Halas Radio (Curator)

"No Regrets For Our Youth is a nine track album of individual pieces, beautifully created with acoustic, electronic, modern and old sound. Each track varies from simple to intricately developed music. The record is one work, in that each piece connects to the others, yet they are all unique. The first track of predominantly electronic sounds defines a heavy yet childlike melody with strong rhythm in seven time. The accents are unusual, as are the sounds, but with time this 'Dance' as it is titled, becomes less awkward. The mood changes significantly with track three. 'The Manners of Speech' holds us in a warm embrace of acoustic guitars and familiar chords with oodles of anticipation. The variety of sound is refreshing and incredibly beautiful. Then 'Fronts' jolts us to attention. It starts with a strikingly simple rhythm. High-hat and electric guitar initiate the dialogue, soon joined by voice, distorted guitar and organ to form an unusual but effective ensemble. Other tracks include a tense string quartet, an improvisatory harpsichord combined with electronic instruments and sounds to create unlikely unions. The final track brings us full circle and sounds from the opener are heard again. This time the melody is a little slower, as if a long journey has been accomplished. 'No Regrets for Our Youth' is a record of familiar sounds given new life with poignant anticipation and utterly heartbreaking tension. It is modern music with its own identity. Little information can be found about No Regrets For Our Youth maybe because the music speaks for itself" -- anna johnston.

Out of a desire to catalyze the discourse on the influences of digital technologies on contemporary culture in
general and Israeli society in particular, and out of a recognition of the need to create a platform for
communication between artists, activists, media tacticians, film makers, and the general public, during 2004 -
2005, the center oversaw three projects under the theme "Hilchot Shchenim."  The Code of Law for Neighbours
references the laws of division of property and boundaries codified by the Rambam in the Mishna Torah, a
commentary on the Torah.  The exhibition series (accompanied by workshops and lectures), acts as a laboratory
for ideas about art, media, the marketplace and exchange, and examines the manner in which social, cultural and
technological changes influence artistic production.  These issues are addressed in the local-Israeli context by
establishing a connection with additional peripheries in which similar conflicts exist.

Hilchot Shchenim Chapter A (06.12.2003 – 28.02.2004)
The first chapter focuses on the mapping of independent artists' organizations without relocating them to the
center, or without being “directed from above.”  It features projects jointly run by art centers and artists in
outlying areas and that reflect the effects of the globalization movement.

Hilchot Shchenim Chapter B (24.04.2004 – 24.06.2004)
The second chapter focuses on tactics and strategies used by artists, artist groups and NGOs to create cultural
networks and intercultural/artistic cooperative projects. The participating artists adopt tactics and strategies
typical of war, finance, commerce, advertising and mass distribution. Hilchot Shchenim Chapter B emphasizes
the ways in which war, capitalism and the globalization movement shape the media, and in which artists are
using tactical media to respond.

Hilchot Shchenim Chapter C (16.04.2005 – 16.07.2005)
The third chapter in the Hilchot Shchenim trilogy brings to conclusion the project 's two main goals. The first
is the attempt to establish a regional cultural network as a platform for artists and art centers in the Middle
East, the Mediterranean Basin, and in such wider circles as the former East European bloc and the Balkans
and to overcome the limitations on communication that are dictated by political and national conditions. The
second goal is to facilitate the discussion on the influence of new technologies on society and artistic practice,
from the standpoint of a society that is flooded by and intensively absorbed in new technologies while at the
same time being culturally isolated from its geographical surroundings.

Participating artists include: Dina Shenhav & Doron Solomons, Hadas Ofrat, Aya Ben Ron, Shirley Shor, Kemal
Aratan, 2/5 BZ, ZeN, Nermin Er, Extrastruggle, Buumllent Angar, Aydan Murtezaolu, Katie Bush, Fikret Atay,
Eduard Balaz & Violeta Vojvodic, Jody Zellen, Mark Napier, Erational, Birgit Glatzel, Haim Ben Shitrit, Liraz Pank,
Gebhard Sengmuller and Effie & Amir, Krzysztof Wodiczko, Emanuel Danesch/ David Rych, BIT: Bureau of
Inverse Technology, Bureau d'Études, Ligna, Zhou Hongxiang, YOMANGO, Meena Park and Sasa, Dirk
Fleischmann, SALA-MANCA Group, Marcus Coates, Gregg Smith, Sener Ozmen, Nira Pereg, Berat Isik, Nurit
Sharett, Agricola de Cologne, Dragan Espenschied and Alvar Freude, The Yes Men, Romy Achituv, Lionello Borean
and Chiara Grandesso, Esra Ersen, Molleindustria, and George Dupin.

+Hilchot Shchenim is supported by Haaretz, IBM, Israel Foreign Ministry, Institut Francais, Austrian Cultural
Forum, the Delegation of the European Commission to the State of Israel.