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News: ISEA2022 confirmed

After a very competitive bid process; ISEA International are pleased to announce that ISEA2022 will be held in Paris, France.

Tentative dates are JUNE from 13th to 18th  2022


But not forgetting ISEA2020 Montreal, Canada, May 19-24, 2020

Registration now open: Get the early-bird rate before March 16, 2020



Plus ISEA2021 which will be held in Barcelona, Catalonia in June 27 – July, 3 2021 Spain

Future ISEA Symposia

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Expressions of Interest to host ISEA2022

The ISEA International Foundation Board is pleased to make a call for Expressions of Interest to host ISEA2022 (28th International Symposium on Electronic Art).

How to Bid

 ISEA International makes an annual call for proposals to host the International Symposium on Electronic Art. The call for proposals is made 3 years in advance.

ISEA is a forum for interdisciplinary academic discourse and exchange among culturally diverse organisations and individuals working with art, science and technology. The Symposium is an annual nomadic event, hosted by organisations around the world. The first International Symposium on Electronic Art was held in 1988 in Utrecht, The Netherlands.

 For information about past and planned symposia see http://www.isea-web.org/symposia/past-isea-symposia/

If you are interested in making a possible bid to host ISEA2022 contact Sue Gollifer, ISEA Executive Director, University of Brighton, UK email: info@isea-web.org as soon as possible for submission information.

Timetable for ISEA2022 bids:

March 31, 2019 – Expression of Interest deadline

April 14, 2019 – Bidding organisations notified

June 22 – 28, 2019 – Presentation at ISEA2019 (Gwangju, Republic of Korea) AGM and Meeting with the ISEA International Foundation Board

August 31st, 2019 – Full bid document deadline*

November 1st, 2019 – Candidates notified of outcome


Future ISEA symposium schedule include:

ISEA2019 Gwangju, Republic of Korea

ISEA2020 Winnipeg, Canadian province of Manitoba

ISEA2021 Barcelona, Catalonia, Spain


ISEA International http://isea-web.org



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Future ISEA Symposia


ISEA2021 will be held in Barcelona, Catalonia in June 27 – July, 3 2021 Spain


Quote: The Possible’ opens a yet unfinished world of futures, but also presents and pasts behind us. The Possible is openness and movement, an horizon of change that unfolds and organizes the world. The Possible started with the polis, the city, and is political by definition. The Possible has nothing to do with the unreal, the impossible, or the fiction, but it has to do with the unfinished real in front of us.


  1. Possible Humans and Non Humans Neuroscience, Technological Singularity, Human Brain, Artificial Life, Brain-Computer Interface, Artificial Intelligence, Robotics. What is to be a human now What is to be a human now? How do we relate with the non-humans? How we become bodies in the world? How do we construct and gain knowledge? How to develop the interaction between man and machine? And with the other animals?
  2. Possible Natures and Worlds Bio Art, Biotechnologies, Hypernatural, Climate Change, Global Warming, Complex Networks, Space Art, Quantum Art or Nano Arts, Speculative Design. How do we understand and experience life nowadays? How do we relate with nature? How to fight climate change and global warming? How do we transform and inhabit our world? How would we inhabit other worlds that we long to discover and experience?
  3. Possible Futures and Heritages Virtual Reality, Augmented Reality, Preservation, Collections, Documentation, Histories, Data Science, Visualization of Data Which is the role of history? Which is the role of history? How can we construct our futures? What is the role of the arts? How should we take care of our past and heritage? How to remember and forget when there is so much in-formation available?
  4. Possible Education and Societies STEAM, Labs and Maker Movement, formal and non formal learning, Art Residencies, Festivals and Events, Art and Design production centers and Labs, Artistic Research. How to experience and learn from inter/multi/trans/anti-disciplinarity? How to integrate the Arts into Science and Technology and the other way around? Which experiences need to be shared to re-inforce that connection? How and why is there a need to congregate around events such as festivals or conferences?

Main Venue

Palau de Congressos de Barcelona (Montjuic)


Main Participating Institution



Organisational Committee 

Dr. Pau Alsina (UOC) – General Chair



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#080 Oct/Nov 2000




#80 October - November 2000

* ISEA News * News from Members * Articles * Reviews *



The pre-programme of ISEA2000 is henceforthe available on line :

ISEA2000, the 10th International Symposium on Electronic Art, for the first
time in France, will be held in december 2000 in Paris. Organised by
ART3000, this pluridisciplinary event will gather more than 150 presenters,
experts from the domains of culture, science and industry, coming from 30

ISEA2000 comprises :

*  An international symposium at the Forum des images from the 7th to the
10th of December

On the programme :
50 papers,
12 panels,
50 individual and institutional presentations,
11 thematic seminars,
30 hours of video projections,
8 music sessions

*  A serie of artistic events organised by other 30 venues throughout the
month of December :
exhibitions, concerts, performances, dance shows, video projections

* The access facilities for all the participants

- hotels fees negociated with ATI agency
- preferencial fares for the flies (international & continental domestic
network) proposed by AIR France agencies
- discounts for all the artistic events and free entry in some case

* To view the details of the programme :
* To know more about the accomodation and transport facilities :
* To register inadvance:


To receive the programme brochure, please forward your postal address to:

ISEA2000 is organised with the support of ISEA/Inter-Society for the
Electronics Arts, of the Ministere de la Culture et de la Communication
(DDAT, DAP, DAI, DMDTS, DRAC Ile-de-France), the Ministere de la Recherche,
the Centre National de la Cinematographie, the Conseil Regional
d'Ile-de-France, the Forum des images, the UNESCO, Sesam , the ADAGP, in
partership with : Arte, Art Press, Cart'Com, Cod@ Magazine, Liberation, Le
Monde des Debats et Transfert, as well as with the help of numerous
associated venues and institutions. ISEA2000 is placed under the patronage
of Miss Catherine Tasca, ministre of the Culture and the Communication and
sponsored by la Mission pour la celebration de l'An 2000 et the Council of

Information :
Tel. : 33 (0)1 46 48 66 36
e-mail : isea2000@art3000.com



On August 28, 2000 Julianne Pierce began her post as Executive Director of
the Australian Network for Art and Technology, replacing ISEA Board member
Amanda McDonald Crowley.

The Australian Network for Art and Technology (ANAT) is Australia's key
national arts organisation linking the arts, science and technology. ANAT
aims to develop and promote innovative contemporary art which has as its
principle component the use and exploration of technology.

Julianne brings to ANAT valuable experience in arts management across
diverse areas including visual and performing arts, events management and
independent curatorial projects. For almost twenty years Julianne has worked
within the Australian cultural sector as a Producer, Administrator, Curator
and Project Manager.

Julianne has a first hand understanding of and involvement with Australian
and International Art and technology culture.  An initiator of the computer
artists' collective VNS Matrix, Julianne is especially committed to
promoting and supporting the work of Australian artists working with

ISEA congratulates Ms Pierce and wishes her well in her new position!



Boston, MA (USA)
April 21-May 6, 2001

Greetings to all friends of the Boston Cyberarts Festival!

Visual and performing artists, arts organizations, and high-technology
professionals will be in the spotlight once again during the second Boston
Cyberarts Festival, scheduled for April 21-May 6, 2001. The Festival,
incorporating exhibitions and performances by artists who use computer
technology as an integral part of their work, will take place at locations
in and around the Boston area, across Massachusetts, and on the Festival's
website at www.bostoncyberarts.org.  The first festival included the
participation of over 60 arts organizations and more than 100 exhibits and

Volunteers will be needed to help with all manner of tasks, from production,
design, and administrative tasks to promotion and event assistance, as well
as to help at CyberArtsCentral during the festival itself.

Why should I volunteer, you ask?  Well, you might do it for the free
T-Shirts, or for the CyberPass that will get you discounts to events
throughout the festival, but really those are just perks compared to the
real reason:  because you want to work alongside some of the most
interesting artists and technology professionals in the world to help create
one of the most innovative, exciting events of the year!

For more information about volunteering, email Sasha Costanza-Chock at
sasha@bostoncyberarts.org, and he will get in touch with you.

For more information about Boston Cyberarts, you can visit the web site at


ROY ASCOTT is the editor of the newly published ART, TECHNOLOGY,
CONSCIOUSNESS: mind@large (Intellect Books). Within a technological context,
this volume addresses contemporary theories of consciousness, subjective
experience, the creation of meaning and emotion, and relationships between
cognition and location. Its focus is both on and beyond the digital culture,
seeking to assimilate new ideas emanating from the physical sciences as well
as embracing spiritual and artistic aspects of human experience. The book
documents the work from those connected with the internationally acclaimed
CAiiA-STAR centre and its conferences . Their artistic and theoretical
research in new media and art includes aspects of: artificial life,
robotics, technoetics, performance, computer music, intelligent
architecture, telematic art (The latest reseach from CaiiA-STAR's
Consciousness Reframed 2000 conference can be perused in this edition of the
ISEA Newsletter.)


Net.art by MELINDA RACKHAM was given a double-bill in Montreal, Canada:
empyrean.alpha was featured in the "Out of this World" web art exhibition at
the Biennale de Montreal (September 28-October 29, 2000), while the Media
Lounge at the Festival international du nouveau Cinema et des nouveaux
Medias de Montreal (FCMM) presented Carrier (October 12-21, 2000). JOSEPH
LEFEVRE ("L'Inititation," in collaboration with Martine Kountouyan) was also
presented in both events.

Other ISEA members featured in the web art exhibition at the Biennale de
Montreal are REYNALD DROUHIN ("Revenances"), OLIA LIALINA
("Will-n-testament"). SYLVIE PARENT curated the exhibition.

LUC COURCHESNE's prototypical project Panoscope 360 was unveiled at the FCMM
during the Vitrine Transdisciplinaire Exhibition organized by the
Technological Arts Society with the special collaboration of ISEA.


ATAU TANAKA will participate in DEAF2000: Machine Times, the fifth edition
of the Dutch Electronic Art Festival organized by V2_Organisation in
Rotterdam, The Netherlands. The festival runs 14-26 November, 2000.


SCHIPHORST will participate in "Art in the Post-Biological Era," a symposium
organized jointly by CAiiA-STAR and OLATS at the Ecole Nationale des Beaux
Arts in Paris, France. The symposium will take place December 12-13, 2000.




Thank you and welcome to the following new and renewing members:

Stephanie Barish, Stan Bowman, Michel Cleempoel, Brenda Cleniuk, Mika Elo,
Mary Flanagan, Marina Grzinic, Heather Haley, Mark Jones, Olia Lialina,
Angelika Oei, Niranjan Rajah, Nicolas Saint-Cyr, Patricia Search, Lily
Shirvanee, Yoshiomi Yamaguchi, Christian Ziegler, Digital Creativity Center
(Soh Yeong Roh) in Seoul.



>From August 23rd to 26th this year, the third edition of the international
Consciousness Reframed conference explored art, technology, and
consciousness in the idyllic setting of the Welsh countryside. The
conference  is hosted at CAiiA-STAR, a research  platform integrating two
centres of doctoral research: CAiiA, the Centre for Advanced Inquiry in the
Interactive Arts, at the University of Wales College, Newport, and STAR, the
centre for Science, Technology and Art Research, in the School of Computing,
University of Plymouth.

We thought it would be of interest to the rest of the ISEA community to
glimpse at current research  in the domain of art and science, as well as
share the work of their ISEA collegues. With that in mind, we are publishing
the abstracts of ISEA members who attended the conference  in this edition
of the newsletter.

Thank you to Roy Ascott, conference convenor and CAiiA-STAR director, for
kindly giving us permission to publish ISEA members' abstracts in the
newsletter. INL#81 (December/January) will feature more abstracts.

Full conference information:


by Peter Anders

Keywords: anthropology, cognition, cyberspace, narrative, space.

This paper expands previous research on the use of space for cognition,
navigation, and cultural interaction. It takes as its premise that our
appreciation of space is actually a highly-involved mental construct for
handling information taken in from our environment and/or generated from
memory. Space is here understood to be the dimensional matrix of our

Current and traditional media employ this construct to enhance subject
matter. Settings are as important to novels as they are to plays. Films may
convey an ambience comparable to that of architecture. But novels and film
contain no space as that term is conventionally understood. Instead, they
portray spaces of the imagination.

Arguably public media, art and interactive technologies, are continuously
engaged in producing shared, imagined spaces. The colonial- styled interiors
that form advertising backdrops, the synthesised sets of science-fiction
films and newscasts are all spaces that have no material counterparts. Yet
they persist in the public mind.

Cultural traditions abound with such spaces. Heaven, Hell, Nirvana, and
Paradise are all places that exist solely in the mind. Yet, unlike personal
dreams, these spaces are shared collectively by a community. And so, bear
meaning and values that an individual's musings cannot.

The present study will examine the history and use of such spaces in an
effort to link cultural traditions with current developments in arts and
technology. Myths, legends, folk and fairy tales from several cultures will
be critiqued for their use of space to convey value and content. Among the
topics for discussion will be the use of space in: dreaming, fantasising,
solving, projecting, navigating, narrating, embodying, abstracting,
presenting, communicating, remembering and extending ourselves into the
world. Such an examination will offer new insights into how we use spatial
reference in current media and how it may be employed to serve the deep,
human needs met by traditional imagined spaces.


by Evelise Anicet

Keywords: spiritualist art, mediunism, dimensions of reality.

Talking about states of consciousness the proposal of this work is to inform
how the mediunic phenomenon happens in spiritualist art. It will explain how
it is possible the connection with this two dimension of live or two layers
of reality: the concrete, where we are used to live and the natural virtual
called spiritual. It will be shown the structure required for the
preparation and participation, the medium's role, how the disencarneded
intelligence links to the medium, what techniques are used, which are the
results and which kind of improvements those experience can bring for us.


by Roy Ascott

Keywords: Technoetics, Moistmedia, Cyberbotany, Visionary Pragmatism.

Between the dry world of virtuality and the wet world of biology lies a
moist domain, a new interspace of potentiality and promise. Moistmedia
(comprising bits, atoms, neurons, and genes -the big BANG!) will constitute
the substrate of the art of our new century, a transformative art concerned
with the construction of a fluid reality. This will mean the spread of
intelligence to every part of the built environment coupled with recognition
of the intelligence that lies within every part of the living planet. This
burgeoning awareness is technoetic: techne and gnosis combined into a new
knowledge of the world, a connective mind that is spawning new realities and
new definitions of life and human identity. This mind will in turn seek new
forms of embodiment and of articulation.

At the same time, as we seek to enable intelligence to flow into every part
of our built environment, we recognise that Nature is no longer to be
thought of as 'over there', to be viewed in the middle distance, benign or
threatening as contingency dictates. It is no longer to be seen as victim
ecology, fragile or fractious, according to our mode of mistreatment.
Technology is providing us with the tools and insights to see more deeply
into its richness and fecundity, and above all to recognise its sentience,
and to understand how intelligence, indeed, consciousness, pervades its
every living part. The mind of Gaia, set in de Chardin's noosphere, is
becoming amplified and perhaps transformed by the technoetic effects of
human connectivity, ubiquitous computing and other far reaching consequences
of the Net.

The artist's role at the larger planetary level of self-organising,
self-aware systems, will be to plant, grow and cultivate new forms, new
structures and new meanings. The notion of cyberbotany extends from the wise
application of plant technology, in the technoetic context, to the creative
employment of horticultural metaphor in envisioning outcomes at the material
level of construction. In developing the hyperculture the artist can learn
from horticulture; the creative challenge being to create a Moist synthesis
of artificial and natural systems. Visionary pragmatism can guide the
artist's participation in building worlds that we would want to live in.
Visionary pragmatism can take the love inherent in the telematic embrace and
create new relationships, new societies, and new culture. Just as art in the
next hundred years will be not only interactive, but also psychoactive and
proactive, so human affairs will benefit from closer connectivity,
distributed intelligence, and spiritual solidarity. As the unfolding years
of this new century will show, the media best employed to effect these
changes will be Moistmedia, the networks that sustain them will be
technoetic, and the cyberception of the planetary society as a whole will
reflect a growing sense of optimism and telenoia.


by Nina Czegledy

Keywords: mental imagery, perception, visual consciousness.

Visual mental imagery is considered to play a key role in human
consciousness, including information processing, abstract reasoning,
language comprehension and visualisation. In the realm of cognitive science,
visual mental imagery - popularly termed 'the mind's eye' - has been the
subject of considerable controversy especially concerning the underlying
neural framework. Are images intrinsically different from verbatim thoughts?
Is image information represented in a spatial format? To what extent is a
person's perception of the 'blue' of the sky due to their early visual

Does mental imagery and perception involve common processing mechanisms?

Over the last decade, the status of image generation as a functional
component of the mind and the localisation of neural structures involved in
image generation have been extensively investigated. According to certain
studies, mental imagery shares common brain areas with other major cognitive
functions such as language, memory, and movement. Other studies have
proposed that the process instead reflects a high degree of interaction
between mental imagery and other independent cognitive functions.

Current cognitive neuroscience approaches, including the use of PET and fMRI
technologies have provided new insights into the anatomical and functional
organisation of the human visual system - as well as the cerebral
localisation of imagery processes. It has been proposed that visual images,
evoked from memory, are mediated by primary visual cortices. The visual
imagery abilities of patients with cortical blindness may provide some
explanations. A marked deficit has been noted in imagery ability in persons
with mental retardation leading to the hypothesis that this may be the
source of other difficulties they encounter in cognitive activities. On the
other hand, results indicate that both deaf and hearing ASL signers have an
enhanced ability to generate relatively complex mental images. The role of
hypnosis, telepathy and other extended forms of consciousness in mental
imagery will be further investigated in this presentation.

The complex process of visual perception is considered to be driven by
sensation with its outcome dependent on the perceiver's situational
experiences. Seeing, an intellectual exercise, (expressed verbally and/or
pictorially), is strongly influenced by perceptions and cultural
experiences. These expressions might be acquired at an early age, but mostly
they are learned processes. Clarity of expression is important in the
sciences, while fine arts might accommodate subtlety, and sometimes
obscurity. In all instances, the image maker is a communicator. An
understanding of seeing is relevant in the process of image creation.
Although it appears now, that visual mental imagery and visual perception
share common underlying mechanisms, there are several reports in which these
are shown to be dissociated, reflecting the basic modular organisation of
the visual brain. The binding of cellular activity in the
processing-perceptual systems is more properly envisioned as a binding of
the consciousness generated by each of them. It is this binding that gives
us our integrated image of the visual world.


by Char Davies

Can there be a fruitful relationship between virtual and living
environments? I began exploring this issue in the immersive artworks Osmose
and Ephemere, using VR technology in ways that sought to evoke modes of
perception/ behaviour that were alternative to the norm, in terms of the
conventional cultural framework of dualism and domination through which we
habitually relate to the life-world. In my Consciousness Reframed '98 paper,
I laid out the symbolic relationship between these works and a particular
place - a piece of rural land of which I am con/temporary custodian -
suggesting that the fluxing realms of Ephemere were but the external
life-world internalised, poeticised (ala Bachelard), and re-externalised as
art. In a subsequent revision, I stated that as I typed, the land was
calling me away from keyboard and mouse, and the abstraction of words into
the enveloping sensory world of field and forest and the felt but unseen
presences of non-human others going about the business of their lives. Oddly
enough, since then, repetitive strain injury has freed me from the tyranny
of the keyboard, pushing me back into the world, to remote wild places such
as the Australian outback and the wetlands of the African Okavango delta. In
these places, teeming with a vast interplay of beings whose indifference to
humans belies the vulnerability of their habitats and species viability, I
have asked myself the question: can virtual places 'serve' the living? My
current research is a seeking for answers.


by Margaret Dolinsky

Keywords: CAVETM, Coercion, Immersion, Sound Activated Graphics.

"Blue Window Pane" is a CAVE art experience that stages a virtual
environment for performance and projective construction. Participants
discover a non-linear narrative through a subversive and confrontational
stream of consciousness movement. This non-hierarchical movement is
theatricalized in a series of abstract architectural spaces inhabited by
surreal characters. The journey includes, among other spaces, "Interiors,"
"Stair Scene," "Inner Sanctum" and "Living Room."

"Interiors" hallway is the scene of establishment and thus, the familiar
point of continual return. Each direction in the hallway reaches a point of
confrontation with the symbolic ego and, in effect, recreates a psychic
dilemma. The choices unfold the multi-layered events of self-determination:
unexpected encounters, passageways, epiphanies and brick walls.

"Guards," who sound out warnings and flail against the participants'
approach, line the hallway. They guard the high arched windows that offer
other views beyond "Interiors."

At one end of the hallway hangs an arched spiritual icon with a golden key.
By touching the key with the navigational wand, the icon swells open to
become an arched passageway of multiple silhouettes leading to the "Inner

At the opposite end of the hallway hangs a curtain shrouding a floating
mask. The visage is of a serene, quiet and calm woman. If approached, her
eyes open and she begins to chant. Penetrating this mask sends one on a long
journey through a tunnel filled with the humming, whisperings and ramblings
of the conscience.

At each end of a tunnel is a face: one strong and one faint. The stronger
image will return to what is familiar and known: "Interiors." The faint
image leads to the "Stair Scene" (Stare Seen), a sound activated graphical
environment filled with stairs and staring.

"Blue Window Pane" is an immersion through a series of graphical dilemmas
marked by metaphorical icons. There is no with no linear method of narrative
or navigation. The architectural spaces build the walls for a stream of
consciousness type of exploration. Each participant recreates their
experience with a unique story to tell.

The CAVE is a virtual display theatre that presents a visual spatial media
of shapes, landscapes and sounds that establish a system for construction
and symbolic transformation. Participants are given the stage to exercise
the guidance of their cognitive structures and ascertain the meaning and
content of the virtual experience. To inhabit the virtual space is to
transform the projection. The uncharted and undefined medium of "Blue Window
Pane" requires its portrait to be painted with symbol systems of both
virtual reality and art adventure.


by Gregory Little

Keywords: Body w/o Organs, Deleuze and Guattari, Artaud, VRML, CAVE.

For the past year I have been constructing a virtual reality simulation that
places participants in a landscape within the human body, reminiscent in a
very basic sense of Fleischer's 1966 film "Fantastic Voyage". The organs of
the body, free from any functional, biological imperatives and autocratic
hierarchies, act as autonomous actors with choreographed behaviours and
multimedia events coded into virtual tissue. In this work, called "The Body
w/o Organs", I am weaving three datasets, two of anatomical models derived
from real human sources representing the organs (Visible Human Project) and
external skin (CyberWare Whole Body Scan) of real, "lived bodies", and one
of unbound subjective elements of my own consciousness, via memory,
visualisation, narration, and childhood drawings.

Trajectories of the Body w/o Organs
The separate iterations of my project, including "Making myself a 'BwO'",
"Inhabiting the 'BwO'", "The Dance of the 'BwO'" and "Distributing the
'BwO'" emerge from a swarm of intersecting trajectories, including the
visual, the subjective, the philosophical, the biological, the
technological, the immersive, and the interactive. A look at the specific
axes of trajectory; that is, the conditions and problems of each trajectory,
will begin to reveal the potential crossings, schizoid penetrations and
emergent rhizomes possible in my interpretation of Artuad's desire to "make
human anatomy dance at last". In the context of this report of a work in
progress, my emphasis is on the final iterations; "The Dance..", and the
"Distribution of the BwO".

"The Dance of the 'Body without Organs"
Documented subjective memories, narratives, sensations, and visualisations
that emerge through experiences of dream journals, body oriented gestalt
therapy, unearthing childhood drawings, and Raja Yoga Meditation are being
interpreted as digital media. These individual properties that construct my
experience of a particular qualia will be separated out, unbound, or
deterritorialized from one other and placed in parallel databases that are
mapped to particular organs/locations within the virtual anatomical world.
Deterritorializing, or unbinding instances is a process of separating
properties of a particular qualia of being from each other and their
temporality, so the properties remain, but the instance is no longer. Then
the properties can be organised in other ways. In this piece the interaction
of a participant will cause the elements of these databases to combine
randomly, potentially reterritorializing the separate properties into a
particular instance or temporality, involving the participant in an emergent
dance with the Body w/o Organs.

"Distributing the 'Body without Organs'"
This project will exist as a networked multi-user domain in two contexts:
1.) As a distributed VRML piece for the World Wide Web. Using a multi-user
server client, several interations of the Body w/o Organs will be
distributed to the local machines of participants over an extended period of
time. The environment of the BwO will be updated, altered, and revised
serially according to the collected feedback of participants, therefore the
form, anatomy, and content of a particular interation or serial version of
the virtual anatomical environment will be a truly distributed,
collaborative 'organisation of the organism'; and 2.) as a networked CAVE
environment, with a real-time linking of two CAVEs in separate locations.
This iteration of the project is the result of research being conducted at
the VRL, New Media Centre, The University of Michigan.

Through distributing unbound, deconstructed data derived from own physical
body and conscious reality across the globe via computer networks, I am
creating an immersive artistic context for the interactive
reterritorialization of my virtual presence into new emergent conscious
experience for the participants in the BwO.


CD-Rom for MAC/PC platforms. Produced by MECAD Media Centrer of Art &
Design, Sabadell/Barcelona (Spain, 2000).

Directed by Claudia Gianetti, with the expertise of Eugeni Bonet; the
theoretical contributions of Joan Fontcuberta, Marisa Gonz?lez and Vicente
Carret-n, and with original music by Eduardo Polonio.

Review by Vicente Carret-n Cano

ARTE VISION is an  investigation that takes the shape of an interactive
multimedia catalog to bilingually document the artists and works that,
through a variety of media have configured the history of electronic art in
this European country. As the first of its kind (off line) -although a less
ambitious selection has been (on line) for a couple of years at
http://www.telefonica.es/fat/futura/index.htm- this production proposes a
navigation by means of two main graphic interfaces: a panoramic one for the
selected media (experimental film, computer art and digital animation,
digital photography, copy art, holography, interactive installation,
media-performance/meta-formance, plus net.art and interactive media) and an
alphabetical gallery of portraits indexing the artists, but also including,
as a sort of 'yellow pages', a reasoned directory of resources. Every author
entry is composed of a short biography, photos, video excerpts, and comments
documenting each selected work. Each media section has an introductory
essay, a bibliography, and an index of authors active in that field.
Complementarily, a linear navigation is also offered, while links and
transitions are punctuated by suggestive sound phrases. On the literary
side, Mr. Bonet's prose is sharp, elegant, and easily readable.

The occurrence of this research  is relevant, considering that academic
studies have not yet seriously confronted the revision of both past and
present Spanish contributions to the domain of electronic arts. It can be
said that even the teaching of new media is still totally neglected by the
Spanish educational system, despite some brand new private initiatives, such
as MECAD itself. In such a context, ARTE VISION will become a compulsory
reference, a unique starting platform of study for enthusiasts and scholars
and a promotional means for current Spanish media arts practitioners.
However, similar enterprises (academic or not) should be expected to appear,
at least to critically counterbalance the 'particularities' of ARTE VISION's
points of view on digging the historical roots of Spanish art & technology
practices. Controversy and debate can only enlighten the knowledge of our
electronic art proto-history.

