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Instant Coffee Saturday Edition
Issue 19, December 14 2003 | ISSN 1499-5085
  • Saturday Edition Features
  • Graphique A Instant Coffee Makeout Party + Graphique B pretty animated gif from london uk
  • International Coffees
  • Mr Brown
  • Tasters Choice
  • Ten Ten
  • Sanka
  • Feedback
    Saturday comes late. ho ho ho. time flies when you're busy makin out. something in the air feels like effort. instant coffee is brought to you by the collective. next year send in some mid-winter saturday edition content to be enjoyed by all. that's an open call. with the holdidays here we know we don't want to spend any more money than we have to. so be happy we are free. someday we'll explain everything. till then have a happy new year, and may it be a dirty dirty one. luck and happiness ::ic

    send letters & content to the editor

    Saturday Edition Feature

    1. Sarah Hollenberg on Utopia

    The following is an excerpt from the catalogue essay for Three Models for Improvement (Minor), a show held last summer (July 28 to September 7) at eyelevelgallery in Halifax, featuring recent work by Aaron Brewer, Geoffrey Garrison and Andrea Lalonde. (Catalogue available through http://


    'The hole is the only intimation of paradise there is down here.' Karl Tucholsky (1)

    The fantastic imaginings of a perfect society, of a place where the desires of the individual and the collective are in perfect harmony with each other and with available resources have collapsed, a balloon pricked by history and worldliness. The failure of utopian thought-which can be located most clearly in the first half of the twentieth century-was spectacular. Its dissolution complete, Utopia was defeated, like many renounced fantasies, by the disappointing results of attempts to manifest it as reality. The idyllic paradise waiting across the sea was exposed as a colonial nightmare that stripped lands and peoples of their material and human resources. Attempts to transform societies from the inside bought us totalitarian states which left too high a body count to be considered viable, whatever one may think of the ideologies that drove them. Even the paradise promised by religious faith is being rapid- ly abandoned in much of the West.

    We shy away from any attempt to enact massive transformations of the world we live in with Pavlovian obedience, identifying such attempts as arrogant, dangerous, and futile. Though there are still many who identify themselves as revolutionaries, their strategies often resemble fashion statements more than political actions. The organizations that appear to provide genuinely needed services (i.e. Medecines Sans Frontiers, women's shelters, food banks) are all clean-up operations. They exist to offer some small help or sanctuary to the many that our contemporary social structures have failed.

    So we focus on whatever small but desperately necessary gestures we are capable of making. Keep our collective finger in the proverbial dike. Try to stave off disaster by blue-bagging our lives. A few steps forward, shuffle back, leaning left or right, we're mostly keeping time. But Utopia, until someone tried to make it real, was meant to be imagined.(2) Even if our policy makers and political leaders have grown too sophisticated for such naive ideas, there are few of us who don't harbour an imagined good place/no place.

    Any relevant contemporary engagement with utopian thought requires an acceptance of and investment in its contradictions. It must retain criticality (which is easy), while functioning ultimately as shameless optimism (which is not). The artists presented in this exhibition enact such contrary thinking in their practices. Whether they attempt to make material and manageable the abstractions of international politics and economics; to bridge the gap between the material comforts of the domestic sphere and the egalitarian impersonality of public space; or to prioritize desire over propriety, these projects simultaneously shudder at and yearn toward the concept of a better place, an impossible social contract.

    "The Unity that serves to encompass diversity is that of a geometrically reconstituted perception on the part of a fictitious eye." Rudolf zur Lippe 3

    The European Union is, at first glance, remarkably close to a multi-national manifestation of utopian ideals. A continent that displayed some of the most horrific of human achievements in the last few centuries - in the attempts of various nations to overcome one another, to eliminate undesirable populations, and to build perfect societies by force of violence - Europe seems finally to have reached a state of semi-peaceable cooperation. It is fitting that Geoffrey Garrison's Euro Bridges were conceived of and produced in Berlin - the reunification of Germany having both allowed and necessitated the political, industrial, and financial unification of the continent.

    The anatomy of the union is really pretty banal. Driven more by bureaucracy than ideology, the union is one of complex treaties addressing such issues as allowable deficits, agricultural subsidies, and common law. The product of pragmatic politics, it facilitates European competitiveness in the global economy and prevents military conflict between previously fractious member nations. These nations are left to define themselves by their languages and cultural histories, a happy state of diversity within unity.

