic-Crew vermehrt darauf hinarbeiten, dass
sich die Mitglieder der Community vermehrt auch untereinander vernetzen kšnnen.
Ein Hauch von Exklusivitþt will man sich dennoch nicht nehmen lassen. So soll die
permanent wachsende Community, die auf der Internetseite micromusic.net unterwegs
ist, beschrþnkt werden. Wer schon eine Weile nicht mehr durch Aktivitþt
aufgefallen ist, muss einem neuen Mitglied Platz machen. ÇWir suchen Producer und
nicht UserÈ, so Superbacon programmatisch.


R.O.S.A.

R.¯.S.A.'s services include consulting, strategy, concept, design and
programming. R.¯.S.A. develops high quality multi-channel productions,
intelligent interfaces, creative ideas, strong identity and dynamic content.

R.¯.S.A. creates tailor made technology solutions in the fields of Internet and
Intranet, content management, e-commerce, broadband, wireless applications and
community marketing.

Professional and continuous project and production management is the foundation
of any collaboration with R.¯.S.A.


ubermorgen

here a text about ubermorgen, for a suhrkamp-publication end of this year, it's a
draft version for internal use only!

-- ubermorgen:: : der verdacht der SELBSTVERMARKTUNG erhaertet sich

"ubermorgen means the day after tomorrow, a slight tip towards their aesthetic
and activist vision and prejudice, they are hardcore and radical in their actions
and they are extremely strange and highly intelligent people." jean baudrillard,
paris, 2001

ubermorgen produzierte [V]ote-auction, den online-mass-media-knueller und
polit-thriller des jahres 2000. 2001 verfuehrte ubermorgen das deutschsprachige
europa mit einer agressiven NAZI~LINE marketing-kampagne. lizvlx a.k.a. maria
haas steht nicht fuer kommentare zur verfuegung. hans_extrem a.k.a. etoy.HANS
etoy.BRAINHARD ist gruendungs-mitglied und aktionaer der etoy.HOLDING und ihrer
sub-firmen, weltweit bekannt durch print, funk+fernsehen, und die feature-actions
"the digital hijack", "etoy.TANKSYSTEM".

das digitale dispositiv ist das netz und die kernsubstanz unserer taetigkeit.
optimale mentale, mediale und physikalische bedingungen schaffen,
unwiderstehliche fallen stellen, system-schwachstellen identifizieren und starke
emotionen ausloesen, das ist die basis-konfiguration unserer weichen, eleganten
und affirmativen strategien. wir bauen an der "NEUEN EHRLICHKEIT" und schaffen
dadurch bilder und momente die unvergesslich sind!

das digitale dispositiv; ubermorgen isst lesbisch -  ubermorgen ist eine
babystrich-hure; entstanden aus den ersten geh- und feld-versuchen von lizvlx und
hans_extrem: userunfriendly und etoy.com. ubermorgen basiert auf den
persoenlichen erfahrungen von lizvlx und hans_extrem, und auf der liebe
zueinander und zu diesen erfahrungen. die brutale mediale realitaet erfordert
"collaborative forces", gepackt in organische corporate-mini-einheite
[ubermorgen] und in netzwerke, bestehend aus solchen einheiten [wir nennen es aus
der eigenperspektive das "ubermorgen.net":: etoy, micromusic, R.O.S.A.,
lovepangs, SILVER SERVER, rolux, RTMark, esof.net...]. dies sind die zukuenftigen
allianzen und lobbying-systeme, eines der netzwerke der zukunft im jetzt!
ubermorgen verfuegt ueber die gefuehlswelt eines sanften digitalen aktionismus
der 60er jahre; gekoppelt mit der individuellen prosa des geldes und dem harten
ueberlebenskampf einer firmen-gruppe:: U.S. wahlkampf-manipulation,
jury-bestechungen, juristische stunts, beteiligungen an bulgarischen
software-firmen, neo-nazi integration & hate crime consulting, marketing fuer
fashion-/lifestyle-companies und sued-afrikanischen konferenz-franchises... "if
you dont get help from us, please get help somewhere". ubermorgen betreibt social
und technical engineering im organischen netz der intelligenten und gebildeten
menschen/maschinen. ubermorgen:: : "we make money!"

