relate the # with the 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/zak/zai and his gang", or even, "zak/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/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/zak/zai came to the anna-goeldin gymnasium.. the next level of the emigration/collaboration was then in december 1993, when zak/zak/zai was alredy student, and zak/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/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/zak/zai and bernhard did the same in vienna..

#06 such thoughts were products of 100s of hours of discussions between zak/zak/zai and brainhard, so it is not really his analysis, we were a team at this time, working under the name zak/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/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/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/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/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 metaphor is a collective creation of zak/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 "hyperjum" 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/zak/zai and brainhard from their visual stuff, the japanes style that gramazio and zak/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/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 :) :(

#20 zak/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/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/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/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/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/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 a "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 flix-disc distribution, and there was just net.art stuff and the crew.. a huge site. 

#31 this was not naïve, 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/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/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 Stärkung der Bürgerrechte fordert. Vor dem Hintergrund des derzeitigen Zustandes der Staatspolizei ist seiner Meinung nach die Einführung 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 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."] 
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/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/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/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/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 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/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/zak/zai and brainhard worked collectively on the etoy.FOLDER. to quickly explain the general collaboration/work-level of zak/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/zak/zai on these concepts, cause zak/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/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/zak/zai would be responsible that they [the ideas and then products] became reality.

#44 zak/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/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/zak/zai and brainhard.

#45 pls check the etoy.FOLDER to see that this story is wrong this way. It might have been some inspiration of zak/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]. 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/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/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/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/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/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/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/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/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/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/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/zak/zai, brainhard and esposto were driving with will from blasthaus, the journalist 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 seel 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/zak/zais face, will linn said, brainhard is mick jagger, brainhard comes back, raises his finger on the shooting, zak/zak/zai is pissed and tells him to not do that, brainhard goes along, zak/zak/zai hisses victory-fingers, esposto/linn/zak/zak/zai are in one car, gold, brainhard, photographers and journalist in another car, in the car, esposto makes a small joke about zak/zak/zai, zak/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/zak/zai and the journalist stand in front of the boat, zak/zak/zai starts bragging, esposto tells him: "shut off" [this sequence is damned good in the book!], zak/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/zak/zai, he has to do something otherwise its all gona fuck up. Zak/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/zak/zai, goldstein also joined, but at the same time had to be the  mediator, but also goldstein put some arguments into zak/zak/zais face. Zak/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.

There was no sense to make a compromise with zak/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 was always telling us we were unable to do because we were not good enough, not precice enough, etc.. ]. So when zak/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/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/zak/zais, gramazios and kublis hands :( ]. So, sorry these long words...  

#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 "ubermorgen", 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 was only possible also with 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. I wanted the right to publish, and appear under etoy, I wanted the right to cash in if etoy.com sells something [it was all ours, but suddenly zak/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 ubermorge 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 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 active, exactly what zak/zak/zai ALWAYS told us we were not able, cause 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. 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/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 innvoative 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 Lüthi ,
http://www.woz.ch/wozhomepage/37j01/micromusic.html

Die Schweizer Künstler- 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 üblich war, das Netz als ultimativen Business-, Kommunikations- und Kulturraum in den höchsten Tönen zu loben. Doch Mittel- und Augenmass waren noch nie für die Beschreibung der elektronischen Datennetze massgebend. Wie sich der kontinuierliche Niedergang des virtuellen Wirtschaftswunders längerfristig auf andere Bereiche des Internets auswirken wird, ist gegenwärtig noch nicht abschätzbar. Die Netzkunst im Besonderen und die digitale Kultur im Allgemeinen sind jedoch nach wie vor blühende Landschaften. Erst jüngst wurde an der Ars Electronica in Linz der Beweis dafür erbracht. Vor dem Hintergrund der Frage nach der Kunst von morgen war auch ein Trio aus der Schweiz anlässlich des Festivals für elektronische Kunst in der oberösterreichischen 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 Zürcher Gino Esposto - Mitbegründer der Netzterroristen-Gang Etoy - und dem Basler Mike Burkhardt unter dem Projektnamen Futurelab ins Leben gerufen. Im Zentrum stand für die beiden Micromusic-Gründer computergenerierte Musik - in erster Linie jene eingängigen Melodiesequenzen, die als Alarm- oder Bestätigungshinweis nach einem Spielzug auf Game Boy, Playstation und den frühen Homecomputermodellen wie Commodore 64 oder Atari zu hören sind. Das zweite Element war die Verbreitung und der Austausch der persönlichen musikalischen Vorlieben mit Gleichgesinnten rund um den Erdball.