What ARTE VISION lacks is a comprehensive study and understanding of the
different media and technological siblings from which the current scene has
evolved, beyond those traced by Eugeni Bonet in the experimental film
movement of the sixties. Its blurred 'roots searching' and 'pioneers
hunting' are full of movie makers without films (Brossa, Oteiza), media
artists without electronic creations (Val del Omar, Valcarcel Medina),
holographers without holograms (Zush, Yturralde) or tv-proto-video-film
makers with holograms made out of paper (Iv?n Zulueta). There are
conspicuous oversights such as Salvador Dal' (not included due to copyright
problems), whether we like it or not our electronic holy artist, the one
that has bridged the gap between the modernist avant gardes use of media and
the postmodern interest in science, technology, and media trends; or others
such as  Eusebio Sempere, Luis Lug?n, Pablo Palazuelo, Francisco Sobrino,
Carles Buigas or Alexanco, just to point out a few important but overlooked
authors who were much more influential in their times than was Val del Omar.

Some notable omissions: the total absence of the 'sound art' domain, so
revitalized by its multimedia hybridation; and -since the intention of ARTE
VISION is not to cover 'Spanish electronic art' but 'electronic art in
Spain'- any entry for foreign artists, such as German Wolf Vostell (video),
British Hilary Wolfram (laser art), Mexicans Rafael Lozano-Hemmer
(interactive art) or Darya von Berner (installation art), and Belgian/Dutch
couple Jodi (net.art), among others. These artistis have been developing a
very important body of work among us.

Houses of knowledge should be built on a solid foundation, not starting by
putting up walls. Anyway, whoever is lucky to own such a house should learn
to consider more his guests and be better hosts. Or do only nomads
understand hospitality?

VICENTE CARRETON CANO is a Spanish media arts writer and curator living in
The Hague (The Netherlands). carreton@bart.nl

Film and Video Production: University of California, Santa
Cruz-Department of Film and Digital Media. Tenure-track position at
Assistant Professor I or II level in video and film production.
Position effective July 1, 2001. Required: M.F.A in relevant field or
equivalent professional experience. Demonstrated potential for
excellence in innovative research and for excellence in university
teaching. Refer to provision #459. Applications must be postmarked by
November 30, 2000. UCSC is an EEO/AA Employer. Please see our
complete job announcement at

ISEA NEWSLETTER============================================

Editor: Katarina Soukup Contributors: Natalie Melançon, Roy Ascott, Vicente
Carreton Cano, Nina Czegledy, Char Davies,
Margaret Dolinsky, Gregory Little.

ISEA, 3530 boul. Saint-Laurent, suite 305, Montreal (QC), H2X 2V1, CANADA
Tel: (514) 847-8912, Fax: (514) 847-8834 email: isea@isea.qc.ca
URL: http://www.isea.qc.ca

ISEA Board Members: Nina Czegledy, Kathy Rae Huffman, Amanda McDonald
Crowley,  Alain Mongeau, Cynthia Beth Rubin, Thecla Schiphorst, Atau Tanaka,
Wim van der Plas

To subscribe, send a message to:
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email: "subscribe ISEA-forum first name last name"

ISEA distributes a hard copy version of this Newsletter in order to keep its
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Support: La Fondation Daniel Langlois, Ministere de la culture et des
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============================================end of newsletter

Inter-Society for the Electronic Arts
Inter-Societe des arts electroniques
3530, boul. Saint-Laurent, suite 305
Montreal, Quebec, CANADA H2X 2V1
tel. +1-514-847-8912 * Fax. +1-514-847-8834
isea@isea.qc.ca * http://www.isea.qc.ca

********************* ISEA2000 **************
7.12 - 10.12, 2000 / Paris, France / www.isea2000.com
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#075 Dec 99/Jan 2000



#75 December 1999 - January 2000

* Editorial * ISEA News  * News from Members * Feature Articles  * Event Reports *

*Une version francaise est disponible. Contacter le secretariat pour l'obtenir*


As another year comes to a close, ISEA finds itself on the cusp of a new
millennium. As the cliché goes, this is a time to both reflect on the past
and look to the future.

This year, ISEA worked hard to bring several projects to fruition. Virtual
Africa kicked off 1999 with a month-long web art workshop for African
artists in Dakar, Senegal in February, as well as a one-day colloquium on
African Art and New Technologies in Montreal in April.

In partnership with Itau Cultural Centre, CAiiA-STAR, and Leonardo,
Invencao in Sau Paulo, Brazil this August was a step in a new direction,
reflecting ISEA's desire to collaborate with other organizations in the
electronic arts and to extend its network towards traditionally
under-represented countries.

Cartographies - The General Assembly on New Media Art in Montreal this
October was a great success, gathering together both Canadian and
international new media artists and experts to share models, to network,
and to set the stage for future collaborations and partnerships.

This event represented the first "local initiative" foregrounded in ISEA's
new mission statement, which was rearticulated by the Board of Directors
during their first physical meeting outside of the Symposia context in
Montreal last March. Another aspect of the mission is to treat the issue of
cultural diversity seriously. Co-chaired by Cynthia Beth Rubin (USA), and
now, we are pleased to announce, Melentie Pandilovski (Macedonia), ISEA's
Cultural Diversity Committee has been active over the last year to build a
diversity database in order to reach out and open up our activities to
under-represented communities and regions of the world.

Our goal now is to extend the momentum of these activities into 2000.
Beyond the hype of Y2K and millennial brouhaha, 2000 is a huge year for
ISEA. Not only is it our 10-year anniversary, we are also pleased to
officially confirm that ISEA2000 will take place in December in Paris.
After some initial problems with funding, the project has an all-systems
go. Congratulations to Art3000, organizers of ISEA2000, for their hard work
in making this symposium a reality.

Art3000 will have a mailing list set up on their new site
http://www.art3000.com  to keep the international community informed about
symposium developments.The up-dates will be in the form of a monthly
newsletter, the first of which is slated to be put out at the end of
December. The call for papers and projects is also set to be launched
within the next few weeks. Stay tuned!

Do we have any New Year's resolutions? ISEA HQ and the ISEA Board will work
in close collaboration with ISEA2000 to ensure that the theme of emergence
is at the heart of its preoccupations. As for ISEA HQ, we are currently
evaluating Cartographies and considering a second Cartographies on this
very concept (emerging countries and emerging artists/generations in the
electronic arts). It is also time to start thinking about ISEA2002, which
will ideally take place outside of Europe (we welcome interested parties to
make themselves known).

Can ISEA hope to see another good ten years? Yes, if the organization
succeeds in keeping itself relevant. In the meantime, keep an eye out for
the upcoming Electronic Archives project, which will bear witness to ISEA's
last ten years -and provide some valuable lessons.

Katarina Soukup, Alain Mongeau



The last two months have been busy for ISEA HQ. In addition to planning
Cartographies, our annual AGM was held on October 14, 1999. See highlights
from Kathy Rae Huffman's minutes below.

ISEA hosted the Montreal leg of Ricardo Iglesias' project Referencias for
NET.CONDITION (September 23 - November 19, 1999), a festival of web art
organized by ZKM (Karlsruhe, Germany), MECAD/Media Centre for Art and
Design (Sabadell, Barcelona, Spain), InterCommunication Centre (Tokyo,
Japan), steirischer herbst (Graz, Austria).  (
http://www.isea.qc.ca/references )

ISEA Executive Director Carlos Soldevila moderated round tables and
workshops at several new media events. Forum des inforoutes et du multmedia
(FIM)  held a roundtable on the role of the artist in the multimedia
industry on October 18, 1999 . The international NewOp 8 conference on
Creation, Voice, New Technologies invited Carlos to moderate several
workshops and presentations November 10-13, 1999.

We welcome Sofie Tremblay to the team as webmaster -she began her tenure
with ISEA by mounting the excellent Cartographies web site. Special
projects and development coordinator, Eva Quintas, decided to leave ISEA in
October. In collaboration with Michel Lefebvre, she won the Prix Telefilm
Meilleur oevure canadienne en nouveaux medias for their CD-ROM Liquidation
at the Montreal International New Cinema and New Media Festival. Carlos
Soldevila's first child, Emmanuel, was born in November. Congratulations to
both Eva and Carlos. ISEA HQ would also like to extend a big thank-you to
Isabel Forner, who joined ISEA on an internship -she  helped make
Cartographies the success it was.

October 14, 1999
Montreal, Canada

To obtain the unabridged minutes, please contact ISEA HQ.

CARLOS SOLDEVILA (ISEA Executive Director) and moderator of the AGM opened
the meeting and welcomed everyone present. There were approximately 40
people at the meeting.

ALAIN MONGEAU (President of the Board of Directors), gave a short history
of ISEA, its founding in the Netherlands, and its move to Montreal in 1996.
The first two years in Montreal were made possible by sheer volunteer work.
Funding from the Daniel Langlois Foundation provided seed money, but since
it has established more formal programme guidelines, it no longer provides
operating funds. With no core funding, ISEA is now survives on project

THECLA SCHIPHORST (ISEA Board Member) read the new mission statement
(published in ISEA Newsletter #71) which was drawn up during an in-person
board meeting held in Montreal in March, 1999. At that meeting the survival
of the ISEA HQ in local and international contexts was discussed, as well
as the feasibilty of an annual symposium. The Board resolved to support
local initiatives and make the symposium a biennial event. Cartographies is
the first such "local initiative", and according to Alain Mongeau, proved
to be quite a success. He expressed the need for smaller conferences, where
local/regional and specific discussions can take place. PETER RIDE (DA2)
said it is incredibly useful to bring to the table points of view from
diverse sources, and to provide a space for specific topics to be worked
on.  ISEA HQ is considering follow up a event to Cartographies for 2000.

NINA CZEGLEDY (ISEA Board Member) gave the report from the Cultural
Diversity Committee on behalf of co-chair CYNTHIA BETH RUBIN. The database
of contacts and the HQ is now committed to working on diversity issues.
ISEA has taken on several regional events such as Virtual Africa and
Cartographies. These regional events should be "open" to ISEA members, with
enough time for members to participate. Diversity Committee Goals: ISEA
will develop into a truly diverse community of artists working in the
electronic arts; increase participation of under-represented groups. A
discussion including  Peter Ride, Alain Mongeau, Nina Czgledy followed
about inclusion and language at international events.

NILS AZIOSMANOFF (Art 3000) gave a report on ISEA2000. Good news: Art 3000
finally has confirmation of funding for ISEA2000. The French Ministry of
Culture, however, is not familiar with ISEA.  This made it very difficult
for Art 3000 to raise the money.  ISEA has the responsibility to change
this.  It is going to be important to have  good visibility in France.  Art
3000 expressed its need for help from ISEA to connect with the
international community of artists. The Call for Papers is slated to be
launched in December.

KATARINA SOUKUP (ISEA Staff) gave the International Relations report. ISEA
HQ has improved the international newsletter by increasing the content
(which now  includes submissons by members and  non-members).  ISEA HQ has
greatly improved the website vua the addition of links to many
organizations and a special calendar section. ISEA HQ also established
Chatterbox, a series of moderated discussions on the ISEA-Forum listserv.
The goal is to create content, instead of just being a vehicle for the
information of others.  A banner exchange increased ISEA's visibility on
the web and opened the door to collaborations and partnerships. ISEA HQ
will also be working on ISEA's electronic archives for ISEA's 10 year
anniversary in 2000. SARA DIAMOND of the Banff Centre's Multimedia
Institute expressed great interest in the two organizations collaborating,
by co-sponsoring events, sharing databases,etc.

NATALIE MELANCON (ISEA Staff) gave the Membership report. ISEA now has 204
members. This year there is no symposium, which is where most memberships
come from. At one time ISEA had about 400 members. Today, over 30 countries
are represented. Most are from Canada, UK and USA. Most are individuals,
but ISEA HQ has launched a campaign for institutional members.


Welcome and thank you to the following new and renewing members:

Nils Aziosmanoff, Anna Barros, Manon Blanchette, Alison Colman, Ivan David,
AGRICOLA  de Cologne, Frank Dietrich, Dena Eber, Diane Gromala, Erin Haley,
Haruo Ishii, Hana Iverson, Alice Jim, Bonnie Kane, Margot Lovejoy, Marta
Lyall, Shirley Madill, Muriel  Magenta, Caroline Martel, Andra McCartney,
Sylvie Parent, James  Provenzano, Markus Riebe, Michael  Rodemer, Hart
Snider, Jean-Paul Thomin, Steven Gerhard Valin, Nicole Vallières, Katherine
Watson, Erin Whittaker, Mike Wortsman, Gerald J.Z. Zielinski


* PATRICK LICHTY presented "GRIDSpace V" during the Sonic Circuits
festival, held in various Twin Cities (Minnesota, USA) locations November
4-6, 1999. GRIDSpace V is a series of tactile generative sound spaces that
create a collaborative sonic environment between the audience and
composer/artist. In this way the audience uses the tactile sensors to shape
their environment through movement. The GRID typically consists of a series
of tactile or infrared sensing devices that create seed event data, which
is sent to an algorithmically-based music program. However, in many cases,
the sonic palette is not only tonal, but also often atonal or environmental
in nature, creating unique opportunities for gallery visitors to 'explore'
the sonic terrain of the generative environment. Such an installation has
transformative qualities, and frequently presents the possibility of
creating an engaging sonic atmosphere to a gallery space.

* JACK OX  created a systematic visual translation of Kurt Schwitters,
Ursonate for @art, an electronic art gallery affiliated with the School of
Art and Design, the University of Illinois at Urbana-Champaign (USA). The
project takes the work back into a non-material performance space and is
the result of a collaborative effort between Ox and other artists adept in
the world of cyberspace. This newest incarnation of the Ursonate pushes it
even further into the realm of hybrid intermedia. Its an additive process
in which the paintings by Ox co-exist with Schwitter's voice, and the
distinction between original and copy is no longer clear or even important.

* In conjunction with Zack Settel, ATAU TANAKA  gave a workshop on
interactions between voice and machine at the NewOp 8 conference Creation,
Voice, and New Technology held in Montreal November 10 - 13, 1999. The
presentation explored different ways to interface the voice with digital
technology to capture and expand the expressive range of the singer.  See
event the event review of NewOp 8 below.


SATELLITE VISIONS:  A Look Back at Cartographies
Montreal, Canada
12-14 October, 1999

by Bernard Schütze


Cartographies opening day "Zone Zero New Media: Before and Beyond" took us
many zones beyond zero. The opening conferences provided a global view of
the vast   territory to be covered, charted and mapped over the coming
three days... and  beyond. Three speakers circulating in their specific
orbits, provided us with  three different satellite views of new media
territories past and present.

After Alain Mongeau's sober and informative introductory speech Pierre Lévy
lifted off into his geostationary orbit. A voyage guided by five questions
concerning the definition of new media. What (are new media)? to which
Pierre  Lévy responded with the simple explanation that it is computers in
general (the  old media will sooner or later be gobbled up by the digital
vacuum cleaner) and  the global interconnection between them. Conclusive
remark - new media are  generalized interconnectivity.

The second question Where From? led us on a dizzying journey from the early
appearance of humanity, via the Neolithic age and towards an exponential
forward  march of an ever increasing convergence leading finally to the
present state of  generalized interconnectivity, with its promise to upload
humanity and all its  digital machines into the Teilhard De Chardin
inspired noosphere. A brief guide  to and through human evolution à la
Pierre Lévy.

The third question What Does It Mean ? answer = the increasing momentum and
acceleration of interconnections, made possible through networked
human/computer  interaction, is bringing forth a concomitant rise in
consciousness that  translates into "collective intelligence". Among the
driving factors behind this  collective intelligence are a number of
factors: the erosion of borders, the  breakdown of barriers between
formerly separate spheres of human activity,  economic, cultural,
educational, social etc., and the fact that now all is  interconnected with
all. The fourth question: Where To Now? was in fact already  answered in
response to the previous question we are moving towards a collective
intelligence, and expanding universal consciousness, which is creating a
meta-document in which all of humanity and its machines are brought
together in a  holistic plurality.

The fifth and last query What Are The Problems ? focused squarely on
meaning. The  rapid acceleration brought about by generalized
interconnectivity has led to the  erasure of fixed symbolic systems which
formerly acted as guide posts to make  sense of the world. The current
situation, said Pierre Lévy, is one of "a  permanent destabilisation of
symbolic systems which make meaning problematic". We  are in a novel
culture driven by a mutational dynamic composed of complex  meta-systems
and meta-contexts,which are impossible for a single mind to grasp in  their
entirety. The remedy to this dilemma is already contained in the way the
problem is posed - semantic disorientation is only a minor side effect of
this  transition towards a culture of interconnectivity and collective
intelligence;  the interconnection of everything with everything will
eventually give rise to  new semantic guideposts termed universal but non-
totalising systems of  co-existence.

This may be a somewhat skewed synthesis of a complicated viewpoint, which I
cannot pretend to fully grasp, nonetheless I must admit that I was left a
little  befuddled by this grand exposé. This technotopian, universalizing
and almost  theological vision depicts a world of pure positivity where all
problems will be  resolved by the mere fact that all things are now
interconnected with everything.  As I have no desire to enter this
metaphysical battle ground, I shall pose a set  of prosaic questions: Does
this make any sense in relation to the actual state of  the world ? Does
this not seem way too GOOD to be true ? Does Pierre Lévy take  his own
system at face value, or is he being even more ironic than certain
postmodernists ?

If the latter is the case, he could be characterised as an inverted
Baudrillard.  Baudrillard's position is rooted in a self-assumed stance of
pure negativity, of  an appeal to the 'transparency of evil' and a delight
in apocalyptic  catastrophes. Pierre Lévy's position is rooted in pure
positivity, which refutes  critical theory since evil, negativity, or
boring old questions of social  inequality will ultimately be resolved by
the meta-document and collective  intelligence. Even though humanity's
collective flight into the next century may  seem turbulent, despair not,
the philosopher pilot guarantees safe landing in  this best of all (new
media) worlds.

As the pope of postmodern negativity, Baudrillard also refutes critical
theory  because the acceleration of our current technoculture makes
critical distance  impossible. Theory is thus condemned to dance to the
beat of technological  change, perversely and fatally replicating its
effects, without distance and  without foundation. One need not agree with
Baudrillard's position, but his  provocative stance has the healthy benefit
of making one readjust certain  outdated or petrified modes of thinking.

Perhaps, Pierre Lévy has taken this game one step further. It may just be
that  behind this philosophy, which if taken literally appears to be a
'theological'  apology for neoliberal economism with its blind faith in
global expansion and  unfettered technological development, there lies an
ironic provocation whose  purpose is to shake us out of our complacency. I
have no answers.:  Neo-enlightenment philosophy, techno-theology,
anti-postmodern irony, utopianism  ? Let collective intelligence make up
its mind.


The second panelist Gerfried Stocker, hailing from Ars Electronica, took us
on an  elliptical low level orbit hovering over and above central Europe.
Gerfried began  with an interesting conceptual template in which he
outlined the migration from  document and representation based art to event
and process based art. New media  have clearly been one of the major
driving forces behind this shift whose  consequences we are only beginning
to fully grasp. Rather, than taking us on  lofty and abstract orbital
outings, Gerfried navigated us through a well chosen  selection of examples
in order to substantiate and illustrate his point.

Perched behind his computer console Gerfried led the audience through a
roller  coaster ride of new media art works and events that were projected
on the large  screen behind the panelists. What most caught my attention in
Gerfried's  presentation was his capacity to weave in out of practical and
theoretical  considerations and engagements. This was in fact very much in
keeping with his  observation that new media have led to an increased cross
fertilization between  art practice and theory - "media theory has become
media practice" - and I would  add, that new media practice itself is
increasingly driving theoretical advances.

Perhaps more than any other panelists that spoke at the Cartographies event
,  Gerfried Stocker came the closest to actually 'doing' a cartography.
Eschewing  both polemical issues or abstract speculation, his presentation
was structured as  an open journey through the recent evolution of new
media from the late 60's to  the present. The projections and his
commentaries literally took the audience on  a virtual voyage through a
mapped out, but in no way closed off territory. The  cartographic markers
that Gerfried invoked were three fold:

 1.) shift from document to event
 2.) shift from storage to production
 3.) shift from representation and documentation to circulation and process
and time-based works

Depicting the new media territory in these terms raised questions about the
"changing paradigms of conservation" and the "changing role of the
spectator from  passive observer to active participant in the genesis of
art works". Rather than  providing answers to these questions, Gerfried
raised them as means to open new  paths and indicate possible developments
based on the road traveled so far.


Sarah Diamond's needle was dropped on an entirely different groove. Her
orbital  path, like Lévy's, again set us on a geostationary wide view path,
though it  became quite clear that their respective satellites had been
launched from  opposite sides of the theoretical world. Sarah Diamond's
position was clearly in  following with certain strands of postmodern
discourse, as expounded, among other  areas, in cultural studies,
progressive media theory and current critically  oriented new media

Where Pierre Lévy offered us a high flying overview of the best of possible
new  media worlds, and Gerfried mapped out a more down to earth and
pragmatic  territory, Sarah Diamond was quick to bring up some of the more
troubling aspects  of contemporary developments in the field. Briefly and
broadly summed up, her  presentation focused on a number of issues: virtual
annihilation and erasure of  memory and the local, the question of adequate
language and lexicons, the  structuring of accessible archives, hybridity
and diffference, the breakdown of  barriers, blurred distinctions between
artist and curator and corporate  colonization.

Having raised these questions and themes she went on to explain that it may
perhaps be time to re-think some of the assumptions that run through much
of  today's new media practice and theory. She made it clear that we need
to develop  a new lexicon that can address these problems in a meaningful
and pragmatic way.  Drawing on a previous Banff Centre brainstorm session,
she said that we should  perhaps leave the comfortable postmodern position
of irony behind and espouse  earnestness instead - if the corporate sector
has swallowed up irony as the  dominant mode of discourse than new media
art means business -. Earnestness in  this sense appears to be a way for
artists to say that one means what one says,  which by no means means
business. How can the field of new media reclaim its  resistant stance when
the very tools it uses are driven by a mercantile logic  that problematizes
and often neutralize irony. Difficult issues indeed. What to  do then ?

Contrary to Pierry Lévy, Sarah Diamond said that the territory is anything
but  benign, it is one of torture and sadism, that of a cruel world of
contradictions  in which new media practitioners and theorists not only
have a stake but also a  responsibility. Continuing on this path, she
suggested a number of potentially  transformative and resistant strategies.
One strategy consists of fighting the  corporate world with its own tools
and discursive practices. Against the ambient  atmosphere of uncritical
pan-economism one needs to develop counter economies  that challenge the
premise and goals of economic hegemony. The creative efforts  of Rtmark*
and Irrational.org were presented as cases in point here.

On a different level she called for a "re-materialization of certain
virtual  practices", of re-situating delocalized virtual spaces within
actual and situated  practices. This entails a re-introduction of the
sensorium, particularly the  haptic and tactile senses, and the
performative virtual or actual body. Lastly  she called for a shift from
the typically postmodernist, or even modernist  "suspension of belief"
stance, in favour of a return to a "a suspension of  disbelief"
representational mode. New ways, new paths back from the virtual to  the
actual that call for a greater affective investment of techno-spaces and
which can open up new territories leading to a transformative "third
space". A  third space that new media artists are perhaps the best placed
to define and  construct. Many questions, many places, leading to a
continuous stretching of the  boundaries, so that one may liberate oneself
from their constraints.

 Lévytation, Stocker-car ride and Diamond grinding - this broad spectrum of
views  served as a panoramic and instructive introduction to the more
earthbound  conferences that followed them. Clearly the territory of new
media is a contested  one taking on a myriad of shapes that are relative to
the perception of the  respective cartographers and their contexts. In a
sense it is the very act of  cartography that helps to define and shape the

As the these three views demonstrate, the map is constantly being re-drawn
as the terrain itself changes. What this opening conference made clear is
that there is  in fact no one single territory of new media, but rather a
plurality of sometimes  complimentary sometimes conflicting cartographies.
Each in their way indicates  forgotten paths from the past and new possible
paths into the future. The  cartographer, though, must always, work in the
present and on the ground whether  virtual, actual or virtactual. One step
at a time.


I. GPS - Europe
The matinal orbital outing of Cartographies  served as a basis for the
terrain-bound investigations of new media centres and models. Geo
Positioning Systems (GPS) bounced their signals off the satellite trio of
the key-note speakers in order to map out a variety of specific

The first team of  GPS equipped cartographers hailed from Western Europe:
Alex Adriaansens, V2 centre (Netherlands), Nils Aziosmanoff, Art3000
(France), Tiina Erkintalo, MuuMedia Festival (Finland), Claudia Giannetti,
Mecad (Spain), and Peter Ride DA2 (UK) took their places behind the
conference table in order to guide the audience through the diverse local
geographies of European-based new media territories.

What emerged most poignantly from this panel was the plurality of
approaches taken up in the respective contexts and countries. For instance,
Alex Adriaansens pointed out that in the Netherlands the general tendency
has been towards small or medium sized art centres which are periodically
brought together in festivals such as the Rotterdam-based biennial DEAF.
This contrasts starkly with the German and Austrian approach (previously
mapped out by Gerfried Stocker), which favours large institutional
anchorage, of which the ZKM and Ars Electronica are the most salient

For his part,  Peter Ride provided a good survey of the difficulty of
defining new media based practices and institutions in the British context.
The complexity of the models adopted in this context reflects the
difficulty of defining emerging new media art practices and artists in
general. He outlined the problematic definitions as being one in which
social, cultural, economic and political forces overlap and are hybridized.
Here one is caught between often contradictory positions:  the corporate
sector and the entrepreneur artist, the publicly funded art centre, the
autonomous DIY approach exemplified by the Mongrel collective, and the
artist teacher attached to public universities or private research
institutions,  etc.

Faced with such rough terrain, Peter Ride called for a transversal and
flexible model in which an emphasis should be put on training artists to
take more control, not only of the creative part of their work, but also of
the financial, administrative and management aspects related to new media
practice and production. Similar dilemmas between the public and private
sectors, corporate agendas and artistic autonomy were also raised by
Claudia Giannetti and Tiina Erkintalo, respectively.

As for France, Nils Aziosmanoff began by saying that his country was
clearly lagging behind in the field. A welcome and surprising declaration
of Gallic humility. French national insularity, top heavy bureaucracy and
centralized public funding were partially blamed for this état de choses.
Currently though, there seems to be both a desire and a will to espouse
more decentralized models that work from the grassroots up.  Nils expressed
hope that the choice of Paris for the next ISEA symposium will provide a
catalyst for such developments.

National, regional and local contexts are very much at work in defining the
diversity and plurality of actual and possible new media models and centres
in the European context.  It is thus not just a question of new media
centres and models but also of inherited structures and ways of operating
that account for the diversity and plurality of approaches presented here.
The old and the new, the vanishing and the emergent was the signal that
allowed locally based interventions to orient themselves within the global

II. GPS - Canada
The second day of panels, aptly named Tactical Zones, were devoted to
mapping the satellite-friendly territory of Canada. Given the number of
speakers and presentations, I shall restrict my scope to a broad
assessment. Unlike the European context, which is both nourished and
constrained by its past, the diversity and plurality of the Canadian
context seems to be more defined by geographical distance and regional
diversity than by historically-inherited structures.