    Utopia necessitates exclusivity and the removal or refusal of any subject that fails to meet its dictates. There is a reason that More's Utopia was set on an island; defense from outsiders was identified as a primary and integral aspect of that peaceable society, and punishments for any infraction were spectacularly severe. (4)

    To maintain such a perfect state, lines must be drawn, choices made. Self-definition presents something of a problem in an alliance that has little capacity to foster a homogeneous concept of transnational European identity. The reasons for the inclusion or exclusion of a country from the union are many and complex, but there does seem to be a limit to accepted conventions of diversity.



    1.Quoted by Klaus Theweleit in Male Fantasises, Vol. 1 1987, Minnesota 2. Thomas More coined the term in his 1516 book of the same name. It was one of only many puns and wordplays in the text: a combination of the Greek terms for "good place" and "no place." Thomas More, Utopia, current translation published in 1965, Penguin Classics, London England.
    3. In Natur Beherrshung am Menschen, cited by Klaus Theweleit in Male Fantasies Vol 1¸ pp. 302, 1987 Minnesota.
    4. In More's Utopia, "pre-marital sex is punished by compulsory celibacy for life, adultery by slavery and repeated adultery by death". Paul Turner, translator, pp. 13, 1965, Penguin, London, England.

    2. FICTION | Markus Satelite (pt.1)
    by Ryan English

    From Penn Station Markus took the Uptown 2 to West 72nd Street. His life in Iowa was contained in a tattered chocolate brown Samsonite bag which he now carried wearily up the throat of Broadway. A plethora of others had revised themselves here. Perhaps here at this very newsstand that sold Markus' Lucky Strikes. They had changed form, escaped the eternal reference and scorn of their respective hometowns that bore the curse of type cast. New York City held a heart that offered colossal forgiveness to its newcomers and natives alike. Rumours of new skin lingered on the terraces of Brownstones in Greenwich, and flirted with rooftops like the steam from the sewers at West 75th Street outside the Fairway Market.

    Markus was no different. An army of boys had come before him, their brains short circuited from the penetrative gloss of a Technicolor XY Magazine. The Elysium they were promised never came to pass; it only left their hopes to the winding concrete of the East village. Of course, there was the resourceful variety that had managed to swindle a loft on Spring Street with lawyers and real-estate tycoons alike. There were the trust funded who lived out a dual existence of ennui and debauchery in the hotel residences on West End Avenue, concierge and all. Or there were those who were the embodiment of irony, living it up in Williamsburgh and staying in with take-out sushi. What they all shared in common was that they traveled across the borders of their own history, across the borders of America's lonely and eccentric townships, and down the endless highways that seemed as though they would never find New York, in the prospect of transformation, personal liberty and a home in the Hamptons. Markus was no different.

    He paused now half way down West 75th Street and gazed up at a five-story brick building. A canopy stretched half way out of the entrance of the building and lingered about two-and a half feet from Markus' head and maybe eight from the ground. Etched into the marquis was a tattered burgundy that read: "250 West 75th Street". Something about the etching made the muscles in Markus' stomach flinch. The assertion of addresses on buildings in Manhattan took a whole being unto themselves. It was as though every number on every street was a holy proverb, like they were the coordinates of some divine and glamorous jigsaw puzzle. He turned the key.

    Markus' father owned property on the Upper West Side of Manhattan. It was an inheritance from his mother who died rich and lonely and the space was virtually unused. At any rate Markus climbed the four flights to 407 and helped himself in.

    The Richard Avedon on the white plaster walls were no contribution of Mr. and Mrs. McCarthy. Lily, Markus' grandmother had a penchant for fine art. Not the Baroque or gaudy variety you might expect from a woman her age; Lily had a taste for the avant-garde and all its mundane cache. And by that token had created a private permanent collection of sorts. She was a society lady and her taste for art went no further than the keen eye she held for fashion, intellectually or otherwise. Lily was a mystery to the McCarthy's. Her wit and hedonism dragged her to every hotel lobby in Manhattan, and into the arms of every senator and attorney. She was a professional. The McCarthy's inherited everything from her, but never directed any thanks openly or cited how a small fortune had found them all the way from New York to Osceola County, Iowa.

    Markus found an unscathed bottle of Southern Comfort in the pantry that led off the kitchen. Outside the living room there was a fire-escape. It was the quintessential New York fire-escape that housed a few neglected plants and a small pitcher that had gathered cellophane wrappers and rain water. Markus imagined some less fortunate souls waiting outside the Fairway Market at 11:30 a.m. for the lunch crowd to empty on to Broadway. Their charity would render them the simple pleasure of a Brooklyn Lager concealed by a brown paper bag. Perhaps even the sugared comfort of the 12 ounces of Southern Comfort Markus now enjoyed in a glass tumbler with a floral pattern on the imperative fire-escape four stories over West 75th Street.