Musik aus dem Game Boy
Showtime im Showroom ist angesagt. Eine Mischung aus Spielsalon, cleaner Laboratmosphäre und dem Mief einer Mehrzweckhallengarderobe; flimmernde Videoleinwände, surrende Computer, gedimmtes Licht. Wir befinden uns in der so genannten Electrolobby im Erdgeschoss des Kongresszentrums Brucknerhaus in Linz, konzipiert als «Showroom for Digital Culture & Lifestyle». Auf der Bühne - oder genauer, hinter einem nur geringfügig als solche kaschierten Garderobentresen - steht die Crew von Micromusic; bereit, ihre vielfältigen Gerätschaften zum Klingen zu bringen. Seiner Pilotenbrille und der Rukka-Jacke entledigt, entlockt Micromusic-Mitgründer Gino Esposto alias Carl einem Laptop vorerst sonderbar klingende Geräusche. Das knallrote T-Shirt mit einem weissen Figürchen 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 lässig auf dem Tresen, den Blick konzentriert auf das kleine Display des Game Boys fixiert, so, als wäre er im Begriff, das nächste Level von Super Mario zu erklimmen. Wanga ist aber nicht am Spielen, sondern er generiert Klänge, wie sie der Taschenspielcomputer hergibt.
«Wir arbeiten mit Klängen, die allgemein bekannt sind. Unsere Rolle sehe ich so, dass wir Aufklärungsarbeit leisten, indem wir vertraute Melodien den Leuten in anderer Form wieder näher bringen.» Carl spielt damit auf die Omnipräsenz computergenerierter Musik an, die neben ihrer ursprünglichen Verwendung als Warntöne bei den Bildschirmspielen längst in Bereichen Verwendung gefunden hat, wo man sie kaum vermutet. «Gerade 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. Für mich ist Pop ein Paralleluniversum zum Micromusic-Sound - die Melodien sind eingängig und gehen direkt in den Bauch.»

Weltweit verstreute Community
Noch steht die Menschentraube mit einer Mischung aus Staunen und Faszination vor den drei Micromusic-Künstlern, doch die eine oder der andere kann das Wippen nicht verbergen. Gegen Ende der Performance wird sogar getanzt. «In den Anfängen 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 ähnliche Entwicklung für unsere Musik vorstellen.» Zukunftsmusik, von der Carl da spricht? Die Begeisterung für computergenerierte Klänge 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 SoundtüftlerIn und stellt seine/ihre Kompositionen den anderen Mitgliedern der Community zum Herunterladen zur Verfügung. Im Gegensatz zu anderen Musiktauschangeboten im Internet wird auf Micromusic.net jedoch nicht alles veröffentlicht, 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 Fähigkeiten des menschlichen Ohrs. Einmal im Monat werden dann jene Tracks veröffentlicht, die in den Ohren der Micro-Musiker als ihren Stilvorstellungen entsprechend betrachtet werden. Als besonderer Anreiz, um sein eigenes Soundgebastel einzusenden, winkt die Veröffentlichung der besten, sprich stilechtesten Tracks auf CD. Die erste CD ist seit vergangenem November mit dem Titel «Microsuperstarz 2000» bereits erhältlich. Am Entscheidungsprozedere wirken neben den drei Hütern des .qfs auch eingeweihte Community-Mitglieder mit, die mittels Online-Abstimmung in regelmässigen Abständen eine Hitparade der Einsendungen erstellen. 
Obwohl das Internet als Kommunikations- und Distributionsmedium gewählt wurde, sträuben sich die Computermusiker gegen die Geschwindigkeit und Schnelllebigkeit das Datennetzes. «Wir haben bewusst eine Kultur der Langsamkeit entwickelt. Wenn du ein verhältnismässig grosses Projekt nur zu dritt und neben der Erwerbsarbeit betreust, kannst du nicht anders, als auch mal Pause zu machen», beschreibt Carl die Herangehensweise. Es gehe letzten Endes auch um die Existenz von Micromusic, doppelt Superbacon nach, denn «wir sind lieber langsam unterwegs, dafür gibt es uns umso länger. Ich möchte eigentlich nicht, dass Micromusic in einem Jahr von der Bildfläche verschwunden ist.»
Eine Befürchtung, die sich derzeit alles andere als zu bestätigen scheint. So genannte Micro Events spriessen zwar nicht gerade wie Pilze aus dem Boden. Dennoch ist die Kontrolle über Liveveranstaltungen, wo unter dem Banner von Micromusic Computergame-Sound zum Besten gegeben wird, den Gründern 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 können.
Ein Hauch von Exklusivität will man sich dennoch nicht nehmen lassen. So soll die permanent wachsende Community, die auf der Internetseite micromusic.net unterwegs ist, beschränkt werden. Wer schon eine Weile nicht mehr durch Aktivität aufgefallen ist, muss einem neuen Mitglied Platz machen. «Wir suchen Producer und nicht User», so Superbacon programmatisch. 