The wide variety of models and approaches presented by the panelists
throughout both the morning and afternoon sessions tended to focus more on
the specific contexts of the various centres and organizations presented
than on wider considerations, as in the case of their European
counterparts.  Again, one was faced with a somewhat perplexing diversity
and multiplicity of approaches.  Where some panelists focused primarily on
presenting an overview and description of the centre they represented,
others also touched upon broader policy, corporate, aesthetic and
organizational issues. This created a somewhat dizzying rapid
"zoom-in/zoom-out" effect from very pragmatic issues ("this is what we do
in our centre"), to lofty philosophical debates on the question of Beauty!

Though the focus seemed to get somewhat lost between these two positions,
at times a sense of orientation did set in. The best example of this was
when Jocelyn Robert of Avatar (Quebec) took the floor. For his talk he
produced an orange balloon, which he subsequently blew up and released for
a short upward flight.  An allegorical, amusing and pertinent illustration
of some of the real problems one faces on the terrain. Putting matter quite
simply, Robert stated that art centres (read: the balloon) need input to
function (read: financing, infrastructure, policies, political will etc.).

He then asked if Alain Mongeau, the president of ISEA was present.
Response positive. Robert then proceeded to break the panelist/audience
barrier and literally put Alain (and himself) on the spot as he walked
towards him and took a seat next to the president. Another balloon was
produced and given to Alain. Meanwhile Robert continued his
presentation/performance in very relaxed and matter of way manner.

The next victim was David Poole, head of the Canada Council Media Arts
Section, who received the same treatment (balloon included) as Alain.
Robert's intervention was more than appropriate in that instead of merely
outlining what this or that centre does or digressing on issues beyond the
purview of the conference, he turned the conference room into a territory
and did a live cartography. Rather than endlessly speaking about virtual
networks, his performative statement made it evident that networks are
ultimately established through contact with real people. The closer the
contact and the more important the person, the better (hopefully) the
effect. To your balloons gentlemen!

Overall though, it must be said that Tactical Zones was somewhat
disappointing. The panelists seemed more concerned about describing and
promoting their respective centers than mapping an actual terrain or
raising questions and moving beyond one's four walls. This may be
symptomatic of our still lingering Canadian and Quebecois provincialism and
the accompanying elbow pushing and blanket tugging. In this sense the
debates fit the term Tactical Zones very well. This being said, something
of a cartography of the territory did emerge, and this was revealing and
valuable in and of itself.  Though I think we have much to learn from our
European and (conspicuously absent) American counterparts in this regard.

III. Going mobile - Between the Scylla of vanishing signals and the
Charybdis of emerging territories.

The last and final round-tables Mobile Zones - The Challenge of New
Networks  took place simultaneously in adjacent rooms.  One addressed
questions of archiving and conservation in a world increasingly dedicated
to near instant obsolescence, while the other focused on the relation
between research, industry, education and new media practice and culture.

The round-table  Conserving and Archiving Digital Works  was housed in the
more intimate space of the Ex-centris Cassavetes room.  Unlike the bulk of
events that took place in the larger and more imposing Fellini room, where
everything was recorded and video-taped, the round-table on archiving was
not officially and electronically committed to memory. Ironic to say the
least. Perhaps due to the  more relaxed atmosphere and the more focused
scope of the subject, the round-table proved be one of the most interesting
and animated events of Cartographies..  The panelists Alain Depocas
(Montreal), Steve Dietz (Minneapolis), Robin Murphy (New York), Virginie
Pringuet (Montreal) and the moderator Petra Mueller (Montreal) respectively
provided a cogent overview of the challenge of conservation and archiving
in the digital age.  Unlike the previous conference, this was a cartography
of vanishing territories, of fleeting traces and the challenge that this
poses for artists, curators and  audiences.

Alain Depocas' opening presentation provided an informative overview of the
challenges that face the postmodern-day archivist. Drawing both on
historical examples such as the 19th century panoramas and the current
state of the archivist art,  Alain's paper opened a territory and provided
guide posts for the remainder of the conference. Speaking from a more
pragmatic point of view

Steve Dietz described his on-going work as New Media initiatives director
at the Walker Art Center. His main focus was on the difficulty of curating
and archiving works that are by their very nature ephemeral and placeless.
To simply let works disappear at a rate that is equivalent to technological
obsolescence would be tantamount to burning books, he said. He invoked the
notion of the notion of the "unreliable archivist", an archivist that is no
longer just faced with artifacts and documents, but also with dynamic and
flexible processes brought about by digital networks.  The new archivist
must thus espouse a multiple perspective position, which pays as much heed
to the networks (viewed as placeless archives) as to the content.

As an artist Robin Murphy cast a different but complimentary light on the
question of conservation of digitally produced artworks. Likening himself
to a most unreliable archivist he insisted that artists should play more of
a role in archiving and conservation, not only because the new technologies
make this possible, but also because this allows them to outflank the top
down based politics of traditional museum based conservation approaches.

Virginie Pringuet, for her part, presented the Dead D.A.T.A project whose
objective is to transform disused urban landmarks into physical spaces for
the conservation, preservation and dissemination of new (dead or alive)
media. As a case in point she described the defunct Craig Pumping Sation.
This unusual Montréal landmark lies at the centre of an overlay of old and
new  networks (water system, a highway, a bridge, a train line, the St
Lawrence river waterway and the nearby teleport and CBC building etc.)

Refurbishing this site as a media conservation centre would be most
appropriate since the building and its surroundings are eloquent reminders
of so much that has faded from the hard-disk fastforward of all digital
culture. In the final presentation, Petra Mueller used the example of a
series of little known Andy Warhol video tapes shot at the Factory to
comment on how rapidly and inexorably electronic signals deteriorate. She
enthusiastically declared that restoring signal-debilitated works was
perhaps more exciting than restoring classical oil paintings. The ensuing
conversation and exchange was as lively and stimulating as the
presentations themselves.  This round-table went a long way to show that
perhaps  those who dare to look back are often the best placed to orient
themselves in the present.

The other round-table tackled the issue of research and innovation in
relation to new media art practices. Unlike the conservation and archive
round-table the focus here was on future developments and current models of
collaboration. Of all the territories traversed during the event this was
the broadest and perhaps the most difficult to clearly map out. The
relationship between the commercial sector, universities and new media
practionners is one that is always bound to be somewhat controversial and
at times conflictual.

IV. Closing the circle
Looking back at the territory one can only say that Cartographies succeeded
both in providing new guide posts whereby to steer oneself through the
still emerging and contested territory of new media. The multiple
perspectives and definitions that arose during both the presentations and
question periods provided both a sense of orientation and one of
disorientation. Orientation in the sense that it brought the actual state
of new media centres, both here and in Europe into clearer focus.
Disorientation, in the sense that it was not always clear exactly what this
territory we call new media has and is bringing forth. But is it not the
cartographers fate to always be caught between orientation -an already
defined territory- and disorientation -a territory whose configuration we
are only beginning to glimpse.  It is this interplay that made the event
more than worthwhile, and one can only hope that another cartography
session will be called in the near future  so that we may once again
examine the plurality of paths and the horizons to which they promise to
lead us.


4e Manifestiation internationale video et art electronique
Montreal, Canada
September 20-27, 1999

report by Katarina Soukup

As mentioned in the previous ISEA Newsletter, Montreal was treated to a
flurry of international new media art events this fall. Champ Libre's
festival of video and electronic art in September occupied a beautifully
salvaged  industrial building in what are known as the Angus Yards, an
erstwhile CN rail depot. The cavernous space, which was recently
transformed from empty warehouse to funky business and culture offices by
an urban renewal investment, was eerily lit, rendering the exposed steel
iron girders and rough brick walls quite beautiful. It seemed somehow
appropriate that a festival of new media art would find itself in a space
haunted by traces of a bygone industrial era. In making my way to the
festival venue for the first time one night, I had to take a long bus ride
and was dropped off on the edge of the industrial terrain, feeling like I'd
been waylaid in the middle of nowhere. To my delight and relief, I found
the festival after a creepy, albeit short, walk down a deserted road.

Despite its distance from downtown Montreal's hum and activity, the
Manifestation seemed to attract quite a crowd. It treated festival-goers to
roundtables during the day and  video screenings, performances, and DJ
parties in the evening. A dozen computer stations served up a selection of
CD-ROMs and websites.

My favourite festival offering by far was SONIC INTERFACE, the interactive
sound installation by Japanese media artist Akitsugu Mayebayashi. Focusing
on the ear as the conduit for making sense of the world,  Mayebayashi
invited the public to don a set of headphones and a knapsack containing a
laptop computer. Tiny mircophones were mounted on the headset and wired to
the laptop, which transformed the ambient sound in three different ways:
delay, loop, and sample layering. The effects were simple, but they had a
profound influence on how one experienced moving and listening in the
space. The first effect, the delay, served to completely dislocate users
from their surrounding environment, encouraging them to ignore the
out-of-synch visual stimuli and focus on navigating the space with their
ears. The sounds became gradually more complex, creating a soundscape which
made reference to one's actual environment as an "unfaithful"
re-production. According to Mayebayashi, his "listening device" was meant
to amplify hearing via the technology, which then takes on the role of
interface between the body and its environment. The piece was actually made
for an urban jungle with street noises -and not the closed space of the
warehouse in which the festival took place- and I would have loved to try
it out on, say, Montreal's St-Laurent Boulevard. But as someone said to me,
maybe it was better to be in the relatively safe warehouse space: on the
street, the dislocation and disorientation could get dangerous....you could
be hit by a bus -and only hear it 4 seconds later!


ELEKTRA: New Series Of Electro - Techno - Multimedia Events
Montreal, Canada
November 4-13, 1999

report by Katarina Soukup

Under the artistic direction of Alain Thibault, ACREQ (Association creation
recherche electroacoustic Quebec) presented Elektra, a series of
electro-techno-multimedia happenings at Usine C in Montreal. Spread over
two weekends, the event featured performances and audio-visual screenings.
Each night after the performances, several DJs (including DJ Neurom aka
Alain Mongeau) carried us into the wee hours of the morning.

The first weekend, one-time Montrealer Monty Cantsin (aka Istvan Kantor)
gave us the performance Executive Machinery which consisted of the rhythmic
clanging of filing cabinets controlled by computer-operated robots. Turning
to some "old media", Elektra presented French electroacoustic composer
Pierre Henry's 1967 opus "L'apocalypse de Jean". The weekend was rounded
out by Haute Tensions 2000, an impressive line-up of 8 Canadian new video
and electroacoustic works streamed through 40 (!) speakers.

The second weekend of Elektra was centred on the North American premiere of
POL by the Austrian duo Granular Synthesis (this show was presented at
ISEA98 in Liverpool). No strangers to Montreal, Granular Synthesis were
here during ISEA 95, at Usine C in 1997, and most recently at the Montreal
Museum of Contemporary Art last spring. Rumour has it that the NoiseGate
M-6 installation was so powerful, the foundations of the Museum were
dangerously shaken! The Museum was obliged to turn down the volume...

This potential for sound to be a powerful physical, visceral force was
demonstrated  yet again with POL. Using 7 video screens, and numerous
speakers, the piece was based on the atomized image and voice of extreme
vocalist Diamanda Galas. Billed as an "aggressive and erotic show" (a
description which raised not a few eyebrows), POL was more of an endurance
test than a performance. Just before it began, a friend said only
half-jokingly, "I'm afraid...!" With POL, the supremacy of the ears and
eyes as sense organs entirely collapsed -this piece was a whole body
experience, as sound invaded every orifice. Event organizers thoughtfully
handed out earplugs beforehand, but I removed mine at various points during
POL in order to feel the force of the show full on. My teeth chattered, my
hair vibrated, and my stomach pulsated with subsonic sound. Nevermind
structural damage to buildings, I was more concerned about the long-term
damage to my own human body!

Granular Synthesis say POL is their most abstract piece so far, "utilizing
images and sounds of the human body in shredded, flickering portions,
partly embedded in high intensity stroboscopic light." "Within POL," they
say,  "the audience is invited to participate in the questioning of
sensually encountered sounds and imagery at times frustrating and at others
hypnotic, the freedom which remains is the freedom to dive in or leave."
There was a steady trickle of departures from the performance, but I stayed
to the very end, just to see how much I could take.  I can't say, though,
I'd be soon keen to dive back into the fray!


New York, USA
November 13-14, 1999

report by Kathy Rae Huffman

The second annual ArtSci conference was held November 13-14, 1999, in the
Great Hall Auditorium of Cooper Union (http://www.cooper.edu).  There, in
the campus auditorium with numerous columns (a site-line nightmare), a
gathering of students, artists, and curious digital enthusiasts co-mingled
their levels of knowledge and expertise. Subtitled "seeding collaboration",
the two day event proposed to investigate "the will to integrate, merge and
collaborate" in a variety of panel discussions, presentations and break-out
sessions geared to confront some of the most heady problems facing the
scientific/artistic community at the end of the millennium.  Bio-Ethics,
and Creativity topics worthy of a conference, were sandwiched between
numerous panels dealing with the practical problems and history of research
across disciplines, and the resulting challenges to the collective
communities of science and art.

Organized by Cynthia Pannucci, founder and director of ASCI (Art & Science
Collaborations, Inc.) (http://www.asci.org/), the ArtSci '99 mirrored the
objectives of the ASCI membership organization, which was established in
1988 to support artists in New York City who use technology.  A
self-motivated and enthusiastic director, Pannucci runs a one woman show,
with help from a board of directors weighted heavily with practicing
artists. The ASCI mandate is extremely broad and inclusive, and determined
to assist with the invention of a new vocabulary to assist communication
between artists and scientists, because, as Pannucci says, they speak
different languages. Her focus is on the New York digital artists
community, but the organization website receives between 48,000-50,000 hits
monthly, which indicates a definite group of intentional surfers, seeking
information within its contents, and they are probably sitting at computer
screens outside the boundaries of Manhattan.  Definitely a not-for-profit
affair, this locally motivated organization brings the digi-clan together
for exchange and supportive feedback numerous times a year.

I had never attended any of ASCI's events, and after examining the
conference schedule, was hopeful that my trip from Albany to the City would
result in new resources, information and inspiration. Interested to find
out more about ASCI, and the proposed topic, I arrived early on Saturday
morning and realized I would be faced with a mixed bag of information, from
a diverse group of experts. As a concept, the event was well conceived and
can even be considered necessary.  But in reality, it is extremely
difficult to mix-up as many speakers on these topics in such a short
timeframe, in front of an audience that seemed to be looking for
confirmation of their art practice.  The conference was sparsely attended,
due in part (I suspect) to the pricey entrance fee.  The exhibitors tables,
or "Resource Tables" never really materialized for any extensive purpose,
and the exhibition was in another location. Without a press pass, I would
not have attended this event.

Sponsored by Leonardo Journal,  ARTBYTE magazine, and 12 Point Rule, Ltd.(a
commercial company), there was no lack of PR or mentored content.  So, I
was curious why the event remained on the level of an adult education
course, or a hurried distance learning course delivered to professionals on
a concentrated weekend.  The speakers, all very notable, were heavily
contextualized, and then hurried off to keep the program (which was totally
off-schedule from the beginning) working smoothly. The topics were overly
weighted towards the necessity of collaborations, and their history, and
there were too few case studies, and no serious in-depth analyses of a
spectacular cross-disciplinary event or project. The Artist-Scientist Teams
at the end of the conference were a step in this direction, with Todd Siler
& the MIT group that created "Architectonics of Thought",  and Victoria
Vesna presenting her project from Santa Barbara "Research Across
Disciplines" .  These were exceptions.  More presentations on this order
would certainly up the ante of the conference content, and would provide
substantive information for working artists discussions about collaboration.

The exhibition "The 2nd Annual Digital Art Exhibition"  also sponsored by
ASCI was premiered prior to ArtSci '99,  in the Computer Gallery of the New
York Hall of Science (NYHOS), September 12 - October 10, 1999.  Juried by
Therese Mulligan, Curator of Photography, The George Eastman House,
Rochester, NY, eight works were selected from more than 75 entries, with
the  final works in the categories of Digital Prints and Web Art.  Examples
from each artist are visible online at (http://www.asci.org/home.html) and
include web works by Carmin Karasic, Liz Miller, Parkbench.org (Nina
Sobell, Emily Hartzell and Sonya Allin), and prints by Abigail Doan, Madge
Gleeson, Jun-Ho Lee and Marjan Moghaddam.

Digital 99 featured a varied group of artists, but a keen tendency toward
the personal, biographical, and narrative prevailed in the selection.
Mulligan, in her statement, asks:  "Šdoes this mean that I - or you - must
approach digital art with a special or new way of seeing that is wholly
attune to this new media? The answer is no."  This is an answer that is
often repeated by those unfamiliar with digital work, and may be one reason
that keeps the work of digital artists out of the main selection process
for art museums.   The fact is that the subject matter of many digital
artists  is affected heavily by the technology they use, and leads to new
aesthetic discriminations, which are rapidly changing the commercial
landscape, but are slow to enter the careful research pathways followed by
the majority of curators.  Digital 99 was available at the Brooks Gallery,
in a different building of Cooper Union.   Even though it was close by, it
would have served the artists and the conference more effectively as a
constant reference to the focus of most of the attendees, and one that is
important to represent within the context of discussion: the Art.

Kathy Rae Huffman is Associate Professor of Electronic Art at Rensselaer
Polytechnic Institute (USA), and an ISEA Board member.


NewOp 8: Conference On Creation, Voice, and New Technology
Montreal, Canada
November 10 - 13 , 1999

report by Katarina Soukup

Montreal-based lyrical art company Chants Libres hosted the 8th annual New
Opera conference, which decided to tackle the theme of Creation, Voice and
New Technologies this year. Under the guidance of Chants Libres' artistic
director, Pauline Vaillancourt, the conference offered various workshops
exploring  different technologies and tools available to extend vocal and
theatrical limits.

These included Atau Tanaka's presentation of the Bio-Muse, a gestural
interface which picks up neuronal impulses of tension and action from the
muscles in the body and transforms these parametre changes into sound via
Max, a software developed at IRCAM in France. Tanaka's collaborator, Zack
Settel showed how this technology could also be used to extend the voice of
a performer -using the sound of the voice as input instead of gesture.

The conference opened with Pauline Vaillancourt's solo performance of Canti
del Capricorno by Giacinto Scelsi -a piece originally written for the
Japanese singer, Michiko Hirayama, in 1962.  Vaillancourt's take on Canti
transformed it into a "multimedia" opera featuring video images by Michel
Giroux and the postively uterine costume and flesh-hued set design of
Massimo Guerrara. Playing on notions of the grotesque, creation as
gestation, and the various ways in which the female voice and body are
formed and deformed, Vaillancourt was laced into a tight Elizabethen corset
with wide-hipped extensions. She wore a hood with two fallopian outgrowths
shooting from her head -giving the impression of both a strange sort of bug
and an inverted womb-like crown.  With its peachy flesh-tones, concetric
uterine designs, built-in orifices, and even a playful set of hands
emerging from the wall to capture and lift Vaillancourt off the stage floor
for a moment or two, set desginer Massimo Guerrara's bizarre amalgamation
of female body parts reminded me of the visceral aesthetic of Linda
Dement's Cyberflesh Girl Monster.

NewOp 8 brought together musical theatre and opera afficiandos as well as
new technology specialists -a strange overlap of worlds at times. It was,
however, fascinating to see how new technologies are infiltrating
traditional disciplines. These disciplines are being transformed by new
media, surely; but even more interesting is how developments in new
technologies might also be influenced by the ways in which traditional
practitioners appropriate new media for their own aesthetic purposes.


Media Lounge
Festival international du nouveau Cinema et des nouveaux Medias de Montreal
Montreal,  Canada
14 - 24 Octobre, 1999

report by Katarina Soukup

According to the catalogue, the concept behind this year's Media Lounge was
"based on a trajectory beginning on a minimalist note, gradually
progressing towards an increasing sensorial overlode." Within this
trajectory, the new media section of the FCMM presented numerous
installations, CD-ROMs, websites, performances, DJ parties, and artist

Heavily influence by DJ and dance culture, evenings at the Media Lounge
featured the likes of Atmosphere (Germany), Farmer's Manual (Austria), as
well as scratch VJs Ron and Safy (Israel) with their luminous,
colour-saturated images and meditative soundtrack.

The innovative Reality Dub by Cecile Babiole and Fred Bigot (France)
consisted of a mini-van with blackened windows and sound/image input.
Passengers were taken on a ride through Montreal city streets and treated
to an ever-changing "re-mix" of the urban landscape via screens and
speakers located inside the vehicle. A thrillingly disorienting experience
-perhaps a little too dizzying, as I once overheard it called the "Barf

VinylVideo, a playful installation by Gebhard Sengmuller/Best Before
(Austria), presented us with a 'fake archeology of media'. Previously
reviewed in the ISEA Newsletter (#72), the installation features a retro
setup with 70s-issue modular tv, a collection of vinyl LPs (a limited
edition of works by Vuk Cosic, JODI, Alexej Shulgin and others), and a
mystery black box (devised by Sengmuller and engineer Gunther Erhart) which
enables the groove signals to be decifered into low resolution video
images. Despite Sengmuller's detailed  (and seemingly sincere!) technical
explanations, the main debate about VinylVideo remained whether it was a
real technology or a hoax -an ambiguity which curator and co-conspirator
Rike Frank of Best Before coyly declined to clear up.

Afasia by Macel Li Antunez Roca (Spain) was an over-the-top multimedia
spectacle (for there can be no other word for it) based on Homer's Odyssey.
Strapped into a  plastic and metal "exoskeleton", Antunez controlled all
manner of hydraulic robot creations scattered on stage, as well as a slew
of visceral video images, with his body and facial gestures. Whether
intentionally or not, this aggressive performance playing into the
archetype of the grotesque body often came across as rather cartoonish.

The Media Lounge also featured several installations such as Felt
Histories, Thecla Schiphorst's (Canada) interactive sound and video
project. With a door-frame as the threshold of interaction, the still image
projected on the fabric door surface could only be prompted into action by
the movement and touch of the spectactor.

Finally, among the websites was the chaotic OSS by the anti-social web duo
JODI (Netherlands/Spain). A virus-like operating system, OSS had
festival-goers constantly rebooting the glowing G3s in hopes of eradicating
the maddening interface. In the end they were left only with the option of
relearning how they approach and interact with a computer system -learning
to relinquish control.


To be sent under separate cover.

ISEA NEWSLETTER=========================================================

Editor: Katarina Soukup /Translation: Eve-Isabelle Charbonneau, Caroline
Martel, Natalie Melancon, Sofie Tremblay
Contributors:  Kathy Rae Huffman, Natalie Melancon, Bernard Schütze,
Katarina Soukup

ISEA, 3530 boul. Saint-Laurent, suite 305, Montreal (Qc), H2X 2V1, CANADA
Tel: (514) 847-8912, Fax: (514) 847-8834 email: isea@isea.qc.ca
URL: http://www.isea.qc.ca
ISEA Board Members: Nina Czegledy, Kathy Rae Huffman, Amanda McDonald
Crowley,  Alain Mongeau, Cynthia Beth Rubin, Thecla Schiphorst, Atau
Tanaka, Wim van der Plas

To subscribe, send a message to:
listproc@uqam.ca, no subject, with the message in the body: "subscribe
ISEA-forum first
name last name"

ISEA distributes a hard copy version of this Newsletter in order to keep
its members, who  have no access to Electronic Mail, informed. Those
members can, if they desire, get in touch with the email addresses
mentioned in this Newsletter by contacting ISEA.

Support: La Fondation Daniel Langlois, Ministere de la culture et des
communications du Quebec.

end of newsletter
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#064 Apr 1998


#64 April 1998

		ISEA,  P.O. Box 508, Succ. Desjardins,
		Montreal (Qc), H5B 1B6, CANADA

		Phone: (514) 281-6543, Fax: (514) 281-6728
		Email: isea@sat.qc.ca
		URL: http://www.sat.qc.ca/isea

ISEA Board Members: Peter Beyls, Amanda McDonald Crowley, Tapio Makela,
Alain Mongeau, Simon Penny, Cynthia Beth Rubin, Patricia Search, Wim van
der Plas. Ex-officio Board members: Shawn Decker (ISEA97), John Hyatt
(ISEA98), John Brady (ISEA98)
To subscribe, send a message to:
listproc@uqam.ca, no subject,  with the message in the body:
"subscribe ISEA-forum first name last name"
				* CONTENTS *

Check out the digital version of the Newsletter on our Web site


Dear ISEA Member,

++++  an important announcement ++++

CALL FOR  - ISEA  BOARD NOMINATIONS -    are now open until 12 June 1998

In this news bulletin you will find:
--+ Call for participation information+--
--+ ISEA's Board structure +--
--+ Indication of Board Members Tasks and Terms +--
--+ ISEA HQ Information +--
--+ Nomination Submission Form +--

--+ Call for participation +--

The current ISEA Board has served its agreed 1 year term and new elections
are on the horizon.
The deadline for nominations to the ISEA Board closes  --- JUNE 12 1998 ---

--- Please note ---
ONLY ISEA MEMBERS will be able to be elected for Board positions!!
Non-members interested in presenting themselves as nominees can register
and submit their application at the same time. Please see our web site for
information on how to become an ISEA member or email us the ISEA HQ.


--+ ISEA Board Structure+--

Up to 9 ISEA Board positions are available.
The outgoing board will recommend to the incoming board that, by a
gentlepersons agreement, 3 members resign at the end of a one year period
and three members resign at the end of a two year period.  This will then
ensure that at future Annual General Meetings, a number of board members
will be continuing and a number will be newly elected, providing for a
rotation of Board members offering new insight and perspectives for the
development of ISEA.

--+ Indication of Board Member Tasks and Terms +--

* Board members should act in the best interest of the ISEA network and its
* Persons nominated should consider their personal time and interests which
they will bring to ISEA
* Board members shall collaboratively and actively promote and shape the
future development of ISEA
* Board members should creatively assist in converging an interdisciplinary
art practice and technological developments.
* During the course of the next year, the ISEA Board and the ISEA HQ shall
keep regular contact by holding on-line meetings every 2 months to help
manage, plan and develop ISEA.

* ISEA98 would set the scene for the first new Board meeting to take place.

--+ ISEA HQ Information +--

* ISEA is a non-profit, international organization whose membership and
collaborators consists of a wide range of individuals and institutions
involved in the creative, theoretical and technological aspects of
electronic arts.

* Founded in the Netherlands in 1990, the ISEA HQ moved its Headquarters to
Montreal, Quebec, Canada, at the end of 1996. In its first year of activity
in Montreal, the ISEA HQ focused on restructuring the organization. During
this period, ISEA acquired the status of international non governmental
organization (INGO).

* Since January 1998, the HQ has a dynamic, multilingual team of 5 part
time staff members who coordinate and administer ISEA's virtual and
physical presence. The HQ is committed to develop ISEA's international and
local presence by extending its networks and providing a diverse range of
benefits to the membership.  We look forward to the new challenges the
future will bring with a newly elected ISEA Board.

--+ Nomination Submission Form +--

Please print this form and fax or sent by mail only to the ISEA HQ office.

