listeners who only had access to a radio receiver listened, listeners with an additional net-account listened and read, and
listeners who couldn't listen, because they were in, say, budapest, had a strange read-only experience. the page would
constantly *refresh* with permanently new information on it. maybe it was the first text transmission on the net that be-
haved like an audio-visual medium, maybe it was the last. as a simultaneous translation from spoken words into text, it
was somehow dirty: of course the text version was never the latest version, the version of the actually spoken words. so
they were gaps, errors, short moments of dissonance between the sound on the radio and the gifs and text on the web.
to transform all this into a true form of deejaying, it had to be performed in *public*. so, you could visit convex tv. and see
it be done live on a kitchen table! yeah, it was smart. HTML DEEJAYING. (then announced in the typical tech-speak as a
“plug-in” and in general a good thing when anybody asked why convex tv. called itself tv. ...)

the atavistic remains of it can be found on the convex tv. homepage: in the archive you can access transcriptions addi-
tional to the audio files. by chance, convex tv.'s shift from HTML deejaying to using RealAudio coincided with WIREDs
“push media manifesto". the corresponding *pull media manifesto* (http://art-bag.net/convextv/pull.htm!) was published
as a reaction in march '97:

We interrupt this real time downloading for a special bulletin -PULL! Kiss your convex-plug in goodbye:

The radical future of radio beyond the Web.
By the editors of convex tv.

Remember the war between stereo and mono? Well, forget it, the frequency itself is about to croak. And good riddance. In
its place broader and deeper new interfaces for tactical media are being born. Left Channel and Right Channel, propelled
by hot young Mitte start-ups. Levelling and Balance, spawned in the engineering labs of the broadcast kings. And from the
content companies, prototypes powered by underlying new technologies - Real Audio and real Audio.

What they share are ways to move seamlessly between media you steer (passive) and media that steer you (interactive).
They promote media that merrily slip across channels, guiding human attention as it skips from tuning device to phonetop
‘speaker to a car stereo. These new interfaces work with existing media, such as voice, yet they also work on language.
But most important, they work in the emerging universe of self-referential media that are spreading across the audiocosm.

As everything gets wireless, media of all kind are moving to the centralised matrix known as the Ether. While the tradi-
tional forms -internet, multimedia - show many signs of vanishing, the Ether is being invaded by even older media species.
convex tv. is one. Yet with each additional transmitting station, each new antenna, the media the Ether can support be-
come richer, more complex, more nuanced. The Ether has begun offering things you simply can't hear.

PULL HERE!

ee ee
if you now start to wonder how paradoxical this sounds, first re-read WIRED's manifesto (http://www.wired.com/wired
/archive/S5.03/#_push.htm!) for comparison. the pull media manifesto also refers to convex tv.'s first experiment with
stereo-broadcasting. in order to double precious on-air time, this stereo-show used the two stereo channels for transmit-
ting two different programmes, thus importing the idea of *interactivity* into radiospace. in victimizing mono-freaks and
annoying radio-users it happily abused the utopia of interactivity at the same time: listeners had to switch between chan-
nels, otherwise there was audio mayhem in the living room. the *pull here* command of the manifesto opened the first link
to convex tv.'s new born audio archive, then starting with the april '97 show.
necronauts, pull here!