    International Coffees

    1. Nicolas Bourriaud: Notes from Cuba
    by Jenifer Papararo

    My notes unedited (except for spelling) from Nicolas Bourriaud¹s twenty minute lecture Arte Global o Turismo Artistico: La Ideologia de la Globalización (Global Art or Artistic Tourism: the Ideology of Globalization). for the Forum, Arte-Vida (Art and Life) as part of the 8th Havana Biennial. The forum provided simultaneous translation: Bourriaud spoke in French; I listened in English. JP

    Aesthetic problem of common territory reflected through abstraction. Modernism = emergence of common commitment. Ended by an idealism - something valid for everyone & this is what over the last twenty years has... Now out of an ideological time - material occurs.

    Idealist: train station - knows where it is going.
    Materialist: train station - doesn't know where train is going. He sees the people and knows of the origin of the train.

    Globalization = Essentialism
    1) beauty can be found in everything and is circumstantial.
    2) Making a judgement; common territory among different cultures; hand in hand attacks to globalism; Westernization of the problem.

    Modern reflects new culture: globalization. What is it? It is an exchange; the chance of exchange.

    Two terms of consensus:
    1) technical field: visible in contemporary art; ie., video.

    Godard: "Documentary is what happens to others. Fiction Happens to me."

    Machine that produces scenes of others. Standardization.

  • failure in the movie industry (operating as substitute of reality). Hollywood opposes to the contemporary; a degree of accummulation.
  • local function: artists as representatives of their culture. Fabricricated(?) exoctic elements; should have a dialogue with culture, but also move beyond the local.
  • present reproduction (no longer classic sense now post production) to see the amount of works that exist or are based on social and economic funds.
  • evolution: progressive passage beyond production and perception; organization of the way work is consumed.
  • inserted artistic work in something that exists already; artists are in the middle of origin and end; so we need to use the world.

    Felix G. Torres (extremely literal)

  • invent the culture of the use of the previous one; the case is to represent them; an attitude.
  • social and economic forms as medium.

    True challenge lies: current art as a montage of reality juxtaposition of social and politics; art forces us to see ourselves through a member of scripts.

  • why can't a private person take care of a public space.
  • art today rebuild the scripts that build daily life.
    *critical relation with general production relations of production.
  • new technology: we can speak of pop art as the supermarket.
    *art relates to technology the way it is in the economy. ie. Minimalism: architectural sources aluminum. Now conceptual art follows closely the progress of information technology. Ie. Computer processes being developed at the same time as conceptual art surfaces.
  • producing things materially and then postproduction; emergence of service industry; pleasure sector; relational practice is based on human art; 60s art based on consumption; now art relates to human relations.

    Micro-utopias in the vanguard of the 20th century; experimental centers; curator is a part.

    Circumstances: What is art? The only common thing is that art is an action that actualizes concrete relations.
  • we can judge these relations the same way we can judge human relations in society.

    Criteria: why does a work exclude or include me? Dumb question, but must ask that question.
  • knew modernity (each time must invent its own modernity); it will eventually be abandoned, but it is important to re-interpret the terms of modernity (continually).
    *misundertanding is part of the programme.
  • what is meant and what is understood is a co-production. Relational aesthetics is a model that describes a standard.

    2.Kodak discontinuing slide projectors
    This was forwarded from the listserv of the National Conference of State Historic Preservation Officers on September 10, 2003:

    July 14, 2003
    Kodak Pre-discloses Plans To Discontinue Slide Projectors and Accessories in 2004

    Eastman Kodak Company has confirmed plans to discontinue the manufacture and sales of slide projection products and accessories in June of 2004. This early disclosure is being made to key user groups in order to allow time for adoption of a replacement technology or purchase of backup slide projector products.

    The KODAK products included in this event are CAROUSEL, EKTAGRAPHIC, EKTALITE and EKTAPRO slide projectors and all KODAK Slide Projector accessories.

    The current plan is to cease manufacturing in June 2004. Kodak anticipates that small quantities of new Carousel, Ektagraphic, Ektalite and Ektapro slide projectors will be available through the end of 2004. In addition, the Kodak distributor, Comm-Tec, in Germany plans to sell Ektapro projectors and accessories beyond 2004.

    Kodak will offer service and support for slide projectors until 2011. Slide projectors continue to be used in many government applications due to a proven track record of cost-effective, reliable, high-quality image projection. Combining the seven years of service and support with a long history of trouble-free operation, means that slide projectors will continue to enjoy many years of productive use.