Mailing Address__________________________________________________________

ISEA member: ______yes	_______no
(please note: Membership application forms can be received via email:
isea@sat.qc.ca or on our web site http://www.sat.qc.ca/isea)

I, _______________________________________________ being a member of the Int=
Society for the Electronic Arts hereby agree to be nominated as an ISEA
Board member.

Signature  _____________________________date _____________________

Please submit these Personal Details with your nomination:
1. Short descriptive bio (max. 250 words)
2. How do you foresee your nomination to benefit ISEA and its
membership?(max. 250 words)
3. Briefly outline your past involvement in the field of Electronic Art
4. Please list 3 concerns you have regarding ISEA

Looking forward to receive your nominations !



LEONARDO, the leading journal for anyone interested in the application of
contemporary science and technology to the arts, is now available to
members of Inter-Society of Electronic Arts (ISEA) at a special discount
price of $57.60 This is 20% off the journal's regular rate and includes the
companion annual journal, LEONARDO MUSIC JOURNAL.

=46ounded in 1967, LEONARDO provides an international channel of
communication between artists and others who use science and technologies
in their creations. The journal covers media, music, kinetic art,
performance art, language, environmental and conceptual art, computers and
artificial intelligence, and legal, economics, and political aspects of art
as these areas relate to the arts, tools and ideas of contemporary science
and technology. LEONARDO MUSIC JOURNAL (including compact disc), features
the latest in music, multimedia art, sound science and technology.



WHAT'S NEW IN VIRTUAL AFRICA: http://cyberworkers.com/Leonardo

=46or further info contact Jocelyne Rotily : Jocelyne@cybermedias.com

Eliane DeConinck of the Royal Museum for Central Africa, Bruxelles informs
us that two new collaborators are joining Virtual Africa: Dr Mohamed
Asahakia, Director General, National Museums of Kenya, and Dr D Munjeri,
Executive Director, National Museums and Monuments, Harare.

New on the Virtual Africa Web site: South African artist Malcolm Payne
presents his work around the Lydenburg heads   at


Nous sommes satur=E9s d'informations. Vous aussi sans doute...Le CICV propos=
un nouveau service destin=E9 =E0 se rep=E9rer rapidement et facilement dans =
jungle. Depuis le premier janvier 98, le site prospective du CICV propose
des synth=E8ses concernant l'actualit=E9 dans les domaines de l'art, de la
technologie, de l'entreprise, de l'=E9cole, de l'audiovisuel, de la soci=E9t=
de la politique...Ce service est gratuit.
Il est mis =E0 jour tous les soirs, du lundi au vendredi, =E0 18 heures.
Il est accessible =E0 l'adresse :  .
Contact : Pascale Ostermann <pascale@cicv.fr>.

We receive too much information. As well as you, isn't it... CICV suggests
a new service. The aim is to get information easily and quickly in this
jungle. Since January 98, CICV gives you the opportunity to have up-to-date
summaries about art, technology, businessworld, education, audiovisual,
society, politics...
This service is free and only available in french at that time. It is
updated everyday, from Monday to Friday, around 6 o'clock.
To be connected, type the following address : .
Contact : Pascale Ostermann <pascale@cicv.fr>.

CICV Pierre Schaeffer Montbeliard Belfort
Tel 03 81 30 90 30
portable : 0680347906
=46ax 03 81 30 95 25

Revolutionary Art of Peru


The art displayed here was mainly created by imprisoned fighters and
supporters of the PCP. The materials to produce these artworks had to be
smuggled into the prisons by friends and family. The art has since made its
way around the world. Many of the artists were killed in the prison
massacres of June 1986 and September 1992.

Revolutionary Music from Peru

Panorama Ayacuchano. Featuring music from the struggle in Peru. Sample
music from the song "Combatiente Guerrillero" (280k AU file, 30 seconds).
Also, sample from the song "Presidente Gonzalo" (320k AU file, 30 seconds).

Julia Illanes of Peru sings "Shining Paths..." (550k WAV, 51 sec.) from the
IEC video "You Must Tell the World".

Committee to Support the Revolution in Peru


Instructor/asst. prof., salary commens. with qualif.& experience., Aug.
16,1998, MFA required, some teaching exp. helpful, teach b&w, color,
digital, non silver, multimedia, experience with studio lighting  helpful.
Send resume, 20 slides or disk, teaching philosophy, names of 3
references, to:
Anthony Lauro,
Dean Media Studies Division
The Columbus  College of Art & Design
107 N. Ninth St. Columbus
Ohio 43215.
Applications accepted until position filled.

L ' I M M A G I N E   L E G G E R A

will take place in Palermo, October 2-10, 1998.

- International Videoart Competition (the only one in Italy)
- International Competition for CD-Rom is on JULY 31st, 1998.

The same deadline is valid also for
- the Prix "Vulcano" (for an Italian Video)
- the Section Radio Plays (Italian spoken)

Starting from next Friday (27th March) you will find the new Competition
Rules as well as a downloadable Entry Form on our new Homepage:

We'll send entry forms by snail-mail to our mailing list as well.  If you'd
like to receive the catalogue of the past edition, or to be included in our
mailing list, please contact us (00253aaa@mbox.infcom.it).
3rd International Videoart, Film and Media Festival - Palermo
Casella Postale 136 (P.O.Box)
I-90133 Palermo
Tel: +39-(0)91-696.17.40
=46ax: +39-(0)91-611.16.82

=46estival staff: Alessandro Rais (director), Marcello Alajmo, Ignazio Plaia=
Maurizio Spadaro

old URL:		http://web.tin.it/iside/immagineleggera
next new URL:	http://www.imprese.com/immagineleggera

e-mail: 	00253aaa@mbox.infcom.it

(L'IMMAGINE LEGGERA is promoted by:  Citt=E0 di Palermo - Assessorato alla
Cultura - Festival di Palermo sul Novecento)

f e s t i v a l   l i m b o  o f  unconventional art
19, 20, 21 June 1998
Plasy Monastery, Czech Republic

With LIMBO we hope to evoke those "folk" summer celebrations of the recent
and distant past, if only because of late they have appeared so rarely. The
festival program will be diverse and out-of-the-ordinary, both "light" and
"challenging": concerts of experimental, festive, and unexpected music;
circus acts; inventive amateur theater & contemporary performance; video
projections and outdoor movies . . . . All in all, we hope that LIMBO will
hark back to (and towards) those old and new traditions and forms of art
that sweep boredom and mediocrity aside.

proposals are welcome for . . .
- CONCERTS of experimental, popular, acoustic, electric, Renaissance,
Baroque, gospel, folk, and non-European ethnic music
- FESTIVE and UNUSUAL performance & ceremony street & puppet & acrobatic
- humorous & fun VIDEO & FILM
- contests & games
- edible art
=2E . . and all else beyond our imagings

All events, performances, acts will be held on the grounds of the Plasy
Monastery ... a whole range of spaces is available - outdoor & indoor,
gorgeous & rotting, huge & intimate. Have a look at photos on the web site
("The Space" page under Center for Metamedia ... beware - the site
sometimes downloads slowly).

All participants will be housed at the monastery. Food & per diem will also
be thrown into the deal. If a modest honorarium is really needed on top of
all the fun you'll have participating, we can talk . . . international
travel costs will have to covered from other sources - we can help with

D e a d l i n e
just about now ... the program is filling up, so the earlier the better

W h e r e
letters/questions can come by email to -  hermit@pvtnet.cz - or fax - 00
420-182 2909 other materials by post - Center for Metamedia, P.O. Box 25,
331 01 Plasy,
Czech Republic questions can also be directed to - 00 420-182 2909 or 00
420-2 827 8815

We will be looking for your responses each and every day!
Milos Vojtechovsky, Jo Williams, Karel Sidorjak, Martina Tomaskova - Center
for Metamedia

Hermit Foundation / Center for Metamedia-Plasy
P.O. Box 25, 331 01 Plasy, Czech Republic
tel./fax 00 420 182 - 2909
email - hermit@pvtnet.cz




You are kindly invited to cooperate in a project "Megatronix" with your own
web creations.
Megatronix is an open online project, an interactive, social critical
theater, concept as an arcade game, where the player becomes the actor. The
"free choice" is just a fictive solution, because the game is leaded by a
random generator.

It is the continuation of the idea of a random leaded game, first used in
(http://www.teo-spiller.org/esmerlda/ ) (Esmeralda was presented on the art
festival OSTRANENIE 97 in the Bauhaus school in Dessau, Germany)

The open structure of the game lets every user of the web to add his own
action scene into the MEGATRONIX game.

The main concepts, united in this project are:

1) The critical relation to the violent, senseless action movies, arcade
games, brutal comics and cartoons, intensifying the violent behavior of the
wide public, specially by youth.
2) The concept of all different concepts, designing solutions, visual
presentations of web artist all over the world in one collective project.
3) The confusion, that contemporary subject is throw in, specially because
of the intensive attack of too many TV channels, newspapers and other
commercial institutions, which goal is mostly their own profit.
4) The possibility that web tools gives: that one project can load
different scenes from the servers all over the world into one collective
project (I find it very fascinating, that you don't even need to write the
URL of the megatronic random generator, but you only have to name the
frame, where it is positioned).
5) The concept of an anarchic piece without any direction, loading in a
confused order different scenes one after another (just like sitting by the
TV with 35 channels and clicking on the remote control unit from one
channel to another, looking for "something interesting").
6) The second phase of megatronix is to fully automatise the submitting of
the scenes, so it will become an independent, self developing organism, an
artificial life form on the web.

How to add your own scene:
( http://www.teo-spiller.org/megatronix/add.htm )

for any questions, please contact teo.spiller@fractal.si

Closing date: Friday 15 May 1998

Sydney Intermedia Network (SIN) presents

international festival of experimental digital film, digital video,
computer animation art Sydney, Australia, June 1998

* SIN / D.art
Sydney Intermedia Network (SIN) was established in 1981. It is a non-profit
organisation which promotes the development and critical discussion of
innovative film, video, sound and digital media arts in Australia, and
exhibits this work to audiences nationally and internationally. SIN has
replaced MATINAZE, its highly acclaimed annual survey of Australian screen
arts (1991-1997), with D.art, SIN's new annual international showcase of
experimental digital film, digital video and computer animation art. D.art
will premiere at the 45th Sydney Film Festival, Sydney, Australia, June
1998. (Next year's event will include CD-ROM and internet projects.)

- works should be innovative/experimental in aesthetic and 'narrative'. -
works must have been produced either entirely or primarily within the
digital domain

OR at least involve some form of digital manipulation.

- works must have been completed after January 1997 (ie, within the past
fifteen months).

AUS$20 - or free to current members of SIN (support screen arts, join SIN
now! AUS$30).
Method of payment: overseas entries - international bank cheque only in AUS
dollars; Australian entries - bank cheque or money order.

SIN will pay artists whose works are selected for screening AUS$50 for each
work. Some or all works selected for screening in D.art might also be
included in the D.art touring program which will be exhibited throughout
Australia. If so, an additional once-only fee of AUS$100 will be paid to
the artist.

Please submit works in ONE of the following formats (in order of preference)=
- SP Betacam PAL only, or
- high-grade SVHS PAL, or
- high-grade SVHS NTSC.
Works submitted in other formats will not be eligible for consideration.

Please contact Simone O'Callaghan, SIN, to obtain a fax or email copy of
the entry form,

or for information about other SIN activities and membership details.

Sydney Intermedia Network (SIN)
PO Box 306 Paddington
NSW 2021 Australia
tel (+61 2) 9380 4255
fax (+61 2) 9380 4311
email sinsite@ozemail.com.au

Thank you for your interest.
Alessio Cavallaro
Director, Sydney Intermedia Network

SINevents 98 include:

Electronic Theatre program direct from the world renowned festival of
computer animation art Tuesday 26 may 6pm
Chauvel Cinemas, cnr Oatley Rd and Oxford St Paddington

June	D.art
SIN's new annual international showcase of experimental digital art
premieres at the 45th Sydney Film Festival

June	Current Media Art:
Video Art, CD-ROM and Internet projects from Germany introduced by Rudolf
=46rieling, ZKM, Germany presented in association with Goethe-Institut, Sydn=

July	Synthetics: video synthesis to computer graphics
The electronically generated image in Australia presentations by some of
the pioneers of Australian electronic media art curated by Stephen Jones

Aug	Peter Callas: Initialising History
A three-component program centred around and curated by Peter Callas, one
of Australia's most celebrated electronic media artists

Oct	futureScreen
SIN's inaugural annual event investigates and critiques the future of
screen arts as defined by the confluence of new media art theories and
practices, and scientific and technological  developments

Sydney Intermedia Network (SIN) Inc encourages and promotes the development
and critical discussion of innovative film, video, sound and digital media
arts in Australia, and exhibits this work to audiences nationally and

SIN Director: Alessio Cavallaro
SIN Administrative Assistant: Simone O'Callaghan
SIN President: Kathy Cleland
tel +61 2 9380 4255   fax +61 2 9380 4311
upper level, Sydney Film Centre, Paddington Town Hall
PO Box 306 Paddington 2021 NSW Australia

SIN gratefully acknowledges the financial assistance of the Industry &
Cultural Development Branch of the Australian Film Commission, the Visual
Arts & Crafts Program of the NSW Ministry for the Arts, the NSW Film and
Television Office, and the Visual Arts/Craft Fund and the New Media Arts
=46und of the Australia Council - the Commonwealth Government's arts funding
and advisory body. SIN also gratefully acknowledges the ongoing cooperation
of The Art Gallery of New South Wales.

Sydney Intermedia Network is a member of the Australian Screen Culture
Industry Association (ASCIA).

ETNA Foundation

ETNA Foundation is an independent, non-governmental, non-profit
organization, established by UTO Gusztav  in Sepsiszentgyorgy/Sf. Gheorghe,
Transylvania region, Romania. The goal of  the ETNA Foundation is to
support alternative art,  facilitate  personal contact among artists in the
country and abroad;  in a larger sense, to contribute to the shaping of a
social  environment which favours the development of experimental arts.

ETNA Foundation  regularly organizes international exhibitions,  festivals,
meetings and evenings, such as

- MEDIUM Exhibition (every three years, in Sf. Gheorghe; the last  edition
organised in 1997 as MEDIUM 4 International Exhibition of Living Art

- AnnART Festival (annually in July, St. Ann Lake; since 1990 eight
editions have been organized, with the participation of 104 artists  from
25 countries)

- SEPSI Living Art Meeting (annually in April, Sf. Gheorghe;  each year
with the participation of 10-12 artists from Romania)

- ARES artist-in-residence project (every two-three months; the  project
has been started this year; for the moment we can provide  board and
lodging at host families; the first invited artist,  Julie-Andree T. from
Canada elaborated and presented two performances  and a project with
children in February)

- ELO-TEKA (Living-Archives) video-evening (weekly; presentation  of the
Etna Documentation Center s video material)

 Near future projects:

SEPSI 4 Living Art Meeting
25 April 1998, 3 p.m. Central Park, Sf. Gheorghe
Invited artists:
ANTIK Sandor, Olimpiu BANDALAC, BARTHA Sandor, BOB Jozsef, KONYA Reka,
MIKLOSI Denes, Cosmin POP, SZABO Zoltan (Judoka), TORO Attila, UTO Gusztav,
VERES Szabolcs

AnnART 9 International Living Art Festival
24-26 July 1998, St. Ann Lake
Invited artists: Richard MARTEL, Sandy MCFADDEN (Canada), KOVACS Istvan
(Hungary), YASUNORI Shiobara, SHIMODA Seiji (Japan), Elvira SANTAMARIA
(Mexico), Jaap BLONK (Netherlands), Fernando AGUIAR (Portugal), BARTHA
Sandor, Adrian GUTA,Cati ORBULESCU, TOTH Tamas (Romania), Bartolome
=46ERRANDO (Spain), Catherine WELLER, Cate ELLIS (UK), Nenad BOGDANOVICI,
SZOMBATHY Balint (Yugoslavia).
Information regarding the program should be obtained from the second part
of June 1998.

The Foundation welcomes every contribution to the Documentation Center's

Should you need further information, please do not hesitate to contact us.

contact: UTO Gusztav - KONYA Reka
ETNA Foundation
Korosi Csoma Sandor 24
4000 Sf. Gheorghe
tel/fax: 40-67-352-124
e-mail: office@etna.sbnet.ro
The Center for Computer Arts which acts within the framework of the Soros
Center for Contemporary Arts - Skopje, Macedonia will feature in the
program of the

Skopje Electronic Arts Fair '98

COMMUNING * V.R. - WWW - Net-Linked - CD-ROM  exhibition

SEAFair is the first manifestation of this kind on the Balkans, bringing
together International  web  artists, multimedia artists, media critics,
theorists, and philosophers, as well as the interested audience.  SEAFair
is conceived to be a serial of international events, exhibitions/video
conferences,  workshops, and meetings which will explore the creation and
existing of new media and electronic arts and venues.  SEAFair assists the
communication within the European emerging electronic art&media scene.
SEAFair urges the discussions about the artistic, philosophic, educational,
and other aspects of  the emerging media. SEAFair serves as an
international and intercultural meeting point of arts and technologies.

The web site of CefCA [Center for Computer Arts]  which acts within the
frameworks of the  Soros Center for Contemporary Arts - Skopje
[http://www.scca.org.mk]  will be updated frequently and will contain full
information on these events. Also see SEAFair '97 on:

Chief Aims of the project SEAFair 98
- to present the most current international projects in the field of
electronic arts.
- to enable a critical discourse towards the diverse emanations in the
electronic arts.
- to enable a historization and theoretical platform of different aspects
and expressions in the electronic arts.
- to serve as a bridge and enable a communication between the international
and Macedonian artists, curators, and theoreticians in the field of
electronic arts.

Call for Contributions

V.R., WWW, Net-Linked, and CD-ROM Art Exhibition Venue: Skopje Museum of
Contemporary Art
October 02 - 09, 1998 Skopje, Republic of Macedonia

An international call for V.R., WWW, Net-Linked, and CD ROM Art projects.
The exhibition Communing addresses the theme of the visions of the artists
including the processes of Imagining, Meditation, Dreaming, Reflection and
Visualization, during the process of art creation.  The exhibition will
feature the result of the Communing i.e. the digital language of different
international artists that express themselves in V.R., the WWW, Net
-Linked Installations, and CD-ROM.
The exhibition is conceived as an encounter of artists, technologies and
visionaries. Communing is especially interested in original innovative
projects.  The exhibition welcomes all projects using information
technology and different multi-media  applications, hypertext, vrml.
The selected international projects will be presented in the Skopje Museum
of Contemporary Art,  accompanied with a lectures of the invited artists,
and a workshop directed at qualifying the local artists and audience for
complex media projects. The submitted projects will pass through a juried
election process. The authors of the projects retain all of the copyrights.

=46or the V.R. projects
- title of project
- abstract
- technical equipment requirements for the presentation
- curriculum vitae

=46or the web projects the proposals should contain:
- title of project
- abstract
- URL addresses of projects (or CDs)
- technical equipment requirements for the presentation
- curriculum vitae

* The selected artists will be contacted and will be provided with the
guidelines and an FTP address where the projects can be uploaded. When
sending the projects please send description of any additional changes that
have to be done locally.

=46or the Net-Linked Installations the proposals should contain:
- title of project
- abstract
- URL addresses of projects (if already existing)
- detailed technical equipment requirements for the presentation
- curriculum vitae

=46or the CD ROM projects the proposals should contain:
- title of project
- abstract
- technical equipment requirements for the presentation
- curriculum vitae
- video tape
- the actual CD ROM
(If CD - ROMs have already been sent for the project Interactive
Narration they do not have to be re-sent).

Deadline for submission: July 15, 1998

Notification of acceptance: July 25, 1998

International Web Art and CD ROM Art exhibition Venue: Skopje Museum of
Contemporary Art Date of exhibition: 02.- 09.October 1998

Submit  proposals for the event to:
Melentie Pandilovski, Curator of SEAFair '98
Soros Center for Contemporary Arts - Skopje, Macedonia
Orce Nikolov 109, 91000 Skopje
tel/fax:	389.91.133.541
47th Melbourne International Film Festival, Australia, 23rd July - 9th
August 1998

DEADLINE: WEDNESDAY 20th MAY 1998 (preview material must be received by
this date)

*** Computer animation, cd-roms, digital video ***

The Melbourne International Film Festival is including a special program on
interactive CD-Roms, and digital works as part of this years program
specially coordinated by artists Martine Corompt and Ian Haig.

The Festival plans to include an exhibition of interactive CD-Roms and a
screening program of new computer animation shorts and videos, along with a
number of artists talks and forums on digital filmmaking and interactive
media and it's impact on screen culture.

Submit works preferably on SP Betacam (PAL only) or send a preview tape on
VHS (PAL or NTSC) and CD-Roms, also work on Zip/Jazz drive for Preview

Note: We are particularly interested in exhibiting/screening works that
have not yet been seen in Australia.

* For more information and application forms please contact Martine Corompt
or Ian Haig

P.O Box 1049
Collingwood, VIC,

=46ax: (61-3) 9417 3804
Tel: (61 3) 9416 1996
email: Martine@rmit.edu.au  or  I.HAIG@rmit.edu.au

website: http://cs.art.rmit.edu.au/media_arts/Ian_Haig/fest.html

The Melbourne International Film Festival is one of the country's oldest
running arts events and the oldest established film festival in the
Southern Hemisphere. It is a major event on the Australian arts calendar


on the archaeology of new media for the special issue: * * "Before and
After Cinema"* *

Submission deadline for this issue is 30 October 1998

=46or Volume 5, No. 2 of the Journal (1999) we are seeking papers relating t=
research projects or case studies on the archaeology of new media. This
special issue is prompted by the question: Is it possible to analyse and
"historicise" the study of digital media in the same way that cinema
scholars and art historians have revised certain teleological accounts of
cinema's evolution?

In particular, we are looking for papers that deal with the possible
parallels that might be drawn between the two areas of research -- cinema
and new media:

*  historical accounts of cinema, radio, music, television, video and other
electronic artforms that throw light upon and draw relation to current
developments in the field of new media

*  case studies of corporate and/or aesthetic strategies dealing with the
impact of new technologies on "old" (existing) media

*  theoretical and/or historical articles that deal critically with the
evolution of new media forms, from the 19th century to the present

*  analyses of the convergence of the institutions of cinema with new
formations of media enterprises in the digital age

*  analyses of specific artworks or products in light of the complex
historical, technological and economic forces that influence them

This issue will be guest-edited by Ross Rudesch Harley, lecturer in
Theatre/Film Studies, University of New South Wales, Sydney, Australia.

All inquiries about, proposals for articles or completed papers for the
"Before and After Cinema" issue should be sent to:

Ross Rudesch Harley
Theatre/Film Studies
University of New South Wales
Sydney 2052 Australia
tel: 61.2.9385 4867
fax: 61.2.96622335
email: r.harley@unsw.edu.au

All other editorial inquiries, general proposals and submissions to:
Julia Knight or Alexis Weedon, Editors, Convergence, School of Media
Arts, University of Luton, 75 Castle Street, Luton, LU1 3AJ, United
Kingdom.  Tel: +44 1582 34111, fax: + 44 1582 489014

Moving Image Centre, NZ
Call for proposals for Interdigitate, biennial videowall and live
performance event

The Moving Image Centre is currently seeking proposals for Interdigitate.
Interdigitate is a biennial videowall and live performance event
unparalleled in New Zealand. It provides an important opportunity for
innovation between moving image, sound and performance disciplines. We are
also seeking entries for short films and videos for the New Zealand Film
=46estival's short film programme.

The Moving Image Centre is also staging a 16mm filmmaking workshops in late
April. Details can also be gained by referring to the website or by
contacting the Centre.

=46or information regarding the above projects please refer to our website o=
contact the centre via the details below.

Deborah Lawler-Dormer
Moving Image Centre
Phone 64-9-3732772
=46ax 64-9-3734830
P.O. Box 106097
Auckland     Website: http://www.mic.org.nz


Canon's ARTLAB presents "LOVERS" by Teiji Furuhashi and "frost frames" by
Shiro Takatani

ARTLAB holds an exhibition from May 10 to 21, 1998 at SPIRAL, Tokyo,
consisting of "LOVERS," 1994 collaborative work by artist Teiji Furuhashi
with ARTLAB, and a new work by Shiro Takatani, leading member of the art
group Dumb Type.

After shown at ARTLAB4(1994), "LOVERS" has been invited and shown at 11
venues in 7 countries in U.S. and Europe from 1995 to 1997, starting from
"Video Spaces" at New York's Museum of Modern Art (MoMA). "LOVERS" to be
shown this time is its international version, renovated from the original
version, for the first time in Japan.

=46uruhashi was the leading member of Dumb Type, and gave numerous
outstanding performances and installations before he passed away three
years ago. LOVERS is his first full-scale solo and posthumous work at the
same time. Since there were many requests to exhibit the work again, ARTLAB
planned a special exhibition to show the installation along with a new
video installation by Shiro Takatani, who is one of the collaborators in
the production of LOVERS.

The theme of LOVERS is a relationship of love, generated along the borders,
for example, between humans, human and body, and humans and information. In
the work, filmed images of life-size humans appear in a dim space. The
movements of visitors in the space are perceived by sensors and affect the
course of movement of the images. On the other hand, "frost frames,"
depicts a world where the contrast of projected images mutually turn

date: May 10 - 21, 1998   11:00-20:00
location: SPIRAL, Tokyo(5-6-23 Minami-aoyama, Minato-ku, Tokyo)
*free of charge

Organized by Canon ARTLAB
cooperation: Wacoal Art Center

-ARTLAB4, Hillside Plaza, Tokyo(original version)
1995(from here with International version)
-"Video Spaces," The Museum of Modern Art, New York
-"Age of Anxiety," Power Plant, Toronto
-Biennale de Lyon, Lyon
-Festival International EXIT, Creteil
-Festival International VIA, Meubeuge
-"SONAR96," Barcelona
-Theater am Turm, Frankfurt
-Marstall Theater, Munchen
-Tramway, Glasgow
-Wood Streeet Galleries, Pittsburgh

CAST (Canon Art Support & Traffic)
Tel: +81-3-5410-3611 Fax:-3615

- Web Broadcast Project

-- a countdown project for KIASMA - Museum of Contemporary Art (Helsinki

Almost 40 works has been selected for the SOUND BOX broadcasting, which
means 6,5 hours of broadcasting time. We are very proud of the success that
the project reached -- we received 250 works, over 46 hours(!) of sound
material from 23 countries. The quality of the works was very high, and
selecting these works was not an easy task to do.

SOUND BOX introduces different kind of works and aesthetics concerning
electronic music. Our main purpose was by means of the SOUND BOX to give
the web audience a versatile vision about the diversity of international
sonic art in the 90's and I think we succeeded in that aim. I was
particularly pleased to notice how environmental sounds and speech/voice
sounds were used so differently and in such interesting ways in these works.

The SOUND BOX works are broadcasted as a RealAudio nonstop stream,
including text information about every composer and work. Visitors can also
make their own choices and select whatever pieces they like. It is also
possible to leave comments to us or the composers.
SOUND BOX will open its virtual doors on Wednesday April 1st 1998.