"BERNHARD: No, we don't buy or sell votes. We don't do that. We just facilitate a
platform where we want to have this market done. And we see that there is a big
future for this. We bring this business to business. You know, there are
consultants in the election industry. They cut like 10-15 percent for themselves,
and they sell a vote to the campaigns." "CNN/VAN SUSTEREN: All right, let's go --
let me please interrupt you for one second and go up to Bill Wood from the state
of California. Bill, is what ubermorgens' Hans Bernhard is doing, is that, in
your view, illegal under California law? What is it that you contend is illegal,
if indeed it is. And also the whole idea, which I must admit, I'm a little
fixated about someone from another country interfering or doing anything in an
American election. But go ahead, Bill. WILLIAM WOOD, CHIEF COUNSEL, SECY. OF
STATE OF CALIFORNIA: Very briefly, what this individual has described is illegal
in California. The basis in California, of course, of your vote, is that you
cannot sell it, you cannot offer to sell it, you cannot buy people's votes. That
has been the law in our state for some time. CNN/VAN SUSTEREN: Is it a quid pro
quo, though? Or how different is it from this, sort of, like, you know, you give
your $1,000 campaign contribution on November sixth and November eighth you show
up at your Congressman's office and say: Remember me? I'm a big contributor. I
would like to talk to you about some project? How is that different? WOOD: Well,
it's absolutely different because it's fundamentally different. The actual buying
of the vote is just that. It is that simple. It is the buying of some
individual's vote. One of the things in the United States that we have prized
above all is the vote. It is an inalienable right. And in every state in the
United States, to my knowledge, the process of buying or selling votes is
illegal. It is a federal violation." CNN, Aired October 24, 2000, Burden of Proof
"Bidding for Ballots: Democracy on the Block" eine 30 min. exklusiv-sendung zur
ubermorgen feature-action [V]ote-auction [www.vote-auction.net].

die, mit starken politischen implikationen und in der folge auch mit
verfassungswidrigkeiten verknuepfte, aussage von mr. wood wurde direkt gespiegelt
und rueckgekoppelt. die kern-aussage wird seither als hauptslogan fuer
[V]ote-auction verwendet: "it's different because it's fundamentally different".
dieser neue claim uebertrifft den herkoemmlichen ["bringing democracy and
capitalism closer together"]  an genauigkeit und perfektion. maechtige
institutionen, wie der staat oder der multinationale konzern, sind der ursprung
und das ende unserer begierde, oder pragmatischer ausgedrueckt: "es ist derselbe
wind der die blumen bestaubt und die haeuser zerstoert..."

[V]ote-auction spezialisierte sich auf den wahlstimmen-markt in den USA als
test-markt fuer ein globales franchise-system von wahl-auktionen. konkret: jeder
U.S. stimmbuerger konnte auf [V]ote-auction seine stimme fuer den
praesidentschafts-wahlkampf, stichtag 7. nov. 2000, zum verkauf anbieten. diese
stimmen sind, in bloecken sortiert [nach U.S. bundesstaaten], in einer
grossangelegten auktion verkauft worden. hinter diesem "bringing democracy and
capitalism together" prinzip agiert eine profitorientierte holding-gesellschaft,
welche ein vitales interesse an der erschliessung des zukunftsmarktes
"wahlstimmen" hat. die durch die pilot-aktion angestrebte juristische praezedenz
eroeffnet in den USA einen neuen, sehr grossen marktplatz fuer individuelle
waehlerstimmen. was in grossem stil [business to business / b2b] bereits seit
ueber 200 jahren als wahlkampfspenden-business praktiziert wird, ist per gesetz
erstaunlicherweise, aber historisch nachvollziehbar, fuer einzelpersonen
verboten. [V]ote-auction hat direkt in diesem spannungsfeld angesetzt und der
U.S. bevoelkerung, der politik und der justiz diese unangenehme realitaet vor
augen gefuehrt. die konsequenzen daraus:

13 klagen wurden von den jeweils obersten staatsanwaelten der betreffenden
bundesstaaten angedroht - verschiedene U.S. und europaeische geheimdienste haben
untersuchungen eingeleitet:

á 4 klagen / einstweiligen verfuegungen wurden durch U.S.- gerichte stattgegeben.
á die missouri-klage wurde 03/2001 zurrueckgezogen. á wisconsin-klage wurde 06/
2001 zurrueckgezogen. á gerichts-verhandlungen in chicago und massachussetts. á
klage gegen CORENIC/CSL/JOKER.com aufgrund des illegalen shut-down der domain
vote-auction.com eingereicht. á FBI.gov/ CIA.gov/ NSA.gov / NIPC.gov / BND / BUPO
/ STAPO untersuchungen wurden gem. recherchen  06/2001 vorlaeufig komplett
eingestellt.

ueber 2500 nationale und internationale news-features [TV, radio, online- und
print-magazine, zeitungen] wurden uns gemeldet. die aktion [V]ote-auction
startete 03/2000 und entwickelte sich progressiv bis zum hoehepunkt, dem
US-election-day [7. november] 2000. die juristischen, wirtschaftflichen und
sozialen nachwirkungen dauern bis zum heutigen tag an...

"in our work, we are often confronted [by outsiders] as to "if this project is
for real or just a fake". we find it hard to answer questions like this one, as
they ex-corporate the true meaning and body of MEDIA HACKING. whereas traditional
forms of performance and theater try to create a form of institutionalized and
formalized version of reality, media hacking and related techniques [shock
marketing, hacktivism, drama marketing] do not perform, but rather create
additional uberREALITIES. so the question cannot be if it is either "real" or
"fake", equalling "true" or "false". reality cannot be 1/0 - it is always a
process without beginning or ending. the moment we start working on a new
project, we always find out that there are, in material reality, already
"copycats" of our uberIDEAS. fakes cannot be innovated. they are always based,
also if subconsciously, on a "real" event. reality in the material world becomes
the trigger if hyper-reality [which we prefer to call uberreality, as all the
hyper- terms are too 1990's]. the term "MEDIA HACKING" was established by groups
like Negativeland and etoy. it can be defined as: legal intrusion into
international and national mass media channels [newspapers, magazines, radio, TV,
online publications]. the absolute number one target and amplifier is CNN[.com]
the legal aspect of media hacking is important to note, as it seperates media
hacking from tradtional forms of hacking. media hackers exploit weak spots within
social, commercial, political, and technical  networks and implement
[dis]information via these subverted interfaces. media hacking asks for chuzpeh
in producers. media hackers cannot be afraid of playing with information and
information distribution, but rather have to be able to witfully play with these
mechanisms. bad strategies can result in personally catastrophic scenarios, and
successful gaming present the winners with the grand prize in the worldwide
market for media attention." lizvlx-interview, united morning news, singapur,
2001 basierend auf einem vortrag von ubermorgen an der 17c4-konferenz des
computer chaos clubs, berlin 2000.

"Leser die einem Bundesinnenminister grundsþtzlich misstrauen, sollten sofort die
Seite  www.bmdi.de anklicken. So gibt es jetzt ein gro§es Geheimnis darum, ob
mšglicherweise Schlingensief dahinter steckt. Und alles sieht wirklich
fŸrchterlich echt ... Doch.. hinter dieser Seite steckt in Wirklichkeit die
Wiener-KŸnstlergruppe ubermorgen.com, die die  offizielle Seite des
Bundesinnenministeriums sauber kopiert* und durch den oben zitierten Aufruf
ergþnzt hat... Was CDU-Politiker immer schon geahnt haben, hat sich jetzt als
wahr herausgestellt: Otto Schily ist und bleibt ein verkappter Anarchist. Aber
nicht nur das! Der ehemalige Verteidiger von RAF-Terroristen und aktiver
Sitzblockierer gegen US-Atomraketen geht noch einen Schritt weiter und
unterstŸtzt NAZI~LINE...". Ernst Corinth, heise.de/tp telepolis, 19.04.2001 *
diese aussage ist nicht korrekt. die web-site wird vom benutzer selbst und
eigenverantwortlich waehrend des abrufens kopiert. ubermorgen und textz.com
setzen hier nur eine parser-technologie ein, welche den vorwurf der kopie durch
technische mittel entkraeftigt und dadurch die herkoemmliche rechtssprechung
ausser kraft setzt [anm. ubermorgen].