    Investigating and installing replacement technologies can be a challenging and costly effort with a long implementation timeline. So, many may wish to purchase backup units for currently installed slide projectors while making the transition. Upcoming government budgeting activities make it prudent to pre-disclose now in order to allow ample time to include slide projector demand in the government budgeting plans for 2004.

    Making Kodak aware of your future requirements will insure that there is enough products on hand before production ends. You can do this by contacting Glenn Prince, Kodak Account Manager, Government Markets (678) 339-0723, . Thank You, Glenn R. Prince Eastman Kodak Company Have a peaceful, joyous day.


  • Mr Brown

    selected links
    1. don't waste your money
    Paris Hilton Sex video

    2.REAL ART - End The Uncertainty! Visit this site to find out if you or someone you know is a REAL ARTISTS.

    3. PAMPHLET: A monthly discussion series.

    4. I am robot and proud

    5. Why not?

    submitted links
    1. this you'll just have to see for yourselves
    rapping kid

    2. "...Go to google and type in "miserable failure" and hit the 'I'm feeling lucky' button..."

    ic supporter links

    Tasters Choice

    5 lb chicken, cut into pieces
    2/3 cup shoyu, (soy sauce)
    1/3 cup brewed coffee
    1 cup sugar, =or=-
    1 sugar substitute equal to
    1 1 cup
    1 cup water
    1/2 inch fresh ginger root
    1 =peeled minced
    2 cl garlic

    Combine all ingredients in an eight-quart pot. Bring to a boil. Cover and simmer over medium heat for 30 to 40 minutes. Do not stir. Keep covered and shake the pot once or twice during cooking. The Friendly Exchange by Adele DeiSavio, Hilo, Hawaii Brought to you and yours via Nancy O'Brion and her Meal-Master.

    Servings: 6

    Ten Ten

    1. Clubs by Nicholas Flood

    I have always preferred the eerie glow of disco lights to that of the harsh reality of UV rays. Admittedly, I approach the night life with a certain "impress me" attitude after years of disco spelunking and hosting my own monthly club night in NYC. However, the radar is always scanning for something fresh and I will be the first to acknowledge innovation in the art of night vision. A gorgeous wave of lesbian chic is washing away exhausted gay boy drama. In recent months, girl centric-boy friendly-parties have made a mark on the early a.m. party horizon. These weekly and monthly parties are offering a much desired alternative to church street monotony and a male-stream underground. Don't expect any uniform code of fashion or conduct at these events. They attract a "we are here to party" cross-section of lesbians and their admirers. The only thing that really stands out is the lack of self-conscious reserve these women exhibit. They come to groove and the crowd is never static. If you suffer from any delusions of lesbian style deficit you will be corrected at the door. There is no archetype here, looks range from high lipstick gloss to raw diesel (and everything in between). The frequency is at full tilt in a most inclusive manner. These gals seem hell bent on one thing-having fun. Two current nights that exemplify this growing dance girl riot are Smooch and Juicy.

    On the advice of a friend, Petra C, I attended Smooch one Thursday night at Liquid Lounge on College Street. I was greeted by a sexy kitten in a full body cat look brandishing a whip, meow! The smallish dance floor was drenched with style and rhythm. Smooch is run by the fabulous duo Michelle Mama and DJ Secret Agent-Kristy (whom, when not Dj-ing can be found slinging fashion at Holt's). Their night is a weekly lounge foil to the monthly party Juicy.

    Juicy is a major affair. Held at the re-vamped el mo on Spandia Juicy attracts a youthful crowd craving old skool electro and funk. Juicy is thrown by a collective of stellar girls who recognized the need for girl sponsored music speed. In addition to a rotating line-up of all girl Djs hot new performs are regularly featured. November's party featured a wonderful drag-king cabaret number. Recently I had a chance to speak with one of Juicy's representatives, Holly Skinner. During a phone interview I asked her about some of the backlash from the lesbian community regarding the presence of men at Juicy to which she responded without missing a beat "When you are on the dance floor the only thing that should really matter is the music and who you are dancing with in the moment". Sing it Sister.

    2.The International Space Station and the newsworthiness of Rex Harrington
    by Timothy Comeau

    Apparantly Bushy down south is going to soon announce a return to the moon. Like the weapons of mass destruction, I'll believe this big-election-next year-bribe when I see it. For the past while I've been content to make do with watching the space sation fly overhead every once and awhile. Now, it's not that big of a deal, but it is one of those things that most resemble art while making no pretense to be so. Like a conceptual masterpeice, it is rather banal and boring, but it can inspire much thought. Nothing else so reminds me of what Heidegger was talking about when he was going on about Greek temples. But I mean really, Greek temples...when we've been to the moon for god's sakes. Why should any of that classcism make sense to us when we have a space station orbiting the earth, and visable according to a schedule worked out using good old fashioned Newtonian physics and viewable using good old java applets and contempoary telecommunictation technology (links below).
    Nothing so makes one so aware of how pathetic our attempts to go to space have been, then seeing this fragile light cross the sky. Rating: 9/10