The Web broadcast will be online at the following address:

Petri Kuljuntausta
- composer, Sound Box curator

SOUND BOX  -- Selected Works

Appleton, Jon
	- San Francisco Airport Rock
Baun, Steven
	- I'll Make It Right
Biasutti, Michele
	- Tavola VII
Burt, Warren
	- Scraps from the Lab Floor
Bertels, Lieven
	- Paper Mate 2000 Nylon
Bestor, Charles
	- Into the Labyrinth
Biasioni, Massimo
	- Nell'inevitabile e profondo tedio del cristallo
Chasalow, Eric
	- Left to His Own Devices
Chen, Chin-Chin
	- Points of No Return
Crawling with Tarts / Gendreau, Michael
	- Motors
Drever, John Levack
	- Butterfly Lovers
Garro, Diego
	- Voci dall' Aldiqua
Giomi, Francesco
	- That's all folks!
Hartman, Hanna
	- Are You Going Up These Hills?
Hwang, Sung Ho
	- TV Scherzo
Joy, J=E9r=F4me
	- M=E9gaphonies
Justel, Elsa
	- Au Loin... Bleu
Kitahara, Keiichi
	- metamorphosis
Laronde, Claire
	- M=EAme les pierres parleront
Metzner, Jim
	- Sound Memories
Normandeau, Robert
	- Spleen
Osborn, Ed
	- Nocturne
Parry, Nye
	- Grand Junction
Patella, Gianantonio
	- radio viaggio
Prior, David
	- Hymne an die Materie
Rebelo, Pedro
	- Forking Paths Virtual Mix
Rothenberg, David - Quin, Douglas
	- Toothwalking
Rudi, J=F8ran
	- Planet (Terra)
Samartzis, Philip
	- Dark Woods
Santoboni, Riccardo
	- Clarix II
Schryer, Claude
	- El Medio Ambiente Acustico de Mexico
Sermil=E4, Jarmo
	- Incubo di Orfeo
Stollery, Pete
	- Altered Images
System Error (Bird, Bobby - Duffy, Brian)
	- enough already & nextone
Teller, J=F8rgen
	- 14 trax and a hut
Turnbull, Michael
	- Wall goes a Shadow
Verandi, Mario
	- Fr=E9quences de Barcelone
Wiernik, Neil
	- Aural Snapshots #3: Quebec City
Wynne, John
	- James Kamutho Kimani

KIASMA - Museum of Contemporary Art
Mannerheiminaukio 2
=46IN-00100 Helsinki

Petri Kuljuntausta
c/o Charm of Sound Association
P.O.BOX 353
=46IN-00131 Helsinki
tel: +358-9-7545407
email: petri.kuljuntausta@muu.autono.net

LOCUS+ projects:


NATURAL HISTORY, a public art project Ukrainian Education and Cultural
Centre, Winnipeg, Manitoba


MULTIPLES, Art Metropole, Toronto, Ontario

April - June 1998

Nine years ago, on April 26 1986, the Chernobyl nuclear power station
disaster occurred in the Ukraine. Soviet fire-fighters were allocated three
minutes each by the authorities to physically clear radioactive debris from
the roof of the power station. For this task, they were issued with basic
protective clothing which was insufficient to block out the effects of the
radiation. Since then, many have died.

On April 26 1998, the twelfth anniversary of the disaster visual artist
Stefan Gec will present "Natural History", consisting of six 4.5 metre x 3
metre portraits of the first six fire-fighters - Nikolai Vasilievich
Vashchuk, Vasilii Ivanovich Ignatenko, Victor Nikolaevich Kibenok, Vladimir
Pavlovich Pravik, Nikolai Ivanovich Titenok and Vladimir Ivanovich
Tishchura - to have died. These scanachrome portraits (photographic
reproductions on vinyl), measuring a total length of 18 metres, will look
down from the roof of the Ukrainian Education and Cultural Centre in

According to Gec, "this piece will work on several levels. Firstly, as a
memorial to the firemen, which attempts to identify such a large-scale
tragedy with individuals and members of their families. Secondly, the work
will attempt to unite the two fire brigades [Soviet and Canadian] through a
public display of sympathy and reverence. It will not only look back at the
accident, but will also reflect on the ever present possibilities of death
which every fire-fighter faces on a daily basis."

Stefan Gec, a second-generation Ukrainian, has examined, through his work
as an artist, links between his ancestral homeland and Britain since 1988.
This work "Natural History" has been seen in Newcastle-upon-Tyne,
Bracknall, Ottawa and Derry. Details from Shirley Madill, Winnipeg Art
Gallery (204) 786 6641.

In addition to this there will be an exhibition of Stefan Gec's multiples
and Locus + publications at Art Metropole in Toronto (April - May). The
multiples include the Ukrainian Firemans Tunic Button (22ct gold. Ed 10),
the Childrens Mathematics Exercise Book (ed 10) and a selection of Falconry
Hoods. Details from Anne Dean (416) 703 4400.

Stefan Gec's catalogue, Trace Elements (ISBN 1 899377 05 0), contains
details of his work since 1988 as well as details of his journey  to the
Ukraine and Chernobyl to compile a diary of photographic images and oral
histories of people affected by the disaster.

Other Locus+ projects in development Anya Gallacio, Laura Vickerson, Lloyd
Gibson and Mark Little, Jonty Semper.

Locus+ is an arts organisation based Newcastle upon Tyne, England that
develops new strategies with visual artists for different contexts and
across formats.

Jon Bewley or Simon Herbert
17, 3rd Fl Wards Building
31 - 39 High Bridge
Newcastle upon Tyne NE1 1EW UK
t +44 191 233 1450
f +44  191 233 1451
e locusplus@newart.demon.co.uk

HyperTribes - The Lovebytes Digital Arts Festival  23 - 25 April, Sheffield

Programme Summary and Highlights

The Lovebytes Festival returns 23 - 25 April with 'HyperTribes' - a
programme that aims to bring 'Digital Arts' to the people. This year's
festival focuses on music and the relationships between art, popular
culture and commerce in the digital world. You can join the 'HyperTribes'
by visiting Sheffield's 'Cultural Industries Quarter', home to the newly
refurbished and expanded Showroom Cinema where festival seminars, workshops
and parties take place. The neighbouring media production centres also open
their doors with special exhibitions running throughout the festival at the
Workstation, Forced Entertainment Studio, the Northern Media School and
Sheffield Independent Film.

Highlights include: On the 23rd April A Guide to Opportunities for Cultural
Producers in Electronic Arts - An opportunity for artists and cultural
producers at all stages of their career to make contact with the UK's
electronic arts agencies. On 24th April Sound and Space workshop with Audio
Rom. The 'Cybercircus' is an insurrectionist workshop with invited
participants including Heath Bunting (irational.org) and Steve Kurtz
(Critical Arts Ensemble). On the 25th April the ongoing HyperTribes Public
Art exhibition is featured in a presentation and debate Public Art and
Electronic Media including Susan Collins, Lulu Quinn and Housewatch.

Special events include Shallow Water a performance by Third Angel. Paradise
- a web site by Forced Entertainment commissioned by Lovebytes as part of
the Channel/Metropolis project. Test 1 electronic music event at Kelham
Island Museum. There is also an extensive exhibition of Multimedia art at
the Multimedia Gallery in the Workstation and an exciting programme of
Digital Films at the Showroom. The festival concludes with a multimedia
night with NY Sushi at the Music Factory featuring David Holmes and Anti

Three day festival passes are =A328/18, Thursday passes are =A37.40/5 and
=46riday and Saturday passes are =A312/8 each.  Concessions apply for OAPs,
Students and Unemployed.   Please call Jane Wilkin on 0114 221 0393 to
Individual sessions are =A32.50/1.50 and are booked via the Showroom Box
Office, please
call them on 0114 275 7727 for availability.

=46or more information about Lovebytes, events or artists please browse:



or mailto:info@lovebytes.org.uk

artists wanted for site-specific art projects in ultra-modern factory sites
near Berlin.

The  KUNSTPLUG e.V. ("Art plow e.V.") is a non-profit arts organization
that runs an international festival each year near Berlin. It is based in a
small village -- Baitz-- near the city of Belzig/Brandenburg (one hour
southwest of Berlin) . This festival is oriented towards media arts, sound
installation, performance, light projections and installation art. Next
year the theme will be Art and Industry: we are currently seeking project
proposals where artists work with building supplies and  deal with the
theme of art and modern industry. Here in the ex-East Germany there are
many ultra-modern robot-run factories that have been established in new
industrial zones: mostly building supply companies (bricks, concrete canal
pipes, roof tiles, pre-fabricated houses, freight companies) that all want
to get onto the bandwagon of the building boom in Berlin and its suburbs.
The installations, actions, performances will take place both in-and
outdoors (but mostly outdoors). If you know anyone that is involved with
working large-scale with such materials please let us know and send this
Susken Rosenthal at the following email address:
Susken Rosenthal
Bahnhofstr. 47
14806 Baitz Germany

Web Site is under construction.

6-10 May 1998
in Osnabrueck

INFO 2 '98

Between 6th & 10th May, the 11th European Media Art Festival (EMAF) will
again be presenting innovative works from the world of film, video,
installation, performance, CD-Rom and the Internet.

This year we have received a total of 845 entries from 33 different
countries for the various sections of the festival. Next to Germany, both
the USA and Canada, as well as Great Britain and the Netherlands are
traditionally well represented. In addition, and among entries from other
countries, productions from Brazil, France and Russia will be seen, all
representing a broad spectrum of creative ideas and visual aesthetics.

=46ilm & Video
Some 135 productions will be presented in the international film and video
programme; from animation film to video employing advanced electronic image
processing. What is striking this year are the nearly equal number of films
and videos that have been sent in: compared to former years where the
number of video productions have always been predominant. This development
and the trend towards longer works is reflected in this year's programme,
which includes no less than eight feature-length productions.

In the tradition of former years, the working circle of film journalists
will be presenting the German Film-Critics' Prize for the year's best
German experimental film or video production.


Over the course of the last 25 years, Pat O'Neill (USA) has made a name for
himself in Hollywood as a leading specialist for visual effects and
animation techniques (POLTERGEIST, RETURN OF THE JEDI etc.). However, he
sees his own artistic focus moreso in the development of a personal visual
language, the expressive power of which is created through the composition
and layering of the broadest variety of image planes. In Osnabrueck,
O'Neill will be presenting a complete show of his artistic works. This
extends from his early films, which he made as a student at the UCLA, to
his most recent piece of work HORIZONTAL BOUNDARIES. Pat O'Neill will be in
Osnabrueck to present his films at the festival.

Electronic Lounge
New CD-Roms, Internet projects and technologically advanced productions are
to be presented in this section of the festival. With THE LAST COWBOY from
Nomad Productions (Potsdam), one of the first DVD productions will be shown
which impressively demonstrates the artistic potential of this new medium.
A virtual health resort visit is promised by the CD-Rom KYBERKUR from the
Systema-Verlag (Munich). The Cologne Academy for Media will be presenting
the Australian Suzanne Treister, we set off on a journey in time into the
21st Century.

David Blair (USA), one of the pioneers of the interactive media will be
which tells the bizarre story of the Manchu Edison Film Studios in Shinkyo
(China), which planned the production of telepathic cinema films.

2B OR NOT 3D is the title of a new time+motion Production (Berlin) for the
cultural television channel arte. On a trip through chosen virtual worlds,
the innovative 3D visualisation technique INVISIBLE SHAPE from art+com
(Berlin) is brought into action.

=46aces: grrl power
In an open workshop, Kathy Rae Huffmann (Vienna), Diana McCarty (Budapest),
Sabine Seymore (NY), Margarete Jahrmann (Vienna) and Vali Djordjevic
(Berlin) will be offering guided technical information, organising Web
tours, initiating Chats and providing information about a wide variety of
female Web environments, including: the fe.mail.data-set; a server theory
in the form of a SUperFEMper4MANce from Margarete Jahrmann (A), to take
place at the festival as a live event.

Special: Sweden
In a country-specific special, filmmaker and curator Claes Soderquist will
be presenting experimental Swedish films from between 1950 and 1990. Recent
film and video works will be presented by Monica Nickels, professor for
video at the Stockholm Art Academy.

As a way of keeping memories of the dead alive, Buddhist monks float
lanterns out onto water during the Japanese celebration of Spring. In
=46loating Memories, the Japanese woman artist Keiko Ichii carries over this
ancient tradition onto modern media. Memories, impressions and visual
experiences which she collected in her home town of Kobe, and during her
stay in Osnabrueck, are to be stored on notebooks. In a ceremony these will
be given over to the river, unfolding as a spectacle of softly flowing
islands of light.

The Dante Organ - Hot Hardware

Staged using eleven computer controlled flame-throwers, Eric Hobijn (NL)
will present an optical and acoustic firework display. The Dante Organ: a
martial, seemingly threatening machinery belches out huge flames with
infernal volume. Hobijn plays with the observer's secret wishes and hidden
desires for spectacular images; his desire for kicks. The familiar security
of the monitor screen is dissolved by the immediate intensity of the
performance. Different than other media however, where violence and danger
is concealed from the viewer behind the television screen, a form of
technology called HOT HARDWARE has been used here which via an immediate
intensity removes any sense of distance.

Cut to the chase
In the multimedia performance CUT TO THE CHASE, the knob- twiddler and
composer Steve Gibson (CDN) brings a mixture of hard-core techno, warm
ambient and cool classic onto the stage together with Bert Deivert 's (S)
video animations"performed on MIDI guitar.


In cooperation with the editorial department from TELEPOLIS- MAGAZINE FOR
NETWORK CULTURE (www.heise.de/tp/) a series of lectures and discussions
will take Net culture as their theme, critically reflecting developments in
the area of networks and AV media from a variety of perspectives.
Moderation: the curator and telepolis editor Armin Medosch (Munich/London).
Participants: the artist Cornelia Sollfrank (Hamburg), sociologist Frank
Hartmann (Vienna), and the Networkers Rena Tangens and padeluun (Bielefeld)
have been invited.

Media Bodies

The role of the body in a world defined by the media is the subject of
lectures by Gerhard Johann Lischka (CH) and Hartmut Winkler (D)
respectively titled Everybody is a Mediator and Pain, Perception,
Experience, Pleasure. Here they examine developments in a society
increasingly governed by the media in an art historical and media critical
With the presentation of their project 3 ROUBLES AND 62 KOPEKS, Tanya
Moguilevska (RUS) and Gilles Morel (F) will provide us with information on
and an insight into the development of the art and media scene in Russia,
the Ukraine and Moldavia.

International Student Forum

The Student Forum has discovered the recipe for life after death!!
In the programme as well:
In the face of the phantom!
Birth (Day) of horror!
Artificial creatures orbit the world!
Imprisoned in immaterial space...

An artistic menagerie of video, light and sound installations are to be
presented in the Buergergehorsam Tower and the Haus der Jugend.

The film and video programme at the Student Forum promises further
stimulating high spots: burning hearts, roaring tigers and an electric
panacopia of crashing encounters!

=46estival TV

With his programme LOOP UND LITANEI, Egon Bunne - video artist and
professor at the media academy in Cologne - and his team will be reporting
daily from the European Media Art Festival. His 'participatory' TV event
will provide up to the minute insights into the happenings at the festival.

>From 6th - 24th May at the art gallery in the Dominican church, kinetic
>art objects, interactive installations, and works of art employing light,
>video and computers can be experienced inviting observation, touch and

In the interactive spatial installation THE FUGITIVE from Simon Penny
(AUS), the images are constantly in motion, fleeing the attentions of the
viewer. No matter how hard the visitor tries to approach the pictures,
tries to reach them with a jump or even creep up on them, the projections
are always quicker and move out of the field of view.

Peter Bogers (NL) thematises the presence of surveillance systems in public
spaces and the brutality of our every day media in his TV circle RITUAL
1&2. A second for second orgy of violence hammers itself into the minds of
the viewers while cameras keep the landscape under surveillance from a
variety of perspectives.

Anne Quirynen, Peter Misotten and An Marie Lambrechts (B) will transform
the art gallery at the Dominican Church into an enormous experiential
space. In their most recent video space-installation EVERYTHING WILL BE
ALLRIGHT, human bodies float in a water tank flooded with light in an
atmosphere strangely removed from the real world. From time to time, a wave
of movement spreads through the container disturbing the gentle peace.

Thick glass layers conceal the films of the objects PILLAR and GLASS OBJECT
from Sweden's Peter Svedberg. Broken up by mirrors and facets and eluding
the direct gaze of the viewer, scenes from TV channels melt to abstract
forms and meditative impressions in a spatial interplay of colours and

In addition to the installations mentioned here, Thomas Bartels (D),
Dalibor Martinis (CRO), Candela2 (D) and Nigel Johnson (GB) will be
presenting their most recent works.

More information and updates in our programme, which will be published by
April or on our website.

European Media Art Festival
Postfach 1861
Lohstrasse 45A
D-49008 Osnabrueck
Tel: +49/(0)541-21658 /25779
=46ax: +49/(0)541-28327

=46estivalboard: Alfred Rotert
		Hermann Noering
		Ralf Sausmikat
=46unding by: Niedersaechsisches Ministerium fuer Wissenschaft und Kultur;
Stadt Osnabrueck,  Auswaertiges Amt, Bonn Bundesministerium fuer Bildung,
Wissenschaft, Forschung und Technologie, Bonn, European Commmission,
Brussels and contributions made by other supporters.

ISEA distributes a hard copy version of this Newsletter in order to keep
its members, who have no access to Electronic Mail, informed. Those members
can, if they desire, get in touch with the email addresses mentioned in
this Newsletter by contacting ISEA.

Support: La Fondation Daniel Langlois, Ministere de la culture et des
communications du Quebec, Montreal International, ANAT, FACT, Leonardo,
SAT, McGill University, Universite du Quebec a Montreal.
=============================================end of newsletter

- ISEA- 307, Ste-Catherine O # 760.- C.P.508, Succ. Desjardins
- Montreal Quebec H5B 1B6 Canada - Tel:1-(514) 281-6543 - Fax:1-(514) 281-6728
           - email: isea@sat.qc.ca - http://www.sat.qc.ca/isea
Posted in | No Comments »

#053 May 1996

                        THE ISEA NEWSLETTER
                           #53 MAY 1996
Editors: Dirk Boon, Wim van der Plas (Holland). Correspondents: Yoshiyuki
Abe (Japan), Ray Archee (Australia), Peter Beyls (Belgium), Leslie Bishko
(US/Canada), Paul Brown (Australia), Annick Bureaud (France), Jurgen  Claus
(Germany), James Faure Walker (UK), Roger Malina (US), Rejane Spitz  (Brazil)
Lay-out: Rene Pare (Grafico de Poost). Text editors: Ray Archee, Seth
Shostak. Honorary Member: Herbert W. Franke
               ISEA, POB 8656, 3009 AR Rotterdam, The Netherlands. 
                             Tel/fax 31-10-4778605, 
         Email: ISEA@MBR.FRG.EUR.NL (Board) or ISEA@SARA.NL (Newsletter)   
                      WWW URL http://www.xs4all.nl/~isea

Seventh International Symposium on Electronic Art
September 16-20, 1996, Rotterdam, The Netherlands. 

The ISEA Foundation and the Rotterdam Festivals Foundation would like to 
welcome participants to the Seventh International Symposium on Electronic 
The symposium brings together experts on all aspects of artistic
applications of electronic technology in a scientific, creative and
educational forum of scientists, artists, policy makers and all other
specialists in the field of the electronic arts.
The five day event wil loffer lectures and hands-on learning experiences
by international experts on the current state of the electronic arts.
Papers, pannels, poster sessions and round tables, selected by the
International Program Committee, will be presented on the most recent
developments in computer graphics, computer animation, computer music,
video art, interactive art, including CD ROM and Internet applications,
artistic applications of robotics, computer aided literature and dance,
etc. There will be special focus on Networked Art and on education as a 
means to bridge the gap between artists and scientists.
Other symposium events will include an art exhibition at the symposium
site, a larger exhibition organized by V2, R96 and the Dutch Photo
Institute, an Electronic Theater, Concerts and Performances.
During and directly following ISEA96, numerous other Electronic Art
events will take place in Rotterdam, ensuring that your visit will be a
fascinating one. The Dutch Electronic Arts Festival (DEAF96), including a
large exhibition, concerts, performances, A Web Site Exhibition and an
Internet project in the Harbour Simulator, as well as the public events
organized by the Rotterdam Festivals Foundation, deserves your special
The Organizing Committee plans a stimulating and challenging Symposium 
where artists, scientists, technologists, curators, writers,
students and teachers can exchange expertise and ideas and come away with
a broadened sense of the potential within their fields. Your
participation is an integral part of the succes of the program and we
look forward to meeting you in Rotterdam, September 16-20.

ISEA96 is part of the 'R96' Festival.
Right at the start of the 1996-7 cultural season, Rotterdam Festivals
presents the second edition of a series of new art and culture programs.
The title of this years festival was chosen to highlight the influence of
new media on art, culture and the city. R96 takes place from 19 to 29
September, at several locations in the heart of Rotterdam. During these
10 days, the festival will offer a wide range of activities in all
disciplines, which can roughly be divided into an art program and a city
The art program consists of exhibitions, symposia, theatre, dance and
music performances.
R96 will be programming the remarkable play 'Elsinore", a dazzling gold
version of Shakespeare's Hamlet by Robert Lepage, in the Rotterdam
During both weekends, the city program offers a 'behind the scenes' view
of organizations where applications of electronic and digital technology
play a vital role for work and daily life. A city tour leads the public
through the World Trade Center, a Police station, the library,
MarineSafety harbour simulator and Media school. In each location, the
interpretations of a different artist will give new meaning to the
information present. For those who own semaphones, the 'Buzzer Game' is
the perfect guide. In the evening, R96 presents the first 'Non-Audible'
pop concert and a spectacular multi-media party.

                             ISEA96 PROGRAM


During this part of the symposium,presenters of both invited and free
papers and panels will come together with
participants to talk about both new and current issues in and around the
general themes.

ISEA96 will offer tutorials and workshops for both  newcomers  and those
experienced in diverse fields of the electronic arts.

The symposium has made room available for institutions, active in the
field of the electronic arts, which wish to present themselves and their

These sessions will have artists presenting their work and projects in a
rather informal setting.

Roundtable subjects have been selected by the International Program
Committee. The proposer acts as the chair of the discussion.
Symposium participants can sign up via the enclosed registration form or
at the registration desk at the symposium. However, for practical
reasons, the number of Roundtable participants has to be limited.
Roundtable sessions are discussions to which all participants can

Symposium Proceedings will be published after the Symposium and a
selection of the best papers and abstracts will appear in issues of
Leonardo and Languages of Design. All participants will receive a Book of
Abstracts, including the final program, at the time of registration.
                             September 18-20

(note: not all presentations have been confirmed at time of printing)

                            INVITED SPEAKERS

Jos de Mul (Netherlands, Professor of Philosophy, Erasmus University 
Rotterdam): Opening Speech
Stelarc (Australia): On the Future of Networked Art 


Rich  Gold  (USA):
Technology as a Common Language  between  the Arts and the Sciences

Nancy Paterson (Canada):
Curly,  Larry & PoMo,  Electronic Art & Cyberfeminism

Pieter Huybers and Gerrit van de Ende (Netherlands):
The Outlines of the Polyhedric World   

Mike King (UK):
Concerning the Spiritual in Cyberspace: Immortality of Artist and
Artefact in the Digital Terrain   

Jean-Pierre Giovanelli (France):
Technology of Poetics   

Norie Neumark (Australia):
A Shock in the Ear: The Aesthetics of  Sound in Multimedia Interactives

Stewart   Dickson   (USA):
A   Regenerative,   Internet-Driven Philosophical Engine

Sean   Cubitt  (UK):
Online  Sound  and  Virtual  Architecture; Contribution To The Geography
Of Cultural Translation

Eduardo R. Miranda (Brasil/UK):
Machine Learning  and  Musical Invention: A Case Study

Jon Van Oast (USA): 
The (SITO) OTIS Project:  The Past,  Present and  Future of Collective
and Collaborative Art on the  Internet.

Julean Simon and David C. Wohlhart (Germany):
DisNet - a model of  Discursive Networking  

Samia Halaby (USA):
Rhythms, the Aesthetic of Electronic Painting

Edward A. Shanken (USA):
Virtual Perspective and  the  Artistic Vision: a Genealogy  of
Technology, Perception and Power

Hans  Dehlinger  (Germany)
& Qi Dongxu (China)
Art  Experiments  and  Mathematical Explorations into the Universe of
Machine Generated Drawings

Shawn Decker (USA):
Digital Creativity Inside Out

Roberta  Lord (USA):
Holiness and Dread:  Poetics in  Electronic Art  

Ryszard  Kluszczynski  (Poland):
The  Context  is  the  Message. Interactive Art as a Medium of

Barbara London & Grahame Weinbren (USA):
New Media and Self Expression: the Changing Relationship between
Sender/Creator and Receiver/User. 

Antonio Camurri (Italy):
Multimodial Environments


Martin  Sperka (Slowakian Republic):
Artificial Art and Art Aesthetics     

Nell  Tenhaaf, Eliot Handelman, Jeanne Randolf, Phoebe Sengers (USA)
Interpenetrations: Art, science, cultural theory

Roy Ascott (Wales):
Artists teaching artists; case studies of the Masterclass Paradigm    

Julianne Pierce (Australia): Erotics of the Internet

Rob  Fisher (USA), Masaki Fujihata (Japan), Christian LaVigne (USA):
Computers and Sculpture

Lorne  Falk (USA): The Senses in Motion

Maria  Stukoff (Australia): Space, Time, Body and World

Perry Hoberman (USA): Webbed Spaces: Between Exhibition and Network

Peter Ride (UK): Devising & Positioning interactivity in net projects

Mike Leggett (Australia): Burning The Interface

                             PAPERS (SHORT)

David McDowell (Australia):
Scenography and Synesthetics: New Media and Aestetic Experience.

Jorgen Callesen (Denmark): Into the Black Box

Leo  Chanjen  Chen (USA):
Transparency as Interface:  A  'Petite Histoire' of its Tools.

Toshiya Ueno (Japan): Japanimation and techno-orientalism    

James  Hagan  (USA):
>From Appearance  to  Behaviour;  Issues  in Extending the Sculptural

Karen Guthrie & Nina Pope (UK): the WWW as Live Interface    

Richard Wright (UK):
More Power; The Pioneers of British Computer Animation and their Legacy.

Eric Singer, Clilly Castiglia, Sabrino Liao, Ken Perlin (USA):
Improv; Interactive Improvisational Animation and Music

Carol  Gigliotti  (USA):
Bridge To,  Bridge From:  The  Arts, Technology and Education.