"Die Wiener KŸnstlergruppe "ubermorgen" hatte die eigenwillige Adressierung des
Bundesministeriums ausgenutzt und unter dem viel plausibler klingenden URL bmdi
getreu kopiert... Insofern steht die Aktion natŸrlich auch im Verdacht der
Selbstvermarktung... Aber wer sich Ÿber diese unverfrorene Selbstvermarktung
wundert, hat die AktionskŸnstler wohl noch nie in Aktion erlebt und Ÿberhaupt die
aktuellen Tendenzen des Kunstbetriebs verschlafen. Der wird dann an dieser Stelle
auch mit Genugtuung lesen, dass das Bundesministerium sich den Spa§ verbeten und
die Gruppe "ubermorgen" mit Nachdruck und ohne Erfolg auf die Rechtslage
aufmerksam gemacht hat. Die hochstaplerische Website www.bmdi.de ist vom Netz,
wobei der Sieg des mþchtigen Ministerium nicht verhindern konnte, dass die
lŸgenden KŸnstler sich zwischenzeitlich mit einer LŸge verabschieden: "Bund
mittelstþndischer deutsche Industrie. bmdi.de" liest man auf www.bmdi.de jetzt
und: "Unser Angebot steht in KŸrze wieder komplett zur VerfŸgung. Wenn Sie unsere
alte Site suchen, klicken Sie bitte hier" - und hier fŸhrt dann zur richtigen
Site nicht etwa des Bundes mittelstþndischer deutsche Industrie, sondern des
Bundesministeriums des Innern. Screenshot sei Dank ist der Fake festgehalten und
belegt wie die Seite aussah, ehe die Staatsrþson zugriff - wenn, ja wenn der
Screenshot kein Fake ist, denn so eine Website kann sich schlie§lich jeder
nachbauen und dann fotografieren." Roberto Simanowski, heise.de/tp telepolis,
18.06.2001 "Zur €sthetik der LŸge"

hier laesst sich nun einwandfrei erkennen wie die diskrepanz zwischen  der
faehigkeit taktische massnahmen zu ergreifen und gleichzeitig langfristige
strategien zu verfolgen noch nicht erfasst und verstanden wurde. bmdi.de ist ein
wertvolles asset. die teeny-like klage der journalisten ueber die nicht
stattgefundene ãverteidigung" der fakesite laesst eines ziemlich genau erraten:
"der" journalist wuenscht sich den kuenstler - oder auch den unternehmer - als
den einsamen, gepruegelten aber trotzdem heldenhaften verteidiger und kaempfer an
erster front gegen die unrechten maechtigen [anm.: ubermorgen empfiehlt hier
dringend den einsatz von harten drogen fuer journalisten]. an dieser stelle daher
auch der hinweis auf www.germany.kz, eine site unserer partner von
rolux.org/textz.com [zitat der web-site: "hier ensteht die internet-praesenz der
deutschen botschaft von kasachstan." die .kz abkuerzung steht fuer die top-level
domain des jungen landes kasachstan]. dieses projekt entwickelt sich nach einem
aehnlichen muster. auch hier wurde ein objekt ins netz geworfen, danach massive
drohungen ausgestossen, und in der folge wurde auch diese site taktisch
zurrueckgezogen.

was passiert nun mit diesen objekten [web-sites]? weder wissen wir es, noch
wuerden wir darueber reden oder schreiben wenn wir es wuessten. diese objekte
sind teil des oben erwaehnten dispositivs. wir koennen ueber diese assets frei
verfuegen, sie lassen sich jederzeit koordiniert zusammenschalten oder als
einzelne statements missbrauchen oder verkaufen. ein optimales setting fuer
terror, wissenschaft, kunst & biz im deutschprachigen und internationalen
massenmedialen raum.