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

R.Ø.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.Ø.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:

· 4 klagen / einstweiligen verfuegungen wurden durch U.S.-
  gerichte stattgegeben. 
· die missouri-klage wurde 03/2001 zurrueckgezogen.
· wisconsin-klage wurde 06/ 2001 zurrueckgezogen.
· gerichts-verhandlungen in chicago und massachussetts.
· klage gegen CORENIC/CSL/JOKER.com aufgrund des 
  illegalen shut-down der domain vote-auction.com 
  eingereicht.
· 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 grundsätzlich misstrauen, sollten sofort die Seite  www.bmdi.de anklicken. So gibt es jetzt ein großes Geheimnis darum, ob möglicherweise Schlingensief dahinter steckt. Und alles sieht wirklich fürchterlich echt ... Doch.. hinter dieser Seite steckt in Wirklichkeit die Wiener-Künstlergruppe ubermorgen.com, die die  offizielle Seite des Bundesinnenministeriums sauber kopiert* und durch den oben zitierten Aufruf ergänzt 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 unterstützt 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 Künstlergruppe "ubermorgen" hatte die eigenwillige Adressierung des Bundesministeriums ausgenutzt und unter dem viel plausibler klingenden URL bmdi getreu kopiert... Insofern steht die Aktion natürlich auch im Verdacht der Selbstvermarktung... Aber wer sich über diese unverfrorene Selbstvermarktung wundert, hat die Aktionskünstler wohl noch nie in Aktion erlebt und überhaupt die aktuellen Tendenzen des Kunstbetriebs verschlafen. Der wird dann an dieser Stelle auch mit Genugtuung lesen, dass das Bundesministerium sich den Spaß 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 mächtigen Ministerium nicht verhindern konnte, dass die lügenden Künstler sich zwischenzeitlich mit einer Lüge verabschieden: "Bund mittelständischer deutsche Industrie. bmdi.de" liest man auf www.bmdi.de jetzt und: "Unser Angebot steht in Kürze wieder komplett zur Verfügung. Wenn Sie unsere alte Site suchen, klicken Sie bitte hier" - und hier führt dann zur richtigen Site nicht etwa des Bundes mittelständischer deutsche Industrie, sondern des Bundesministeriums des Innern. Screenshot sei Dank ist der Fake festgehalten und belegt wie die Seite aussah, ehe die Staatsräson zugriff - wenn, ja wenn der Screenshot kein Fake ist, denn so eine Website kann sich schließlich jeder nachbauen und dann fotografieren." Roberto Simanowski, heise.de/tp telepolis, 18.06.2001 "Zur Ästhetik der Lüge"

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 „verteidigung" 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 <ubermorgen> unternommene Aktion wiegt doppelt schwer ... : Sie wagt sich an ein uebermächtiges Gegenüber und sie tut dies mit einem reflektierten künstlerischen Konzept als Manifest und Rückendeckung. 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!" empfängt. Die Frage ist mit ihrem 'em statt them salopp formuliert, endet mit einem Ausrufezeichen und ist natürlich 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 mitzählt. Wer es prüft, wird sehen, dass das Programm zuverlässig arbeitet, denn auch die nächste Stimme wird genau in der Rubrik hinzugefügt, für die man votierte. Insofern scheint man online polls also durchaus glauben dürfen, wenn da nicht der Umstand wäre, dass man soeben zwei Stimmen abgegeben hat und sich nun fragen muss, wie repräsentativ dann die anderen Stimmen und all die Stimmen all der anderen Online-Umfragen sind. Das ist Learning by doing in bester aufklärerischer Tradition - eine CGI-Spielerei, die zugleich das eigene Medium kritisch reflektiert." Roberto Simanowski, heise.de/tp telepolis, 18.06.2001 "Zur Ästhetik der Lüge"

"Das ist inzwischen zu einem Game zwischen uns und RTMark [anm: rtmark.com, international renommierte media hacking truppe aus den USA] geworden", amüsiert sich LIZVLX. "Die entscheidende Frage dabei ist: 'Was müssen 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   

• 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/]