Anna  Ursyn (USA): Teaching Computer Art with  Integrative Assignments

Brett Terry (USA): Sound/action Paragigms in Multi Media 

Xavier Serra (Spain): Beyond Sampling Synthesis

Lily Diaz (Finland): Cross-cultural comparison of the art of memory   

Adrianne Wortzel (USA):
Medieval  Cartography  and   Mapping the Ideological Territories of

Simon  Penny (USA):
Methodologies, Metaphors and Anachronism in Computer Art Pedagogy and

                             POSTER SESSIONS

Josephine  Starrs (Australia):
Gameplay,  Vapourware and Digital Abberations in the age of Information

Ken Gregory (Canada): Under the Influence of Ether

Niranjan Rajah, Azlin Rahman & Hasnul Saidon (Malaysia):
Locating the Image

Kat O'Brien (Canada): Women, Cameras and Computers 

Louis-Philippe Demers & Bill Vorn (Canada):
Real Artificial Life as an Immersive Medium

Lane  Hall & Lisa Molina (USA):
What's So Hard about Hardcopy

Leon   C.M.   Wennekes   (Netherlands):
TIME;   for  a   better Understanding, a better Education and more Fun

Cristine Tamblyn (USA):
Mistaken  Identities:  A CD rom genealogy

Mark  Tribe,  Markus  Weisbeck &  Niko  Waesche  (Germany):
Surf Design;  Web  Development  in a Fluid  Environment

Zvonimir Bakotin (Russia/Netherlands): Trans Navigation

James Faure Walker (UK): Cool Heaven   

Patricia Search (USA):
Hickory Dickory Dock; the  Clock  strikes one  in Hyperspace

Naoko Tosa & Ryohei Nakatsu (Japan):
For  Interactive Virtual Drama: Body Communication Actor

Simone Simons & Peter Bosch (Netherlands):
The Electric Swaying Orchestra

James KM (Canada): Media Probes

Matthew Jones (UK):
Conventional Art as Web Based Exhibits: a new electronic art form

Robin Noorda (The Netherlands):
Horses in the Air: VR Techniques in a linear TV Program

Janet Silk & Ian Pollock (USA): Intimacy, Concept, Interaction

Annette Weintraub (USA): The Web as Intimate Space

Marius Serra (Spain): Babble, the Virtual Tower of Bable

Martin Rieser (UK): Interactive Narratives; Educating the Authors

Jacquelyn Martino (USA):
Without a Special Object of Worship: an intertactive book arts  computer 

Nik Williams & Henry Lowengard (USA):
CYBERGOMI; here today, gone tomorrow

Rob Fisher (USA): Journey into the Living Cell

Ignasie Ribas, Xavier Berenguer, Pere Freixas (Spain):
The Handling of Poetry in Interactive Media

Michael  Bielicky (Tjech Republic):
Exodus,  Internet project in the Negev Desert

Rosa Freitag (UK): Interacting with Human Characters, a different genre  of Computer Games

Sonya   Rapoport   &  Marie-Jose   Sat   (USA):
Brutal   Myths; Collaborative Creation and Interaction.    

Derek Richards (UK): Permanent Revolution I; Flame Wars

Heidi  Grundman (Austria): Radio the Ne(x)t Century

Michael LeBlanc and Andrea Wollensak (Canada):
The McLuhan Probes

Victoria Vesna (USA): Bodies INcorporated

Sue Machert (Germany): SUBconsciousNet         

Peter  Lunenfeld  (USA):
Light in  space:  Hyperaesthetics  Case Studies

Wolfgang von Stuermer (Germany): VC-Virtual Chess Salon

Christophe Ramstein (Canada):
Navigation  on  the  Web  with  Haptic Assistance.


Richard  Povall  (UK):
Aesthetic  and  Compositional  Issues  in Interactive Systems

Josepha  Haveman (USA):
Bridging the Gap (Education as a way  of bridging the gap between artists
and technologists)

Cynthia Rubin (USA):
Breaking the Code:  Art that does not Stand on  its  Own (How does the
WWW liberate artists from the idea  of the work of art as a stand alone


Michael Century(Canada): CITI, Centre for Information Technology Innovation   

Elizabeth  O'Grady (Canada):  inter/@ccess 

Hasnul Saidon (Malaysia): Creative Studio,  University  Malaysia Sawarak  

Jeremy  Welsh (Norway): Kunstakademiet i  Trondheim, Intermedia Dept.   

Steve  Partridge (UK): University of Dundee, School of Television & Imaging

James K.M. (Canada): Vancouver Film School Multimedia  

Bulat Galeyev (Russia): Prometei 

Georgy  Senchenko (Ukraine): Space of Cultural Revolution 

Leonello  Tarabella (Italy): Computer Music CNUCE/CNR, Pisa    

Jose   Alcala  Mellado (Spain): Universidad  de  Casilla- La Mancha

Katerina Thomadaki & Maria  Klonaris (France): A.S.T.A.R.T.I.

Shawn Decker (USA): School of the Art Institute of Chicago 

Tessa  Elliott (UK): Middlesex University    

Xavier  Berenguer (Spain): Institut de l'Audiovisual, Barcelona   
Galeria Virtual    

Peter   Lunenfeld (USA):
Art Center,  College of Design/Southern California New Media Working 

Mikhail  Zalivadny (Russia):
The Hatomaya Itiro Electro- Acoustic Music School Studio

                          WORKSHOPS & TUTORIALS
                             September 16-17


Zack Settel & Cort Lippe (USA):
Real Time Audio  Morphing,  with NeXt Cube (half day). Preferably in
combination with Tutorial

Web Sites as Project Tools
With  the  organizers  of the Doors of  Perception  and  Victoria 
Vesna, Judith Donath and Nik Williams (2 days)

Michael  O'Rourke (USA):
Introduction to Three dimensional Computer Animation : 3-D Studio (half
day). In cooperation with autodesk Holland.Preferably in combination with

Stephen Wilson (USA):
Intermediate/advanced Authoring for the WWW (1 day workshop)

Quick Time VR
On Macintosh, for starters (photographers, graphic designers, etc.) 1 day
Workshop in cooperation with PF Publishing.


Michael  O'Rourke (USA):
Introduction to Three-Dimensional Computer Animation (half day)

Josepha  Haveman (USA):
3 half day tutorials:
1.  Computers and Art;  An  introductory tutorial overview   for  artists
who  are   new   to   digital media/technology.
2. Image   processing; For   professional artists and photographers.
3. Image   processing; creative potentials and aesthetics of digitally
'enhanced' imagery.

Mari Kimura (USA):
Virtual soundscape; Violin and Vitual Reality Sound Environment. (half

Zack  Settel & Cort Lippe (USA):
Real Time Audio Morphing  (half day)

                             ISEA96 FESTIVAL

An art exhibition will be held at the site of the conference,
featuring, among others, the latest electronic art from Japan. (In
cooperation with ISEA-Japan and the Japan Foundation).

ISEA96 shall host a Film and Video Show of computer animation and video

One evening will be reserved for those interested in viewing and
listening to a series of international computer music concerts and
electronic art performances.


The Dutch Electronic Art Festival, organized by V2-Organization, consists
of exhibitions,a symposium presentations, concerts, performances and
various special events.
Furthermore, the DEAF symposium will be presented as part of ISEA96. More
information on DEAF is presented on the other side of this folder

WWVC Spui 189, The Hague
The World Wide Video Centre invited Stefaan Decostere (in 1994), General
Idea (in 1995), Ponton European Media Art lab, Bill Viola and Rem
Koolhaas to develop a project for the privalite windows of the festival
premises. The Ponton project 'Numud' will not be unfolded until September
1996, however the web site will be premiered by April 26th.
'Numud',a virtual display of social architecture, focuses on interaction
and communication on different levels; providing, generating, and
initiating content. The Interactive proces between artist, scientist and
Ponton is based on the idea that traditional public space lost its
communicative role. Technical development, specialisation and social
isolation are leading to new forms of communication.

Witte de With, centre for contemporary art Rotterdam
Witte de Withstraat 50
Opening hours: Tuesday- Sunday, 11 a.m. till 6 p.m.
The Canadian artist Tony Brown will present five gigantic kinetic
sculptures/ installations in Witte de With, consisting mechanized and
computerized elements, light, sound and projected images.
In a time where the rapid rise of the new media and technology has an
enormous influence on society, the work of Tony Brown has special
meaning. It intertwines different disciplines such as visual arts,
architecture, dance, cinema, literature and new media in a highly
technological and spectacular icon.
Tony Brown will also show an ambitious interactive internet project on
the occasion of this exhibition. It will include a digital, 3D
reconstruction of this exhibit.

                           GENERAL INFORMATION

The Symposium will be held at the 'World Trade Center' (WTC) Congress
Center, Beursplein, Rotterdam. During the Symposium the organization can
be reached at the WTC by telephone: +31-10- 405 44 44. Trains leave every
half-hour from Amsterdam's Schiphol Airport to Rotterdam Central Station.
Train traveling time is less than an hour. There is a local airport in
Rotterdam with connections to several European destinations.
The WTC is located right in the city center, 10-15 minutes walking
distance from Rotterdam Central Station and can also be reached by the
subway as well (Beursplein/ Churchillplein station). The Workshops and
Tutorials will be held at several locations in Rotterdam, the Hague and

More information, with reference to the locations, will be sent to you
together with the confirmation of your reservation.

Registration of the Symposium will be at the WTC from 4.00 p.m. to 9.00
p.m. on Sunday, September 15. From Monday, September 16, to Friday,
September 20 registration will be open from 9 a.m. to 8 p.m., at the WTC.
Participants can receive mail during the Symposium adressed to ISEA96,
World Trade Conference Center, Beursplein Rotterdam. During the symposium
you can be reached by fax (+31-10-477 86 05) as well.

Posted in | No Comments »

#050 Feb 1996


                               THE ISEA NEWSLETTER

                                 #50 FEBRUARY 1996

Editors: Dirk Boon, Wim van der Plas (Holland). Correspondents: Yoshiyuki
Abe (Japan), Ray Archee (Australia), Peter Beyls (Belgium), Leslie Bishko
(US/Canada), Paul Brown (Australia), Annick Bureaud (France), Jurgen Claus
(Germany), James Faure Walker (UK), Roger Malina (US), Rejane Spitz (Brazil)
Lay-out: Rene Pare (Grafico de Poost). Text editors: Ray Archee, Seth
Shostak. Honorary Member: Herbert W. Franke
               ISEA, POB 8656, 3009 AR Rotterdam, The Netherlands. 
                             Tel/fax 31-10-4778605, 
         Email: ISEA@MBR.FRG.EUR.NL (Board) or ISEA@SARA.NL (Newsletter)
                        WWW URL http://www.xs4all.nl/~isea



I guess we should open a bottle: ISEA Newsletter #50 is a fact! However, 
since we are organizing ISEA96 we have no time for that now. We will open
the bottles after ISEA96...

So far, we have received some 700 proposals. And they keep coming,
even though the deadline has already passed. We will consider
proposals for as long as it's feasible to do so. The proposals for
papers, panels, posters, roundtables, workshops, and tutorials will
be sent to the International Program Committee at the beginning of
March. For other aspects of the symposium, especially the Electronic
Theater, we can still consider proposals after that date.

You could experience your own Long March through the Electronic Art
Events in September: Start in Linz, Austria for Ars Electronica
(September 2-7), then travel west for the European Media Art Festival
in Osnabruck, Germany (September 11-15) and even further west to
Rotterdam, the Netherlands for ISEA96 (September 16- 20) after which
you should stay a little longer, because DEAF, the Dutch Electronic
Art Festival continues for several days and R96 'Media Man' goes on
for another week after ISEA.

Meanwhile, several locations in the Randstad (the agglomorate of cities in 
western Holland) are joining the action. The National Design Institute (host 
of the Doors of Perception) and Montevideo/Time Based Arts, both in 
Amsterdam, as well as the World Wide Video Centre (host of the WWV Festival) 
and several departments of the The Hague College for the Arts (the 
'interfaculty' Image & Sound, the Institute for Sonology and the Royal 
Academy for Fine & Applied Arts), all in The Hague, are cooperating and/or 
planning ISEA96 activities. 

The Hague is only 20 minutes from Rotterdam (by train) and Amsterdam another 
40 minutes. Good thing that Holland is so small.


A fast (but permanently under construction) growing part of the ISEA
web pages is the ISEA Guide of Electronic Arts. Lots of links to
artists, galleries, institutions, festivals etc. Anyone who knows a
site that should be linked, please let us know. (Dirk Boon at


Announcement of the International Competition  Computerkunst/Computer Art '96.
Organization : Museum der Stadt Gladbeck, Germany 
(Assistance : GEK-Bureau Gladbeck) Dr. W. Schneider
Cooperation: Gesellschaft fur Elektronische Kunst, Cologne ( GEK)
-ComArt, Graz/ Land Steiermark, Austria ( venue probably 1997 )
-ISEA, Rotterdam, Holland (venue on ISEA '96 , Sept., 16 - 20 , 1996)
-HNF Heinz Nixdorf MuseumsForum GmbH, Paderborn ( venue 1996/7 )
-Wissenschaftspark Gelsenkirchen ( venue ? )
-Innovationszentrum Wiesenbusch Gladbeck (und ZAP ) 
(opening venue , Aug. 18 - Sept. 8 , 96 )
-Kunstverein/ Stadt/Stadtsparkasse   Ibbenburen  ( venue 1997 )

Artists interested to participate (paper of Information and application
sheets) should contact the following adress(es) :
Museum der Stadt Gladbeck,  Wasserschlos Wittringen
Burgstrase 64, D 45964 Gladbeck, Germany 
E-mail : 100447,1745@compuserve.com
( please write clearly full name and adress(es) , eventually e-mail )

                              CONFERENCES & SYMPOSIA

International Conference, 16-18 April 1996, Bradford, UK

"1995 was the year when the Internet became not just the coolest thing
around, but also the most important - as even Microsoft was moved to
admit in December"...."Netscape's public offering was to be launched at
$14 a share, which was increased to $28, but the price climbed from $45.75
to a peak of $174.  Only Microsoft's December announcements - when Bill Gates
said his company was really, really serious about the Internet - managed to
take it down a peg"  (Jack Schofield, Guardian, OnLine, 28 December 1995).

The British Computer Society Computer Graphics & Displays Group will hold
an international meeting on this theme to take place in the UK, 16-18 April
1996.  There is a lot of current interest in tools and techniques
for generating, exploring and displaying graphics and multimedia via the
network and World Wide Web (WWW).  New approaches for accessing, analyzing,
and collaborating on 3D graphical information over networks are being
developed.  Types of data include real-time, dynamic scientific data, 3D
objects, and virtual environments.  Developments such as VRML and Java allow
greater sophistication in the exploitation of the facilities of the Internet
and are generating a lot of excitement about the future.

Papers have been selected by peer review from those submitted in response
to the Call for Papers.  Countries represented at the Conference include
Belgium, Denmark, Netherlands, Sweden, UK, and USA.

The National Museum of Photography, Film & Television is close to the
University of Bradford and is a collaborator in the Electronic Imaging
and Media Communications degree courses run by the University.  For
further information on the degree courses see URL - 
and for the University of Bradford, see URL -

For information on the National Museum of Photography, Film & Television,
see URL - http://www.nmsi.ac.uk/nmpft/

The National Museum of Photography Film & Television in Bradford is part of
the National Museum of Science and Industry which includes the Science Museum,
London. The NMPFT currently has over 3 million objects and images in its
care including - The Kodak Museum of Photography, the complete records of
the Daily Herald, and has recently acquired a massive collection of UK
Television advertisements from the 1950's to the present day.  It also houses
the only IMAX theatre in the UK.

The NMPFT is the most popular Museum outside London and typically has over
3/4 million visitors each year.  Future plans of the NMPFT include a new
Digital Media Gallery within a planned 4000 sq metre expansion.

Conference Secretariat:
Mrs Winifred Taylor, Electronic Imaging and Media Communications Unit
University of Bradford, Bradford  BD7 1DP, UK
Tel: 44-1274-385463, Fax: 44-1274-383727, Email: W.M.Taylor@bradford.ac.uk

E D - M E D I A   9 
with  ED-TELECOM 96--World Conference on Educational Telecommunications
June 17-22, 1996,  Boston, Mass., USA          

Submission Deadline: March 27, 1996              


ED-MEDIA 96--World Conference on Educational Multimedia and Hypermedia
with ED-TELECOM 96--World Conference on Educational Telecommunications
are jointly held international conferences, sponsored by the Association
for the Advancement of Computing in Education (AACE). These annual
conferences serve as multi-disciplinary forums for the discussion and
dissemination of information on the research, development, and applications
on all topics related to multimedia/hypermedia and telecommunications
in education.  ED-MEDIA/ED-TELECOM spans all disciplines and levels of
education and attracts leaders in the field from over 50 countries.

We invite you to attend the ED-MEDIA/ED-TELECOM 96 conferences and
submit proposals for Short Papers and Posters/Demonstrations.  This final
call is offered for participants who were unable to meet the first deadline
for submissions or were not prepared to present a finished paper or project.

Keynote Speakers, Invited Speakers,  Short Papers,  Papers,  Panels,
Demonstrations,  Posters,  Workshops,  Tutorials,  Birds-of-a-Feather,
Roundtables,  Social Program

Please send me:
 __  Advance Program/Registration brochure, available in February
 __  Proceedings ordering information for ED-MEDIA 95 & 96
 __  ED-MEDIA/ED-TELECOM 97 Call for Papers (Calgary, Canada)
 __  Brochure on AACE and its publications/conferences including:
     - Journal of Educational Multimedia and Hypermedia
     - International Journal of Educational Telecommunications
 __  Exhibitor booth order information

Return to: ED-MEDIA 96/AACE
 P.O. Box 2966,  Charlottesville, VA 22902 USA
 E-mail: AACE@virginia.edu; Tel: 1-804-973-3987; Fax: 1-804-978-7449
 WWW:  http://aace.virginia.edu/aace

The complete Call for Papers may be obtained by returning the
 information request form below or online on the AACE home page:



*Digital Signal Processing for Audio: 
 Spectral and Physical Models
 July 22 - August 2, 1996  
 Individual, Corporate Affiliate Fee: $1200, 
 Corporate Non-Affiliate Fee: $1500
 Two weeks instruction.   Limited to 15 participants.
 Instructors: Perry R. Cook, Xavier Serra

*Computer-Assisted Research in Musicology  
 August 19 - August 30, 1996
 General Fee: $800, Student Fee: $600
 Two weeks instruction. Limited to 15 participants.
 Instructor:  David Huron
 The workshop is offered in cooperation with the Center for
 Computer Assisted Research in the Humanities,  Stanford University 

* Introduction to Psychoacoustics and Psychophysics: 
 Audio and Haptic Components of Virtual Reality Design
 June 24 - July 6, 1996 
 Individual fee: $800, Affiliate fee: $1000,  
 Corporate Non-Affiliate fee:    $1200
 Two weeks instruction and laboratory. Limited to 15 participants.
 Instructors:  Brent Gillespie, Sile O'Modhrain, Craig Sapp
 Guest Lecturers:  Perry R. Cook, Louis Rosenberg (Immersion Corp.),
 Malcolm Slaney (Interval Research), Bill Verplank 	(Interval Research)

*Introduction to Algorithmic Composition
 July 8 - July 19, 1996; Fee: $800
 Two weeks hands-on instruction.  Limited to 20 participants.
 Instructors:  Heinrich Taube, Fernando Lopez Lezcano,
 Tobias Kunze, Nicky Hind, Jonathan Norton

*Advanced Projects in Algorithmic Composition           
 July 22 - August 2, 1996;  Fee: $800                 

*Intensive Audio Digital Signal Processing
 May 17 - May 19, 1996;  Fee: $1500  
 3 days instruction.  Limited to 15 participants.
 Instructors: William Putnam, Julius Smith, Scott Levine 

CCRMA Summer Workshops
Department of Music, Stanford University
Stanford, CA 94305-8180, USA.
Tel: 1-415-723-4971, Fax: 1-415-723-8468
E-mail: aledin@ccrma.Stanford.edu,  http://ccrma-www.stanford.edu/


Opened in Helsinki in January - now the catalogue is ready. The show will 
be exhibited in Stockholm in April, later on in Copenhagen and Oslo. 
It includes 11 works by artists from Norway, Finland and Sweden 
- Sound installations, telerobot installation, cd-rom installation, 
www-installation and video installations.
See http://muu.lib.hel.fi/breyes.html
for more information. You can order a full colour catalogue with the works
and three essays (all in English) for 15 USD including postage and handling
Tapio Makela, director of MUU, Finnish artist organisation
Address: Rikhardinkatu 4, FIN-00130 Helsinki, Finland
Tel: +358-0-625972, Fax: +358-0-625376,  mobile: +358-40-5071965
E-mail: directorkaapeli.fi

an interactive digital video by  Nino Rodriguez
I am pleased to announce that "BOY", an interactive video, has been selected
for inclusion in the following exhibitions:
January 30, 1996: "Gender and Technology"
A viewing of multiple interpretations of how technology is gendered and how
gender is explored through/by/in technology. Curated by Anita Allyn.
Presented by Videospace at Mobius, Boston, Massachusetts.
For more information, please call Mobius at +1-617-542-7416 or e-mail Anita
Allyn at dahhbahh@tiac.net.

February 19 - March 8, 1996: Alternatives '96
"Re/Presenting It:  Documentary Photography Reconsidered"
Works which extend the boundaries of documentary practices.
Curated by Susan Meiselas.
Seigfred Gallery, Ohio University School of Art, Athens, Ohio.
For more information, please contact Katherine Mickle at +1-614-593-4288.
Thanks again for your support and interest, and I hope to hear from you soon.
Nino Rodriguez, 506 North Flores Street #7, West Hollywood, CA 90048, USA
Email: nino@pobox.com, Tel: 1-213-653-4266


"Memesis - The Future Of Evolution  
September 2 - 7, 1996, Linz, Austria

Prix Ars Electronica 1996 deadline April 30, 1996    
Calling all Friends of Ars Electronica!

This year's Ars Electronica Festival has - among other things - new dates. 
The theme of the 1996 Festival, which runs from 2nd - 7th September in 
Linz, is "Memesis - the Future of Evolution". Symposia, exhibitions, 
concerts, events and a wealth of art projects will illuminate the 
fast-approaching moment in "digital evolution".
"Memesis" is concerned with "interactivity" as a key cultural technique, 
and adresses the question of the evolutionary "fitness" of "memes" - that 
is, the cognitive behavioural patterns which are propagated via 
communication, and which find what amounts to an ideal environment in the 
electronic media.

The 1996 Festival week - which in future will always be in autumn - 
coincides with the opening week of the Ars Electronica Center, which opens 
its doors on 2 September 1996. The Ars Electronica Center is now 
co-organiser together with the Upper Austrian Regional Studio of the ORF- 
(Austrian Broadcasting Corporation) - of the Ars Electronica Festival. Both 
the Ars Electronica Center and the Festival are under new management, with 
artistic responsibility vested in media artist Gerfried Stocker as the new 
Managing Director of the Center. Together with Christine Schopf of the ORF, 
Gerfried Stocker is also responsible for substance and conception of the 
Ars Electronica Festival.

As in previous years, the Prix Ars Electronica, which was first organised 
in 1987 by the Upper Austrian Regional Studio of the ORF, will again be 
one of the pillars of the Festival. In fact in 1996 it is to be accorded 
even greater prominence in the Festival. The Prix Ars Electronica, which 
this year is funded with a total of approx. US$ 122,600, provides a forum 
for both the status quo and future developments in what the Festival 
addresses as "digital evolution".

If you would like to receive entry forms for the international competition 
of computer arts, the Prix Ars Electronica, please contact us under the 
following numbers:
Tel: 43-732-6900-267, Fax: 43-732-712121-2, Email:  info@aec.at

April 4 - 8  1996, Riccione, Italy

Over the past eight years many accomplished digital artists and animators 
from all over the world presented the year's best computer-generated 
animations, images and videos at the Bit.Movie Festival.

Bit.Movie is a showcase for current examples of the use of computer graphics
and computer animation in a broad spectrum of fields, including scientific
and technical research, art and entertainment. Bit.Movie attendees represent
an ever-increasing variety of skills, interests, and backgrounds within the
field of computer graphics.

Along the traditional and most known sections of the contest, like the 
animation section (for animations made on personal computer and played from
the hard disk), the still image section and the video section (for professional
works recorded on videotape), new areas of computer graphics will be 
investigated in this ninth edition of the competition.

Interactive Multimedia, Demo and new cool VRML have been added to stimulate
the new and investigative use of digital mediums in modern art practice,
in scientific and technical research, education and entertainment.

Bit.Movie has free participation and free entrance and not only strives to 
mobilize a large audience, but also offers a unique opportunity for
international debate between artists, critics and audience.

Bit.Movie is not only a competition but also a Conference with presentations,
debates, and audience questions on the present and future of computer graphics

Bit.Movie offers courses and seminars to learn about the latest breaking 
trends, to stay current with fast-moving technology and exploit opportunities
in arts, science, education, interactive systems, 3D worlds, online graphical
societies and networked environments.

  Join us!  Participate in a session which suits your interests and become 
  a part of the eclectic network of people who are providing the Bit.Movie 
  public with the most exciting emotions. On the following pages you will 
  find submissions guidelines and deadline dates.

Carlo Mainardi, Chairman of the Bit.Movie program.
Via Bergamo, 2 - 47036 Riccione, Italy.
Tel. + Fax: 39-541-643016, E-mail: bitmovie@mclink.it

                                MAILING LIST
To subscribe to the RHIZOME mailing list, just reply to this message with
your e-mail address(es) in the body of your message. You can also send a
new message to subscribe@rhizome.com.

To post to the RHIZOME mailing list, send your message to list@rhizome.com.

Why subscribe?

The RHIZOME mailing list is a forum for the exchange of critical writing,
commentary and opinion about what's going on at the intersection of new
media and contemporary art. Such a debate is crucial if new media art is to
emerge out of its current boom as a significant contribution to the broader
concerns of contemporary art.

You are invited to be outspoken and opinionated in your critique. In Europe
at least, one frequently hears comments like, "I've checked out the
Internet; there's no interesting art going on there." It's true that one
has to open a lot of world wide oysters to find a web pearl. Taking
seriously the potential of new media means raising expectations beyond the
initial gee-whiz enthusiasm over the aura of high technology. Interesting
work *is* starting to emerge, and a lively debate will allow the RHIZOME
list to function as a filter to help sort the pith from the dross.

Of course, you should feel free to write about other new media outside the
internet: VR, Nintendo, CD-ROMs, floppy disks...

At the start, the RHIZOME mailing list will be unmoderated. In order to
keep "noise" to a minimum, please use discretion in deciding when a reply
is best sent directly to the recipient, rather than to the whole list. Part
of the point of the RHIZOME project is to establish what Rop Gonggrijp of
Digital City calls "networks of trust" across the digital landscape.

Pending funding, RHIZOME will develop a world wide web resource for
critical writing and information on new media art. Eventually,
contributions from the mailing list will be selected and edited for
inclusion in a searchable online database.

Feel free to forward this message to people who may be interested in

To unsubscribe, send a message to unsubscribe@rhizome.com with your e-mail
address in the body of your message.

Hi folks!
The daemon says:
"SUBconciousNET  underwent some changes"

We have a new URL:   http://www-wjp.cs.uni-sb.de/subnet/
(but the old adresse is still valid), we have a new look,
there are new projects, travelling through  our realm is easier now, 
so visite ScN, roam our streets and have a nice day!

In the name of the deamon, 
Bernd Diemer,  Sue Machert,  Volker Hofmayer


September 11-15  1996, Osnabrueck, Germany

Call for proposals!