    Sighting oppurtunities by city

    Real Time Orbital Data

    Rex Harrington's Retirement on CFTO News, Wed 19 Novembe 2003 11.20pm

    You can't buy arts coverage on the TV 11 o'clock news and yet they think we care about the ballet? I mean, at least I understand the economics of celebrity and why they think anyone should care about Ben and J'Lo and the ultimate downfall of American civilisation that was Ryan and Trista's wedding. But Rex Harrington.... does CTV news even know who Brian Jungen is? Are they even aware that Sobey's is shelling out 50 grand to artists who usually get in the news for "wasting tax payer money"? And yet they think the public cares about an anachronistic fey sport like ballet? Now, don't get me wrong, I've never been to a ballet and I probably would not turn down the chance - I tend to be open minded about fey things - but I honestly can't see what they were thinking in imagining anyone cares. I don't understand how Rex Harrington is a household name. Hockey, curling, and ballet? The Karen Kaine days are ovah. Bye bye Rex, I so don't care. Rating: 2/10



    1. Week in Review
    by Emily Hogg


    A damn spider bit me again. This tends to happen under my blankets or when I wear something from the pile of dirty clothes. As I AutoCAD I scratch behind my knee, which is covered in fierce little red bumps.


    For $1.50, a PEUGEOT bicycle cap. And in the ongoing search for golf shirt insignias, a Nicklaus bear.


    I'm not sure why I so conscientiously clean my kitchen as a 'discouragement' to the mouse, when I could so easily have him killed.


    A sequence in Disney's The Black Hole has the Palomino investigating the starship Cygnus, a searchlight running over it like a sunken National Geographic battleship.


    I sit at the window and warm my feet on the electric baseboard heater. Everyone outside looks so smart in their winter warm things.


    1. From: "Paul Cowles"
    Date: Tue, 11 Nov 2003 13:23:32 -0500
    Subject: (ic-events) in iCalendar format

    Hi there,

    I've taken the liberty to start re-publishing your events in iCalendar format.


    Now people on every OS can subscribe ( and have your events added to their personal calendars.



    2. From: mutik
    Date: Thu, 30 Oct 2003 22:58:21 +0300
    Subject: Thanks for your fax

    Dear Sir

    Thanks for your fax.But when I was in Istanbul you send your fax.Just I know English in my company, so they did not understand anything.I'm sorry.I look it today.So I did not send a sample.

    Yes you understand me.I need instant coffee and coffee cream in bulk (25 kilos cartons).I thınk you find the coffee cream for me.I need good price with quality.Please send me your sample wirh their price.

    I'm interested to start cooperation with your company.

    With my best regards

    Murat Küçük

    3. From: "Shintai | Zweck - Milena"
    Date: Thu, 20 Nov 2003 01:26:56 -0500
    To: "Instant Coffee"
    Subject: RE: Quadrasonic/Instant_Coffee MAKE OUT PARTY @ Revival Fri. Nov 21

    To IC, Ulysses and Alvaro -- this is the best flier I've ever seen in my WHOLE LIFE! I love Love LOVE it!!!

    See y'all on friday night!

    xo, Milena

    4. From: Shaun Bowring
    Date: Thu, 20 Nov 2003 02:56:30 -0600
    To: Instant Coffee
    Subject: Re: Quadrasonic/Instant_Coffee MAKE OUT PARTY @ Revival Fri. Nov 21

    unsubscride - youmakeme puke!

    5.From: Chandra Bulucon
    Date: Wed, 26 Nov 2003 08:59:03 -0500
    To: Instant Coffee
    Subject: IC fundraiser

    hey IC

    I'd like to send you cats a cheque as a contribution to your fundrasier. to whom and where do I sent this to?

    6. From: jamie sinclair
    Date: Thu, 20 Nov 2003 10:38:46 -0400
    Subject: send me stuff

    thanks for sending me stuff

    Instant Coffee Saturday Edition is our email/online zine, sent out every month or two. Saturday Edition compliments Instant Coffee's email list service, which has been promoting local, national and international events to a targeted audience since 2000.

    Instant Coffee Saturday Edition takes submissions; graphics, articles, reviews, links; about music, video/film, art exhibitions, architecture, design and all else worth knowing; ... self indulgence welcome in the Sanka section. Send submissions to

    Some sats seem like suns, Instant Coffee is lovin

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