"wir koennen das innenministerium selbst angreifen, wir koennten aber auch
arabische terror-organisationen und amerikanischen behoerden der
internet-security task forces gemeinsam die infrastruktur des innenministeriums
attackieren lassen. wobei, wir von ubermorgen.com, koennen da rechtlich kaum
belangt werden. es reichen ein paar internet-adressen und kontextgebundene
bemerkungen in den richtigen chat-rooms und mailinglisten, zum beispiel
bulgarische, chinesische oder syrische hacker-communities, und schon steht das
"innenministerium" real und sehr massiv unter druck. die INFO-TECH-RAMBOS des
innenministeriums sind derart naiv und agressiv... ihr fuehrer otto schily hat ja
in einem spiegel-interview vom juni 2001 angekuendet neo-nazi web-sites in den
USA mit sogenannten DOS-attacken [anm.: denial of service attacken, eine hoechst
illegale internet-kriegs-praxis] zu killen. von den amerikanern wird das als
kriegerische handlung und angriff auf U.S. territorium, und somit als offene
kriegserklaerung, verstanden. otto, der gute, hat aber keine ahnung was er da
sagt und tun will. nach wenigen tagen musste er diese aussage dann relativieren,
den schwanz einziehen und erklaeren, das sei ja nur als idee mal angedacht
worden. aber... zu spaet! der ehemalige RAF-anwalt hat sich damit direkt und sehr
konkret mit den hardlinern der NICP, der NSA, des FBI und der CIA angelegt."
hans_extrem/hans a. bernhard spuckt grosse toene fuer  kleine ohren, im n-tv
interview vom 20.5.2001.

"Die von  unternommene Aktion wiegt doppelt schwer ... : Sie wagt
sich an ein uebermþchtiges GegenŸber und sie tut dies mit einem reflektierten
kŸnstlerischen Konzept als Manifest und RŸckendeckung. Dies bemerkt man bereits
auf der Splashpage von www.ubermorgen.com, die den Besucher in einem JavaWindow
und der Frage "online polls: can we trust 'em!" empfþngt. Die Frage ist mit ihrem
'em statt them salopp formuliert, endet mit einem Ausrufezeichen und ist
natŸrlich auch insofern paradox, als sie selbst ein online poll darstellt, denn
der Besucher soll nun entweder yes, no oder i don't know markieren, woraufhin ihm
das Ergebnis angezeigt wird, das die eigene Stimme schon mitzþhlt. Wer es prŸft,
wird sehen, dass das Programm zuverlþssig arbeitet, denn auch die nþchste Stimme
wird genau in der Rubrik hinzugefŸgt, fŸr die man votierte. Insofern scheint man
online polls also durchaus glauben dŸrfen, wenn da nicht der Umstand wþre, dass
man soeben zwei Stimmen abgegeben hat und sich nun fragen muss, wie reprþsentativ
dann die anderen Stimmen und all die Stimmen all der anderen Online-Umfragen
sind. Das ist Learning by doing in bester aufklþrerischer Tradition - eine
CGI-Spielerei, die zugleich das eigene Medium kritisch reflektiert." Roberto
Simanowski, heise.de/tp telepolis, 18.06.2001 "Zur €sthetik der LŸge"

"Das ist inzwischen zu einem Game zwischen uns und RTMark [anm: rtmark.com,
international renommierte media hacking truppe aus den USA] geworden", amŸsiert
sich LIZVLX. "Die entscheidende Frage dabei ist: 'Was mŸssen wir anstellen, um
auf CNN zu kommen'." Ein Wettbewerb im Borderline-Marketing um die Aufmerksamkeit
der Mediengesellschaft, in dem momentan ubermorgen.com mal wieder die Nase vorn
hat. Denn mit dem Aufkauf der Plattform Voteauction.com haben sich LIZVLX und
hans_extrem gerade ganz nach vorn geschoben in der "Gunst" der amerikanischen
Medien...>  Stefan Krempl, heise.de/tp telepolis, 03.09.2000, "Schock-Marketing
aus dem Netz-Underground

die bereitstellung der ware "KONTEXT ist das ultimative spezialgebiet von
ubermorgen.com. fuer die primitive uebersicht und die totale transparenz stellen
wir hier eine exklusive uebersicht zu dem GESAMT|KUNST|WERK ubermorgen, den
wilden actions, jungen produkten und knallharten firmenbeteiligungen der
ubermorgen ltd. und ihren individuellen expona[en]t[inn]en und stars:



WORDWAR www.ubermorgen.com/WORDWAR/ luzius europa brainhards' "tanz, du sau",
"s_2", ..., text_sampling vom feinsten;

194.152.164.137 userunfriendly www.ubermorgen.com/194/ in collab with andrea mayr

::: 1998-99 ::: _____________

lizvlx.com www.lizvlx.com gewinnt alle sympathien der litauischen user und der
kanadischen journalisten-gilde;

etxtreme.ru www.etxtreme.ru / .com in collab with UD - daniel udatny und esof.net
lex penkin you daily e-nfo_breakfast, top9!

gruendung der esof ltd www.esof.net software-development company in sofia
bulgarien, in collab with UD - daniel udatny und alexander "lex" penkin

::: 2000 ::: _____________

ubermorgen.com www.ubermorgen.com/2000/ shock-markting, drama-marketing,
borderline-marketing;

mediahack.org www.mediahack.org phd_lifestyle from above;

[V]ote-auction www.vote-auction.net /.com / 62.116.31.68 in collab with james
baumgartner, supported by RTMark.com und SILVER SERVER

bannster.net www.bannster.net in collab with carl from micromusic.net "networking
is not working";

ekmrz.cx www.ekmrz.cx in collab with carl from micromusic.net interchange -
interchange.redhat.com

ubermorgen.org www.ubermorgen.org wwwiderstand, banna_aquarium;

ubermorgen.net www.ubermorgen.net in collab with erica dubach "networking is not
working"

wto/dr. bichlbauer www.theyesmen.org/wto/ in collab with theyesmen & RTMark.com


::: 2001 ::: _____________

ubermorgen.com www.ubermorgen.com/2001/ b/w pull_DOWN; his-story;

BMDI.DE www.bmdi.de in collab with sebastian, rolux.org, textz.com & germany.kz
bund mitteldeutscher industrie, bundesministeriumdesinneren;

bart-n-lisa www.bart-n-lisa.com bart kessner & lisa lahue;

NAZI~LINE - die corporate site www.naziline.com

NAZI~LINE - die kampagne www.naziline.com/campaign in collab with christoph
schlingensief, hans-peter bernhard, rolux/textz, SILVER SERVER, aaron, tilman,
drx, voortekk, /department

IPNIC www.ipnic.org

AIIianz www.AIIianz.com

ATTACK_ON_DEMOCRAZY www.naziline.com/ATTACK_ON_DEMOCRAZY

kein haarbruch beim buersten! ubermorgen:: :





esof.net

ESOF Ltd is a modern software company.

It has been legally established in 2001 in Sofia, Bulgaria.

ESOF professional team of software specialists is a group of young people that
would always come up with an innovative idea or an efficient solution. Their
background allows them to be confident and successful in every project.

ESOF Objective

o To provide valuable and efficient product satisfying the Customer and exausting
their needs and requirements

The company as a team and as a business competitor has already gained more than
two years of experience.

(c) ESOF.Ltd 2001


core-engine (etxtreme system): This engine compresses specific areas of the net,
transforming its content into smart and fresh TOP10! trends; it grabs all the
text from specified sources [URLs]. It then delivers these words into a database.
This data is then rendered and compressed into daily TOP10-words [ranked].

Technology used:

Java servlets, applets; JDBC (MySQL); http, RMI communication

Developed for: ubermorgen - Vienna, Austria [http://www.ubermorgen.com] R.O.S.A.
- Zurich - Belgrade [http://www.rosa.com]


File-Sharing Network Receptor:

This system builds statistic about the gnutella and the napster networks. It acts
as ordinary client of these networks on specific key-points and records statistic
about the searches and the file transfer in these networks. It could also
redirect info traffic for specific purposes.

Technology used: Java servlets, applets; JDBC (MySQL); http, RMI , socket
communication

Developed for: internal project.

NAZIGOTCHI game: more...

Joint project with ubermorgen.com. Flash jump-and-run game about a guy lost in a
village.


Technology used: FLASH 5

Developed with Partners: ubermorgen - Vienna, Austria
[http://www.ubermorgen.com/]









copyright hansbernhard.com 2002