We would like to warmly invite you to send in your  
contributions to the 9th European Media Art Festival, to  
take place in Osnabrurck between 11th and 15th September  

New, experimental and artistically innovative productions  
from the world of film, video, performance, installation,  
multimedia and Internet will be presented and placed in  

Film & Video

A joint competition programme for Osnabrueck and Lucern.

As an absolute novum in the international film landscape,  
the European Media Art Festival, Osnabrueck and the  
International Film, Video and Multimedia Festival, VIPER  
jointly organize the most important European competition for  
visually innovative film and video productions.

In this way, both festivals use their contacts and their  
many years of experience in order to target new impulses and  
generate increased attention for experimental film and video  

This offers authors the advantage of being able to send in  
their films or tapes to both the EMAF and VIPER with just  
one registration.
At the EMAF, the jury of German film journalists will  
present the German prize for the best German experimental
film or video production. Additionally, the presentation of
a new award for an international production planned.
Specific details can be found in our next info-sheet.

The international jury in Lucern will present a prize to the  
value of 5000 Swiss Francs for the best film and video work.

In conjunction with the joint competition programme,  
retrospective portraits and portraits of artists will  
complement the programme. In addition, performances, live  
events, Internet projects and the exhibition featuring  
computer and video installations will enhance and strengthen  
European Media Art Festivals very distinct profile.


Internet and Multimedia are terms which have personified the  
media discussion over the last few years. The EMAF offers a  
forum for the presentation and discussion of artistic  
projects within the network system and beyond commercial  
structures. The emphasis in the choice of work will, simular  
to the the COMMENIUS project by Ponton Media Lab, Hannover,  
Germany and the advanced TECHNOSPHERE project from London  
presented during the festival 1995, target the immediate  
participation of the contributors and encourage a direct  
discussion regarding contents and structures which goes far  
beyond the simple, |show me your homepage|approach.

EXHIBITION: 11th - 29th Sept 1996

As in previous years, the Dominican Church is the central  
venue for the Electronic Cafe and the exhibition presenting  
the festival's video and computer installations. This  
exceptional building provides the spatial element for  
realising artistic concepts in an intensity of communication  
between sculptural elements, projections and networked  


For some years now, an integral component of the EMAF has  
been the Student Forum, where those studying at the various  
European academic centres for media are given the  
oppurtunity to display their current productions. This forum  
has workshop character. However - or perhaps for this very  
reason and on the basis of experience, it presents a  
particularly lively programme and this year visitors to the  
festival will be presented with a distinctive programme of  
film and video works from international students, including  
a large exhibition of installations as staged in 1995.


Artistic work integrating new forms of media is one of the  
most interesting and topical in the realm of the fine arts  
and visual creation. The EMAF - which has always been a  
podium for discourse and creative argument - would like to  
receive contributions in the form of thoughts, points of  
view, essays and discussion concerning the state of media  
art, its topoi and perspectives. Selected contributions will  
be published in the festival catalogue

The works for the joint competition and proposals for all  
other sections have to reach the EMAF in Osnabrueck no later  
than 18th of May 1996.

Festivalorganization: Alfred Rotert, Hermann Noring, Ralf  Sausmikat
Student Forum: Marion Gunther

More information:
European Media Art Festival.
Hasestr.71, PO Box 1861, D-49074 Osnabrueck, Germany
Tel: 49-541-21658, Fax: 49-541-28327
E-mail: emaf@ bionic.zer.de  WWW: http:www.emaf.de

University of Hong Kong, Hong Kong - July 1-4, 1996
Sponsored by: ACM SIGCHI and SIGGRAPH

The ACM Symposium on Virtual Reality Software and Technology (VRST) is
a major international conference on the technical aspects of virtual  real-
ity.   This is the third VRST conference, with previous conferences held in
Singapore and Japan.  VRST's technical  program  includes  papers,  panels,
tutorials  and demonstrations of the latest VR technology and applications.
It attracts a wide range of international attendees, providing an excellent
opportunity  to sample state of the art research from many international VR
research centers, and interact with  researchers  from  around  the  world.
Papers  from  previous VRST conferences have been published in ACM Transac-
tions on Human-Computer Interaction (vol. 2, no. 3), and the May 1996 issue
of  the Communications of the ACM.  In addition, VRST'96 provides an excel-
lent opportunity to visit Hong Kong and other parts of Asia.

Call for Papers

VRST offers a high quality technical program, with papers reviewed  by
an  international  program  committee.  The proceedings for VRST'96 will be
published by ACM, and will be available internationally after  the  confer-
ence  through  ACM  and  its agents.  Papers are solicited on all technical
aspects of virtual reality and related  technologies,  including,  but  not
limited to, the following topics:

Input Devices, Haptic Feedback, Geometrical Modeling,  Animation,
Distributed Environments, Simulation, Time Critical Rendering,
3D Interaction Techniques,  VR Software, Environment Design,  Collision
Detection, Games and Entertainment,  Applications of VR,  Output devices

 Five copies of technical papers must be sent to one of the program co-
chairs by March 1, 1996.  Authors of accepted papers will  be  notified  in
April,  and  final camera ready copy will be required by the middle of May.
All papers must have a cover letter containing the name and address of  the
contact  author,  along  with  email  address, office phone and FAX number.
Papers must be sent by regular mail or courier, papers sent by FAX or elec-
tronically  won't  be  accepted.   Send  papers  to  one  of  the following

Michael Zyda                              Kim Fairchild
Naval Postgraduate School                 Institute of System's Science
Code CS/Zk, Dept. of Computer Science     National University of Singapore
Spanagel Hall 516                         Heng Mui Keng Terrace, Kent Ridge
Monterey, California 93943-5118           Singapore 0511

Call for Tutorials

     The first day of VRST is devoted to full and half day tutorials.  Pro-
posals  for  tutorials on topics related to virtual reality and interactive
3D computer graphics should be sent to the General  Chair  at  the  address
listed  below  by March 1, 1996.  Proposals should include the title of the
tutorial, a short description of the tutorial suitable for  publication  in
the  final program, a list of topics covered, AV and computer requirements,
and a list of presenters with short biographical sketches.  The cover  let-
ter  submitted  with  the  tutorial  proposal must contain complete contact
information for the tutorial organizer.

Call for Demonstrations

     Facilities are available at Hong  Kong  University  for  demonstrating
innovative  virtual  reality applications and tools.  If you are interested
in demonstrating the results of your research contact the General Chair  at
the  address below by March 15, 1996.  A special demonstration session will
be scheduled if enough interest is shown.

General Conference Information

The conference's technical program will be held at Hong  Kong  University,
and special arrangements will be made at a hotel in Hong Kong's down-
town area for attendee accommodation.  The hotel location is close  to  the
major  tourist  sites,  cultural centers, and night life, making this is an
ideal opportunity for a family vacation.  Hong Kong's excellent air connec-
tions  makes this the ideal starting point for an Asian vacation, or a tour
of the major VR research laboratories in this part of the world.

Further information on VRST'96 can be obtained from the general  chair
at the following address:
Dr. Mark Green, Department of Computing Science, University of Alberta
Edmonton, Alberta, T6G 2H1, Canada
E-mail:  mark@cs.ualberta.ca, Tel: 1-403-492-4584, Fax: 1-403-492-1071
Information can also be obtained from the VRST'96 WEB page at:


February 16 - April 12  1996, Chicago, Illinois
Laszlo Moholy-Nagy: From Budapest to Berlin, 1914- 1923
FOCI: Joan Truckenbrod: family values, an interactive installation
Illinois Art Gallery, James R. Thompson Center SUite 2-100,
100 West Randolph Street, Chicago, IL 60601, USA
Tel: 1-312-814-5322

February 21 - 23  1996,  Monaco, France
Conferences on Virtual Worlds, Augmented Reality, Infohighways, 
Special Effects. Panels, Workshops, International Competition, 
Industrial Exhibition.
Info: INA-Imagina, 4 avenue de l'Europe, 94366 Bry-sur Marne cedex, 
France. Tel: 33-1-4983-2693, Fax: 3185, E-mail: imagina@imagina.ina.fr

February 23 - March 2  1996, Barcelona, Spain
3rd Alternative Film Festival
Info and Entry forms for both the Festival and the Grants:
La Fabrica de Cindema Alternatiu
Ms Silvia Capella or Karyn Riegel, CCCB, Montalegre 5, 08003 Barcelona, Spain
Tel: 34-3-4120-781/82, Fax: 520 or: 34-3-3180612

March 8 -14  1996, London, UK
London Festival of Moving Images
Contact: Karen Dowell, Festival Organiser, 
5- 7 Buck Street, London NW1 8NJ, UK. Tel: 44-171-4240411,
Fax: 44-171-2676078, Email: enquiries@pandaem.demon.co.uk

March 25 - 27 1996, Melbourne, Australia
The Simulation Technology and Training Conference. Info:
Dr. Sabina Sestito, SimTecT 96
Air Operations Division, AMRL
POB 4331, Melbourne, VIC 3001 Australia
Tel: 61-3-9626-7271, Fax: 7084, Email: jennifer.edwards@dsto.defence.gov.au
WWW: http://www.cse.rmit.edu.au/simtect

March 26 - 30  1996
Videoformes, Laurent de Bussac, BP 71, 63003 Clermond-Ferrand Cedex 1,
Tel: 33-73-906758, Fax: 924418 

March 29 - April 3  1996, Stuttgart, Germany.
Competitions. One prize of DM 35.000, 2 of DM 15.000 and several other
amounts to be won. Info:
Internationales Trickfilm-Festival, Teckstrasse 56, D-70190 Stuttgart,
Germany. Tel: 49-711-262-2699, Fax: 4980

April 9 - 13  1996,  Sydney, Australia
Info: Werner Hammerstingl, Convener, President, C.A.T.
P.O. Box 1545 P, G.P.O. Melbourne 3001 Australia.
Tel/Fax: 61-3-7281162, E-mail: cat@netspace.net.au

April 18 - May 5 1996,  San Francisco, USA
SFIFF, 1521 Eddy Street, San Francisco, CA 94115-4102 USA.
Tel: 1-415-929-5014, Fax: 921-5032, Email: sfiff@sfiff.org
WWW: http://sfiff.org/sfiff 

April 26 - 30 1996, Den Haag, The Netherlands
Info: W.W.V.C. Spui 189, 2511 BN Den Haag, The Netherlands
Tel: 31-70-3644 805, Email: wwvideo@bart.nl

May 8 - 11  1996, Geneva, Switzerland.
An international exhibition in the field of communication and high technology
Info: Secretariat Transcom, 7 Rue de berne, PO Box 1731, CH - 1211 Geneva 1,
Switzerland. Tel: 41-22-908-1811, Fax: 1835.

May 22 - 25  1996, Toronto, Canada
Metropolitan Toronto Convention Centre. Conference and Trade Show.
Info: Multimedia Trade Shows Inc, 7-70  Villarbot Crescent, Concord, ON L4K 4C7, Canada
Tel: 1-905-660-2491, Fax: 2492, WWW: http://multimedia.magic.ca

June 6 - 9  1996, Madrid, Spain
Fifth International Conference on Cyberspace
Info: 5Cyberconf, Gran Via, 28. 2 planta, 28013 Madrid, Espana
Tel: 34-1-542-9380, Fax: 34-1-521-0041, E-mail: 5cyberconf@ceai.telefonica.es

June 17 - 22  1996, Boston, Mass., USA
World Conference on Educational Multimedia and Hypermedia
Papers, Panels, Roundtables, Tutorials/Workshops, Posters/Demonstrations
Info: AACE, PO Box 2966, Charlottesville, VA 22902, USA.
Tel: 1-804-973-3987, Fax: 978-7449, Email: AACE@Virginia.Edu

August 26 - 30  1996, Futuroscope Poitiers, France
Info & Call: Eurographics'96, INRIA Rocquencourt, POB 105, 78153 Le
Cedex, France. Tel: 33-1-396356-00, fax: 38, E-mail: eg96@inria.fr

CADEX '96  
International Conference and Exhibition on Computer Aided Design
September 9 - 12 1996, Hagenberg Castle, Hagenberg, Austria.
General Organizer and Chairman :
Harold P. Santo, GRASP - Cadex '96, PO Box 4076, Massama, 2745 Queluz, 
Portugal. Tel/Fax : 351-1-439-2571, E-mail: chpsanto@beta.ist.utl.pt

"Memesis - The Future Of Evolution  
 September 2 - 7, 1996, Linz, Austria
To receive entry forms for the international competition 
of computer arts, the Prix Ars Electronica, please contact us under the 
following numbers:
Tel: 43-732-6900-267, Fax: 43-732-712121-2, Email:  info@aec.at

September 16 - 20  1996, Rotterdam, The Netherlands.
Including DEAF96 (Dutch Electronic Art Festival, September 17-22)
organized by V2) and in cooperation with R96 (City-wide festival on New
Media, September 16-29, organized by Rotterdam Festivals).
ISEA, POB 8656, 3009 AR, Rotterdam
Tel/fax: 31-10-4778605, Email: ISEA96@HRO.NL
URL: http://www.xs4all.nl/~isea or http://www.eur.nl/ISEA96

The Inter-Society aims at joining a world-wide network of artists, scien-
tists and their institutes, making it easier for the institutes and
individual members to share expertise with each other. The aims of the
Inter-Society are to promote a structured approach to electronic art and
to help finance worthy electronic art projects. For membership information
contact ISEA at the address on the front page.

ISEA distributes a hard copy version of this Newsletter in order to keep
its members, who have no access to Electronic Mail, informed. Those members
can, if they desire, get in touch with the Email addresses mentioned in this
Newsletter by contacting ISEA.

Support: Erasmus University Rotterdam (Law Dept),  Amsterdam University,
V2 Organisation,  Museum der Stad Gladbeck, The Council for the Int. Bienale 
in Nagoya,  KITT Engineering,  Viking Eggeling-Salskapet,  Bratislava Academy 
of Fine Arts & Design,  Softimage, Inc,  Lokman Productions, ARTCOM in 
Deutschland e.V., Painatuskeskus Oy, Tallinn Art University, School of the Art
Institute of Chicago, BSO Medialab, Koln Academy for Media Arts, Monitor 
Information Systems, , Centre Georges Pompidou, Rotterdam Academy of Art & 
Design , ANAT, Moviola, ZKM.

End of Newsletter
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#047/48 Nov/Dec 95


                               THE ISEA NEWSLETTER

                          #47/48 NOVEMBER/DECEMBER 1995

Editors: Dirk Boon, Wim van der Plas (Holland). Correspondents: Yoshiyuki
Abe (Japan), Ray Archee (Australia), Peter Beyls (Belgium), Leslie Bishko
(US/Canada), Paul Brown (Australia), Annick Bureaud (France), Jurgen Claus
(Germany), James Faure Walker (UK), Roger Malina (US), Rejane Spitz
Lay-out: Rene Pare (Grafico de Poost). Text editors: Ray Archee, Seth
Shostak. Honorary Member: Herbert W. Franke
               ISEA, POB 8656, 3009 AR Rotterdam, The Netherlands. 
                             Tel/fax 31-10-4778605, 
         Email: ISEA@MBR.FRG.EUR.NL (Board) or ISEA@SARA.NL (Newsletter)
                        WWW URL http://www.xs4all.nl/~isea



The Board of the Inter-Society for the Electronic Arts is elected by
its members once every three years. The present board, in place since
November, 1992 consists of:

Theo Hesper (Chair)
Wim van der Plas (Secretary-Treasurer)
Peter Beyls
Martha Hesper
Simon Penny
Roman Verostko

Both new candidates and current board members wishing to stand again must
make known their availability before December 15, 1995.  They should do so
via e-mail, fax or ordinary mail (applications must be received by
December 10).  Only regular, institutional, student and working members of
ISEA are eligible for the Board. All applicants should include a very
short resume (5 lines of text).

The candidates will be announced in the next ISEA Newsletter, after
which all regular, institutional, student and working members will have
the opportunity to vote.


We are very happy to announce that James Faure Walker has started ISEA-UK, a
new branch of the Inter-Society. He will also serve as a correspondent for
the Newsletter. There is a long contribution from his hand in this edition,
dealing with ISEA95 in Montreal.  UK organizers and artists should put his
address on their mailing lists. Anyone with plans that might be of interest
to ISEA-UK should get in touch with James. These are his particulars:
ISEA-UK, c/o James Faure Walker, 88 Greenwood Rd, London E8 1NE, UK
Tel: 44-171-249-7454 or 5932, E-mail: 100666.2570@compuserve.com


Some changes have been made in the preparations for ISEA96, to be
held September 16-20 in Rotterdam, Holland. The organization is now in
the hands of a new 'Foundation ISEA96', founded by ISEA-NL, the V2
Organization, and Paradox (a sister foundation of Perspektief
Magazine). Cooperation with DEAF96, R96, the Rotterdam Regional
College and all other parties mentioned in the first version of the
Call for Participation will continue as planned. However, the changes
have caused some delay. Among others is the air mailing of the Call
for Papers & Participation. This delay made it necessary to postpone
the deadlines for entries until February 1, 1996. Also, the address,
phone and fax numbers mentioned in the first version of the Call
should not be used. The latter are now the same as the Inter-Society
address, viz:

ISEA96, POB 8656, 3009 AR Rotterdam, Netherlands.
Tel/Fax: 31-10-4778605, E-mail: isea96@ext.eur.nl or isea96@hro.nl.
The Call can be found at our Web sites:

INL #45

Due to a mistake in distribution, a number of non-email members never
received a hard-copy version of ISEA Newsletter #45. Unfortunately,
we have no way of knowing which members did or did not receive this
issue.  If you are among those who did not receive Newsletter #45 and
still wish a copy, please contact us.

                         IN DEPTH

James Faure Walker

This is a ("slightly unedited") article James wrote for Mute, the 
London based magazine we mentioned in an earlier Newsletter. The 
original article, entitled 'The Outside Inside of Techno Art', has 
two parts, the first half is on Siggraph '95. We reprint the second 
half with kind permission of Mute. Check out their Website: 

"For the record," began Chea Prince, "I don`t do cyber-sex." He 
preferred the traditional way. This September`s ISEA 95 took place in 
Montreal and wasn`t short of cyber-sceptics. ISEA stands for the 
Inter-Society for the Electronic Arts, and this was the sixth 
symposium (the sequence began in `88 in Utrecht, then Groningen, 
Sydney, Minneapolis, Helsinki, and next year Rotterdam). These 
conferences and exhibitions are smaller than Siggraph - 1000 attended 
ISEA Montreal - but more intense because of their focus on art, 
music, science and philosophy. Each event has its flashpoint as the 
debate turns a corner. Two years ago in Minneapolis Jan Hoet of 
Documenta set things alight by rubbishing the 'art' on show. He 
didn`t make much effort to come to terms with the 'electronic' 
perspective, but his views set the tone - and he had a point. Chea 
Prince is part of Public Domain, an Atlanta collective of artists who 
recycle hardware discards back into the community. Preferring the 
traditional to the virtual might have been heresy a while back, but 
this year we were trying realism, coming to terms with the offline 
world - what one cyberspace lexicon lists as "the Big Room". 

Geert Lovink, Data-Dandy and veteran of Amsterdam`s Digital City, 
showed underground film from Belgrade, and questioned our IKEA 
culture of comfort, ideals without ideas, our techno-ambience, 
mountain bikes, cool T-shirts, bright-colour backpacks, sloppy sports 
clothes. At the Ars Electronica festival in Linz this year, the 
conflict in Bosnia hadn`t even been mentioned. He was making a stab 
at a connection. Derrick de Kerckhove, of the Toronto McLuhan 
Program, spoke of electronic art moving from the homeopathic to the 
mainstream. No need to circle the wagons. Time to think about where 
we`re heading. David Rothenberg, composer and Wired contributor, 
demonstrated the Korg Ethnic Sound Card, a medley of ready-to-wear 
World Music. He listened with a beatific smile and wondered about the 
ethics of that. Lev Manovich observed how rendering in virtual 
reality is quantifiable, realism measurable in dollars, wire-frame 
for the poor. Henry See, one of the ISEA95 team, mused that painting 
uses cheap tools to make objects of value, state-of-the-art computing 
uses expensive tools to make...

We weren`t all talking hard-headed realism. Mark Pesce, one of the 
inventors of Virtual Reality Modelling Language, gave an impassioned 
talk on the web as the collective evolution of consciousness, as the 
noosphere, as the gateway to the Sacred Time. There`s a new category 
emerging, a mix of San Francisco research labs and New Age. Watch out 
for shows called 'Sacred Art'. I sat through a flawless dance piece 
by Montanaro Dance with nice interactive effects. But something in me 
just doesn`t respond when I`m asked to drink deep at the Well of 
Being. It`s like another multimedia card: Stonehenge morphing to 
Parthenon, Gregorian chant to bamboo flute, Canterbury Cathedral to 
Taj Mahal, Ellis Island to Holocaust. Birth, life, death, the 
universe, all in one package, and no laughs. Spiritual revelation or 
spiritual tourism, what a relief to peer in at the gyrating dancers 
at a live TV disco down the road. 

The most technically advanced piece on show was Char Davies` Osmose  
at the contemporary museum, a heavily booked VR show - 20 minutes of 
immersion. It is the product of years of research at Softimage in 
Montreal, where she is Director of Visual Research. Navigation was 
modelled on diving, so if you breathed in you floated up, and if you 
breathed out you dropped down - you could also tilt this way and 
that. You begin in a gridded 'Cartesian' space and descend to a 
gossamer woodland scene: a tree, roots, oak leaves, puffs of light 
tracking past; sinking down through the roots you reach the marching 
text of program code - the best part - and falling through that you 
find you`re once again above the woodland glade. The spectators 
watching your 'experience' through red/green glasses actually get a 
better view, but viewing several explorations doesn`t build much on 
the initial impression. Like cruder installations with their incense 
and smoke machines, their virtual aquariums, bacteria, forests, 
birdsong, their Marienbad scores, there`s a Green romanticism wafting 
through, a yearning for the innocence of the great outdoors. It`s 
more mood music than symphonic rapture.

Liszt was into the transcendental, and spoke of his music as casting 
a lance into the future, and as a fan of his I don`t want to say you 
can`t orchestrate a spiritual experience. The developmental drive of 
VR leads to the Disney idea that you make the imaginary so  'real' 
that you don`t need to imagine it, you just walk through it. Up to 
now art has done this job best when it has avoided the literal - hi-
res (the later Pre-Raphaelites) gave the spiritual too much detail. 
It`s a tough question, what you do with the illusionism of VR, and 
perhaps 'visionary space' is again the default metaphor. Osmose  was 
a decent pioneering effort. I`d also like to see what an animator 
with a much zanier imagination - Beriou, say, of Table d`amour  - 
could do in the genre. For Mark Pesce Osmose  meant the Real Thing, 
the healing of the human/nature dichotomy. He was in tune with the 
credo. I wasn`t. Seeing the VR scenario explained so fancifully after 
the experience rather undid things. There`s a presumption that our 
souls are out of joint and a dip into VR puts them back in shape - 
well exclude children, those who can`t pay the admission, and the 
bearded woodsmen. Would VR become the substitute walk in the mugger-
less park, high mass in Notre Dame? Again the issue was about turning 
away from the 'outer' world. As Pesce`s talk rounded off in the 
cyber-ether, Simon Penny (who makes precarious robots and edits 
critical texts) leapt to his feet: "that pop techno-spiritualism may 
fly in San Francisco, but come on!" How could being tethered to a 
machine be described as liberating? It was more like bondage.

That was the flashpoint this year. Pesce and others could be on the 
right track, but it might mean a convergence between corporation and 
techno-church. Daniel Langlois, founder of Softimage, argued that his 
alliance with Microsoft opened the prospect for making next year`s 
Digital Studio software much more accessible, i.e. on PCs and not 
just SGIs. He also spoke of research cul de sacs. The main exhibition 
was in the Ecole Cherrier, a vacant school. These shows are juried 
but not curated, and that means they tend to be untidy - but that 
again is part of the point. Who knows the cul de sacs? A half-formed 
work by a student could say more about the way things are going than 
a professionalised installation. The tour de force in that category 
was the Vorn/Demers` Frenchman Lake,  a room of grunting, smoking, 
flashing interacting 'robots' thrusting up and down in oil drums. 
More restrained and economical was Bosch/Simons` Krachtgever,  28 
wooden crates in 4 rows linked by springs, programmed to shake around 
in ever-changing permutations. The simplicity of this worked well, so 
it was hard to believe there wasn`t some will - or spirit - behind 
the changes of mood. Altogether there were fifty exhibits here*, most 
of them being dark rooms with some kind of 'interaction'. 

Watching the public go round illustrated two things: first the 
difficulty of making the point of the interaction clear. People scour 
about but just find an opaque artist`s statement, and move things 
about to experiment whether they`re supposed to or not. For most 
projected videos the mix and match devices - mouse or touch screen - 
are really gimmicks, and the videos would run just as well without 
the baffled spectators messing them up. Just as with most books you 
start at the beginning, and work through, flitting from page to page 
gets frustrating after a while. Spectators prefer to be rewarded. In 
Bruce Evans Flora Floor  a dark glassy surface on the floor only 
comes to life when you take off your shoes and walk over the rocks 
and plants that appear below you - a hologram. The second point is 
just a note of concern. It`s simply that there`s now an appetite for 
art that 'does things' - sculptures that answer back, things that 
follow you around - as though at last this Sunday audience can stop 
pretending to enjoy art and can really have 'fun'. There`s the 
highbrow debate at ISEA about opening up the art interface to 
'emerging' senses. Fine. But I don`t think people have thought 
through the consequences of galleries as - slightly pretentious - 
fairgrounds. It`s great to see the laughter and enjoyment when the 
Krachtgever  starts getting angry. With another longer running 
exhibition, Images du Futur, l`art interactif,  attached to a cyber-
cafe I`m not so sure. Prompting the exhibits to do their thing in the 
twilight may have as much to do with 'art experience' as the internet 
salad has to do with modems. Perhaps that doesn`t matter. This 
February I saw an Arts Council 'cutting edge' painting show in 
Newcastle that was just unbelievable - recycled grey on grey 
minimalism, the theorising as dumb as the visuals. If art is about 
cliches and playing the game, then maybe it`s time to switch 

The great strength of ISEA is that it provides a home for the 
experimental. It`s not a trade show like Siggraph, and it`s not an 
artworld event. No cash prizes, pavilions, pampered egos. It all runs 
on the energy of artists, theorists, volunteers. Bruce Sterling, 
author of The Hacker Crackdown,  announced his Dead Media project, a 
catalogue of extinct inventions. He loved his 'Powerbook', but with 
the pressure to upgrade, it had the life-span of a hamster. ISEA 
provides open house to the offbeat. Where else could you come across 
an outdoor interactive installation by a practising psychiatrist; a 
composer and a geneticist converting the DNA code of liver cells, 
botulism and the common cold into tone poems; haute cuisine recipes 
compiled by artificial intelligence; an artist - the incomparable 
Stelarc - giving a talk with his arm twirled round by programmed 
muscle stimulators? 

*It`s interesting how relatively prominent Australia and Canada are 
in this field. If you average out ISEA shows over the past three 
years (that excludes Sydney 1992) the proportions of exhibitors work 
out as USA 39%, Canada and Australia each 14%, Germany 7%, Japan 6%, 
UK 4%.

                     CONFERENCES & SYMPOSIA

DEAF Symposium, November 24 - 25  1995, Rotterdam, The Netherlands

Organized by V2 Organisation and ISEA-NL. (ISEA-NL organized the 
second day). On the first day, lectures and discussions deal with the 
way in which human perception and notions of reality are changing 
under the influence of computer technology. The role of human-machine 
interfaces in this development is investigated, and we will try to 
formulate a critique that points to insufficiencies and the 
requirements of modern interface design.
The second day includes a series of presentations of recent 
developments in the research of human-machine interfaces, probing the 
terrain between the practical, the possible, and the not-yet-
possible. Special attention is given to the theme of computer and 
robotic agents, and to interface design on the World Wide Web.


Friday, November 24, 1995 (10.00-19.00 hrs)
Chair: Jose van Dijck (NL)
Thomas S. Ray (USA/J): Life in the Machine: we can interface to it, 
but will it be interested in us?
Gottfried Mayer-Kress (USA): How can we tell if we are part of a 
Global Brain?
Timothy Druckrey (USA): Nervous Systems: Surfing for Salvation
Marcos Novak (USA): transArchitecture: Transmitting the Spaces of 
Siegfried Zielinski (D): Interface/recoupment/subject - Thinking the 
boundary, making it flexible, keeping it experiential

Saturday, November 25, 1995 (10.00-18.00 hrs)
Chair: Wim van der Plas (NL)

Morning: 'Agents'
Peter Beyls (B): Introducing Agents
Michael B. Johnson (USA): Agents in Animation
Dave Cliff (UK): Robotic Agents

Afternoon: 'Interfacing the Web'
Mark Pesce (USA): Interface to the Sublime
Stacey Spiegel (CND): Vision in Motion
Panel with all speakers: Agents on the Web

V2 Organisation, Eendrachtsstr. 10, 3012 XL Rotterdam, The Netherlands.
Tel: 31-10-4046427, Fax: 4128562, E-mail: deaf@v2.nl
or: ISEA-NL, Tel/Fax: 31-10-4778605, E-mail: isea@mbr.frg.eur.nl
URL:  http://www.vpro.nl/www/arteria/V2onW3/Icons/V2Page.html 

Werner Hammerstingl

Wickedly Intellectual, Tragically Relevant, Wickedly Intellectual, 
Tragically ..

The digital revolution has filtered into every aspect of our 
existence. The International Symposium "Digital Aesthetics One" is an 
opportunity to participate in a debate investigating the position of 
aesthetics with the realm of digital creation and consumption. 
"Digital Aesthetics One" will examine the position of all human 
senses in a post-analog context.

The terms of reference for this symposium are wide.  They include 
issues ranging from conception through to assimilation of a digitally 
created aesthetic experience. The symposium is both a stocktake and a 
forum for debating anticipated scenarios.

Confirmed speakers:
Shiralee Saul, New Media Network, Melbourne, Australia
Zbigniew Karkowski, Digital sound/performance artist,Tokyo, Japan
Dr. Rachel Armstrong, OCC Multimedia, London, U.K.
McKenzie Wark, University of Newcastle, Australia
Stelarc, Artist in residence at C.Theory, Melbourne, Australia
Arthur and Marilouise Kroker,  University of Concordia, Canada
Jane Goodall, University of Western Sydney, Australia
John Conomos, University of N.S.W., Australia
Allucquere Rosanne Stone, University of Texas, U.S.A.

The conference is to be hosted by the Melbourne based C.A.T. 
(Contemporary Art and Technology) group. C.A.T. has already hosted 
the "Still Photography?" International Symposium during 1994 and is 
involved in a range of publishing and exhibition projects which 
examine the transition from analog to digital in the creative realm.

April 9-13, 1996.
The College of Fine Arts, University of N.S.W., Sydney, Australia
Full Registration (4 days) $A 350.- (Early Registration Discount, 
payment prior to Feb. 28th 1996), Students (concession) $A 150.-

For more info. please contact:
Werner Hammerstingl, Convener, President, C.A.T.
P.O. Box 1545 P, G.P.O. Melbourne 3001 Australia.
Tel/Fax:  61-3-7281162, E-mail: cat@netspace.net.au


will be the first major event in Australia to focus solely 
on the phenomenon known as the Information Superhighway. The 
Conference's aim is to bring together a range of experts in order to 
dispel confusion over the current state of the Superhighway, and to 
explain what we can expect in the near future. The audience for the 
Conference will include marketers, public relations professionals, 
information specialists, educators, business folk and the general 
public. The related Exhibition will also serve as a showcase for 
network products and related services. Keynote speakers will include 
Mark Pesce and Professor Ann Hill Duin. 

Mark Pesce is best-known as a central coordinator of the Virtual 
Reality Modeling Language. (VRML is a language for describing multi-
participant interactive simulations - virtual worlds networked via the 
global Internet and hyperlinked with the World Wide Web. All aspects 
of virtual worlds: display, interaction and internetworking can be 
specified using VRML. It is the intention of its designers that VRML 
become the standard language for interactive simulation within the 
World Wide Web.) VRML has recently been ratified as an Internet 
standard and will allow WWW users to download whole 3D worlds which 
can be walked through, clicked on and linked to other worlds, video, 
sound and graphics. Thus VRML may in fact become the de-facto standard 
interface for the Information Superhighway. Mark is a also a 
prodigious contributor to Wired magazine, and has a new book called 
"VRML: Browsing and Building Cyberspace", soon to be released.

Dr Hill Duin is Associate Professor of Technical Communication at 
University of Minnesota, USA where she directs MS, MA and PhD programs 
in Rhetoric and Scientific and Technical Communication. Dr. Hill Duin 
conducts research in the areas of computers and writing, 
collaboration, desktop videoconferencing, distance education, and 
document/multimedia design. With over 50 publications to her credit Dr 
Hill Duin's latest research looks at the Internet and open learning. 
She sees many possibilities of using the Superhighway for different 
forms of education, training and socialisation which extend rather 
than replace traditional practice.


Professional Marketing Services (PMS)is proud to announce another first
THE WORLD WIDE WEB. In order to reach the widest 
possible audience PMS' Conference coordinator, Ray Archee has created 
an online conferencing system which will enable hundreds of WWW users 
to participate in this significant event from the comfort of their own 
homes and offices. Members of the public who cannot attend the actual 
Conference at Darling Harbour on Nov 16-18, 1995 will be able to 
attend and particpate online from Nov 19-30 for the small attendance 
fee of AU$50.

It is usual for ordinary computer conferences to attract a specialist 
crowd who usually have to choose between sessions or who must limit 
themselves to particular days. The Virtual Conference makes all 
speakers available from anywhere in the world giving the event the 
widest possible audience! Each virtual delegate will have access to 
the all the papers and be able to make comments, ask questions and 
discuss the finer points of each paper in detail.

The Virtual Conference may be accessed through the Information 
Superhighway Access WWW home page: 
http://www.ozemail.com.au/repmub/superhwy/ and will use the technology 
to disseminate information from a bevy of experts from Australia and 
overseas. These include Mark Pesce, an American virtual reality 
expert, Prof Ann Hill Duin from the Uni of Minnesota and Prof Joan 
Cooper (Uni of Wollongong). Other organisations represented include 
Telstra, Vodaphone, and Oracle. 


Jayne Loader

I'm writing to tell you about a project which I hope will intrique 
you.  It's JAYNE LOADER'S PUBLIC SHELTER, a CD-ROM inspired by my 
film THE ATOMIC CAFE.  The disc contains 45 minutes of video, 400 
photographs, 18 original songs, 12 hours of audio, and 1200 text 
files, all pertaining to atomic weapons and energy.  

All of the documents in PUBLIC SHELTER are original artificts, most 
of them recently declassified by the United States government.  Some 
of the most shocking deal with nuclear accidents, nuclear waste, and 
government-sponsored radiation experiments on humans. 

PUBLIC SHELTER extends the "found footage"  concept to the CD-ROM 
format.  There is no top-down interface and no "script of God" 
telling the user what to think or how the information in the disc 
should be experienced or organized.  All political points--and there 
are many--are made through juxtaposition.  This is one of the first 
attempts by a independent filmmaker to extend the art of documentary 
to the CD-ROM format. 

PUBLIC SHELTER has been presented at the Museum of the Moving Image, 
"The Atomic Age Opens" conference in Bowling Green,  the San 
Francisco Exploratorium, the New York Video Festival, "Living 
Digital" on the Prodigy Network, Peace Action Texas, and the American 
Bible Society multimedia symposium.   Upcoming presentations include 
Sundance, the Fort Lauderdale International Film Festival, the Oasis 
Theater, the Dallas Video Festival, the New South Wales Film and 
Television Commission, the Pong Multimedia Festival, California State 
University at Chico, and the International Documentary Conference in 
Melbourne,  Australia.

For more information, please e-mail me at ejl@netcom.com, or visit my 
Website at http://www.publicshelter.com.

Cynthia B. Rubin

You are invited to view the CODE show, either in person or on the 
Net. CODE is designed to initiate and sustain a platform between 
Ricco/Maresca Gallery, artists, and the digital industry. All of the 
works in the 1995 edition of CODE involve either animation, 
interactivity or virtual immersive space.  Subsequent editions of 
CODE will explore the entire range of the digital art adventure.  
Hard output, such as prints, CDs and video tapes of the works are 
available from the gallery.  
CODE represents a wide range of artists, from those working 
individually on home computers to those who have the technical and 
financial support of the digital industry.  Creative activity 
involving digital tools and processes in intimately linked to the 
collaboration between artists and industry, and thrives when new 
tools appear.

The show is curated by Roz Dimon.

The Artists:

A virtual immersive space by Char Davies

ad 319, Barminski/Consumer Productions, Khyal Braun/Jackie 
Lightfield, Jean-Louis Boissier, Roz Dimon, Eric Lanz, Bill Seaman, 
Annette Weintraub

Ben Rubin, Nina Sobell/Emily Hartzell, Regina Tierney

Ephraim Cohen R/GA, CB Cook, Clay Debevoise, Bob Hoffman R/GA, Michi 
Itami, Wichar Jiempreecha R/GA, Jon McCormack, Picture Element, 
Cynthia Beth Rubin, Kenneth Snelson, Regina Tierney

Continuing to December 2, 1995
Ricco/Maresca Gallery, 152 Wooster Street, New York, NY 10012, USA
Gallery Hours: 11-6 Tuesday through Saturday, phone 1- 212-7800071

On the NET:

November 10 - 26  1995, Amsterdam, The Netherlands
Video installations by Carlos Nader, Projections and tapes by other 
Brasilian video artists.
In the Melkweg, Lijnbaansgracht 234a, 1017 PH Amsterdam, The Netherlands.
Tel: 31-20-6241777

November 3 - 26  1995, Enschede, The Netherlands
Including photographic installations, CD-ROMS, Web Sites, videoworks 
and other multimedia projects. 40 Artists from 10 countries.
Lasondersingel 129, 7514 BP Enschede, Netherlands.
Tel: 31-53-432-5812, Fax: 7416, E-mail: fbe@knoware.nl

December 15 - 22  1995, Amsterdam, The Netherlands
By Shimon Attie (US) and Mathias Maile (D). 
On eight evenings, segments of original archive films will be shown
on the pavement of the Prinsengracht (## 468, 514 & 572) in
Amsterdam, near addresses that were used as hideouts during WWII.
The films picture the view had by those within the hideouts. 

Info: Paradox, St. Jobsweg 30, 3024 EJ Rotterdam, The Netherlands.
Tel: 31-10-476-5208, Fax: 9069, E-mail: paradox@knoware.nl

October-December 1995, Normandy, France
Many locations in 12 different cities in Normandy.
Info and program (in French):
Brent Klinkum, Transat Video, 7, passage de la Poste, BP 59, 14203 
Herouville Saint-Claire cedex, France. Tel: 33-31-955087, Fax: 953760

November 4 - December 2  1995, The Hague, The Netherlands
Hours of opening: Monday through Saturday 9.00 - 18.00 hrs,
admission free.
Location exhibition: Atrium of the City-hall in the Hague.

Anna Anders, Claus Boehmler, Birgit Brenner, Klaus vom Bruch, Ingo Guenter,
Jean-Francois Guiton, Wolf Kahlen, Dieter Kiessling, Franziska Megert,
Marcel Odenbach, Nam June Paik, Ulrike Rosenbach, Reiner Ruthenbeck,
Jeffrey Shaw, Wolfgang Staehle, Wolf Vostell, Herbert Wentscher.

The World Wide Video Centre, the Institute for Foreign Cultural Relations
Stuttgart, the Goethe-Institute Amsterdam and the foundation Atrium Den Haag 
present the exhibition VIDEO - SKULPTUR IN DEUTSCHLAND SEIT 1963.

November 11 - December 7  1995, Paris, France

Galerie Multimedia, 18, Blvd Saint-Marcel, 75005 Paris, France

Through computer networks human beings are taking on a new sense of body
and spirit. In the wink of Bataille's pineal eye, humanity has begun to
redefine itself from the multiperspective point of view of imaginatory
cybernetic space.
This new perspective, this non-reality or virtuality, requires us to
question the legitemacy of our commonly held beliefs. This new perspective
returns art to myth and analogical thinking. It is as if the alchemical
concept of =E9gr=E9ore, a 3rd term that is established from 2 conjoining
different elements, has become the ruling concept in life as we continue to
create hybrids of ourselves and all that surrounds us. It is as if this
concept can now be seen to be, as they say, a virus, inside of everything
and everyone. It is time for Bataille's secret gnostic society to take over
the leadership in society. It is with this in mind that I paint now again,
using the most contemporary techniques available (computer-robotics) in a way
that could only be done at this juncture in time, a series of Gnostic
Archons. Just as the containment mentality of the Cold war is melting away,
and the Soviet - NATO nuclear standoff is dropping its gaurd, our universal
spiritual thinking must change. I believe Gnosticism to be an interesting
intellectual direction for us to go, with its cosmology of saturated spirits
and openmindedness and nonpossesiveness. This salvation through knowlege,
this fanciful doctrine, informs these paintings, coming as they do out of my
computer virus project.
  To identify and explore some of the possible complex phenomena : (The
Virtual - The Gnostic - The Viral) characterizes the artistic impulses
which gave life to this exhibition with its call for a postdeconstruction
period of constructiveness through art in the heat of an overstimulated
techno-mediacratic society with its emphasis on symbolic monitary and sign
space. After the recent influx of 'deviant' and marginal areas of inquiry
in the humanities such as gender studies, queer theory, computer-based
cyberpunk speculations and mutant French theory; the absent center of
meaning and its hidden matrix of signification needs to be addressed. In
our age of technological domination, social inequity, and artisticly
expressed violence; Viral-Metaphysics constitutes the metaphor for our
time, with its references to obsession, drugs, sexuality, blood, and
high-technology. Perhaps it is time again to reflect on a return to the
lunar realm of the feminine within artistic and technological creative

Joseph Nechvatal
24, rue Norvins  Paris  75018, France



Every year the World Wide Video Centre presents the World Wide Video
Festival, an international art event, presenting contemporary media art and
new technology. The 14th World Wide Video Festival, April 26 - 30 1996, will
focus on Video, CD-Rom and CD-i presentations, Installations, Interactive
works, Internet projects, Performances, lectures.
All selected productions will be shown publicly on a large screen, on
monitor or on computer, depending on the nature of the work.
The video, CD-Rom, and CD-i productions can also be viewed individually on
request. For this purpose a large number of viewing-sets and computers will
be available.
Many pieces will be presented and accompanied by introduction of the artists.
The main sites of the festival are: the Theater aan het Spui and the Haags
Gemeente Museum.

For more information about the 14th WORLD WIDE VIDEO FESTIVAL 1996 contact:
WORLD WIDE VIDEO CENTRE, Spui 189, 2511 BN Den Haag, The Netherlands
Tel: 31-70-3644805

Entry-forms of the 14th World Wide Video Festival 1996 will be available
from early January 1996 onwards.
Information about the World Wide Video festival on the World Wide Web will 
be available January 1996.
A programme brochure will be available March 1996.


November 22, 1995 - July, 1996, Antwerp, Belgium.
5 concerts of contemporary music. Several Locations. A.o. works by 
Volker Staub and John Cage.
Info: Champ d'Action, Pastorijstraat 23, 2060 Antwerp, Belgium
Tel/Fax: 32-3-2725125


Annette Weintraub 

Realms is an interactive artwork for the World Wide Web which 
explores the material and metaphysical resonance of urban landscape 
evoked via linked images and text in a passage through subterranea, 
the streets and rooftops.

Realms is a narrative of urban life, a journey through a complex 
organism, a metaphor for different levels of consciousness. Embodied 
in the labyrinth of subway passages, the pulsing energy of the 
streets, and the altered perspective of the rooftop, the life of the 
City is revealed in a series of small incidents unexpected 
conjunctions. A meditation on the dynamics of urban space, Realms 
takes you on a meandering journey,  and presents encounters ranging 
from the peculiar, to the unexpected to the sublime.

Realms is presented as part of  CODE, an exhibition of digital, 
interactive art the Ricco/Maresca Gallery in Soho from October 26-
December 2, 1995 and is a featured project on ArtNetWeb.

Connect to REALMS at:
visit the CODE home page at:

For further information about REALMS, contact:
Annette Weintraub at: anwcc@cunyvm.cuny.edu


Yes Yes Yes. ISDM is finally back among the living, with version 2.0. New
graphics, new works, new lyrics. We'll be feeding you weekly little bits of
our goodies, not to flood your dentist ! Check it out and spread the word.

ISDM is increasingly evolving into an interactive, non-commercial platform
for the arts on the net. And not just that. Our graphically astonishing
first site was noted for its characteristic lack of content. This time we
kept a healthy approach to the visual aspect and increased the amount of
spicy textuals. ISDM remains hot as ever. Just burn your brains out !

                     vzw ISDM asbl
                  Rue Roosendaelstraat 146
                    1190 BRUSSELS
                   CONTACT:Rudy De Waele
               Tel/Fax:00 32 (0)2/346 65 01

Artlab on the Internet
Seiko Mikami

October 20, 1995 - April 30, 1996

In this work Seiko Mikami intends to illustrate the emerging theory 
of molecular biology that every natural molecular structure in the 
world can be replicated artificially via the manipulation of the 
molecular chain. The project takes on its meaning from the 
interaction of users worldwide who manipulate and change the project 
in unexpected and random ways.
During their initial visit users should download the Molecular Engine 
Viewer, which is a type of molecular laboratory for their computer. 
What they will see on the web site after this initial download is a 
virtual space containing a 3D computer generated Spider  and Monolith 
object. The user will be able to navigate through and into this 
virtual space and can zoom into the Spider all the way to the 
molecular level.
They will be able to select and download an individual atom from the 
Spider into their own computer. The user can manipulate the atom in 
various ways, mutating and transforming it, even culturing, splitting 
and growing it, then the atom can be uploaded back into the Spider, 
where it will affect the original or 'host' object.

A Guide to Emerging Genres in World Wide Web

Phrases like "web browsing" and "surfing the net" suggest that
World Wide Web is a relatively superficial medium. But is this
network intrinsically shallow, or has no one yet developed its
dramatic potential? The task of involving visitors in an intense
emotional way in a Web site seems almost impossible: how do you
deal with guests who manifest themselves only as an anonymous and
invisible series of "hits?" How can you provoke an aesthetically
strong experience on a Web site?

THE COMPLEAT WEBSTER, a special project of Leonardo Digital
Reviews, will focus on attempts to engage WWW visitors by
exploiting the Web's unique features, such as visitor-to-visitor
interactivity, online forms and client-pull constructs. We are
looking for short contributions, reviews or comments from visitors
who have found themselves caught in the Web. Statements of purpose
from WWW site authors are also welcome. We are interested in
discussions of how Web sites can become enthralling.

The project will be made visible through special issues of 
Leonardo Digital Reviews, which is published electronically in 
the _Leonardo Electronic Almanac (distributed by the MIT Press) and 
posted on the Leonardo WWW site. Selections will be published in 
the print journals Leonardo and Leonardo Music Journal.

Please email your contributions and suggested sites to
< davinci@uclink.berkeley.edu >
by 31 DECEMBER 1995.

For more information contact Kevin Murray:
E-mail: kmurray@werple.mira.net.au


The autumn issue of Interface, ACCAD's (The Advanced Computing Center for the
Arts and Design) on-line journal is UP!
Web site: http://www.cgrg.ohio-state.edu/interface/

FTP for ASCII text only version: ftp://www.cgrg.ohio-state.edu/pub/interface

Editor: Nanette Wylde, E-mail: interface@cgrg.ohio-state.edu
Links and contributions are encouraged.

The Australian Film Commission is compiling a new publication 
'Electronic Media: International Guide for Art Distribution', 
containing chapters on 'Exhibition & Regular Events', 
'Distribution, Sales & Television', 'Research & Publications' and 
'Art Sites'. 

Organizations and institutes that did not receive the dummy the 
AFC recently distributed for comment are probably not included. 
In that case you may wish to get in touch with:
AFC Marketing Branch, GPO Box 3984, Sydney NSW 2001, Australia.
Tel: 61-2-3216444, Fax: 3573631, E-mail: marketing@afc.gov.au

Boletim Informativa da Socieda de Musica Electroacustica #2 just 
appeared. In Portugese only.
SBME, Universidade de Brasilia, Departemento de Musica, Sala 21
70910-900 Brasilia -DF- Brasil

Editor Hans Sleurink. Over 1600 terms and 2000 acronyms. 
352 pages, PS19.95
Academic Press, Marketing Dept, 24-28 Oval Rd, London NW1 7DX, UK
Tel: 44-171-267-4466, Fax: 0362




A networked event is to take place during ISEA96, the 7th 
International Symposium on Electronic Art, September 16-20 1996, and 
R96, a city wide festival organized by Rotterdam Festivals September 
16-29 1996. Both festivals will be held in Rotterdam The Netherlands.

The idea is to give people who are not connected (to the Internet) an 
idea of what the Internet is and that it can be fun, by creating an 
attractive game, that can be accessed in different ways. 
We will try to integrate low and high levels of being 'connected': 
from telephone and tv right up to fast networked computers. We are 
thinking of 4 layers of participation. The two first levels allow for 
participation from home. The idea is to draw people from low to high 
levels of participation and to get them to physically visit the 
locations of level 3 and 4. The amount of possible participation 
accumulates from level to level.

Level 1
TV and telephone.
A local TV channel continuously shows the project in progress. A 
database of objects ('building blocks') or characters is also shown. 
People can influence part of the project via telephone.

Level 2
a. Computer & Modem or, 
b. privatly owned CD-i or CD-ROM players connected to modems or 
c. two-way cable tv.
-a. The database can be found at the central computer (level 4) and 
is accessible via computermodem.
-b. The database will also be available (easily accessible and high 
res) on specially produced CD-i and CD-ROM disks. CD-i is a 
'consumer's CD-ROM player', developed by Philips, connected to a TV, 
not to a computer.
-c. By September '96, 80.000 households in Rotterdam will in 
principle have interactive tv, via two-way cable.

Level 3
CD-i, modem and ISDN
At 8-10 public locations spread over town (cultural centers etc) CD-i 
players with modem connections and ISDN telephone lines will be 
available for fast interaction. 

Level 4
At a central location people can see the complete project and 
interact with it very fast, directly via computer terminals. This is 
the physical location of the central computer system. This system 
runs the database and the project in progress. From the other levels 
the project in progress will be visible, but not the complete project 
all at once.

We are looking for ideas to make it attractive and fun to 
participate. The low levels of participation must make people 
interested and curious enough to go to the central locations. One of 
the ways of achieving this goal might be to involve the possibility 
of connecting people with similar interests. These people could meet 
physically at the central locations. The interests may be symbolized 
by icons that are part of the database.
Possible directions in which to think are for example:
-A game in which people have an alter ego in the shape of a graphic 
character or can construct such an alter ego
-The collective building of a 'real' city (the 'ideal' city, the city 
of the future, etc)
-The use of Genetic Algoritms 

We would like to receive proposals that may still be rather vague 
(although detailed plans are of course welcome), accompanied by 
sketches etc. Proposed software to be used does not have to be 
available yet. However, we like to see proposals as soon as possible. 
The first deadline is January 1st, 1996.

The best idea, or combination of ideas, will be choosen by a 
committee formed by the organizations and firms mentioned below. This 
idea (or combination of ideas) will be realized in close 
communication with the originator(s). The intention is to invite them 
to present the project during ISEA96. Proper credits will be given at 
all relevant occasions. If necessary, ideas will be protected 
(patented) in the name(s) of the originator(s).

NETWORKED CITY is a coproduction of:
- ISEA96
- Rotterdam Festivals
- Spirit/Mediaport (part of Rotterdam City Development)
- and several major companies

*) 'Networked City' is a new name for the event called 'Virtual 
Community', mentioned in the ISEA96 Call for Participation.

ISEA96, PO Box 8656, 3009 AR Rotterdam, The Netherlands.
Tel/Fax: 31-10-4778605, E-mail: isea96@hro.nl or isea96@ext.eur.nl

the ISEA96 Call for Participation:

Fifth International Conference on Cyberspace
June 6th to 9th, 1996. Madrid, Spain
Hosted by "Fundacion Arte y Tecnologia de Telefonica"

5CYBERCONF is an international conference that addresses the social, 
political and cultural implications of cyberspace from a critical 
standpoint and encourages discussion between theoreticians and 
practitioners. Hosted for the first time in Europe, this fifth edition 
of CYBERCONF considers computer-human interface breakthroughs, our 
fascination and weariness with disobedient technology, the role of 
synthetic behaviour in virtual design, and the increasing importance of 
cross-cultural contributions to the electronic community.

In the 90s cyberspace has reached a critical mass. The tools to 
construct and navigate virtual worlds are becoming increasingly 
affordable, intuitive and widespread. The rise in bandwidth and dropping 
prices have provoked the exponential growth of the online population (or 
is it the other way around?). As the net becomes a mainstream hit, how 
has the transition from science fiction to reality changed cyberspace?

5CYBERCONF is scheduled to start on Thursday afternoon, June 6th and 
take place over three and a half days. There will be 8 keynote speakers, 
18 plenary sessions, special events, a videoconference link-up and a 
banquet dinner on Sunday June 9th. All sessions are designed to foster 
discussion. Presentations will be in English and Spanish with 
simultaneous translation. The six themes are:

How are the boundaries of the computer-human interface disappearing? Is 
the "window onto the world" metaphor exhausted? Can we unframe our 
synthetic worlds? What can replace the cartesian grid as a reference for 
non-linear worlds?

Who is leaving cyberspace and why? What are the different forms of 
cyber-sickness? Is the body rejecting interfaces that ignore it? What 
are the old and new psychological disorders manifested in or caused by 
cyberspace? What are the different forms of cyber-tiredness? How can we 
counteract the disenchantment brought about by the unfulfilled promises 
of the cyber-hype industry? Who is buying the media's portrayal of 
cyberspace as dirty and dangerous? Who is winning the battles to control 
or dominate access?

When will the predicted death of "outmoded" dualisms finally happen? Is 
accepting our own cyborgness the only way to explore post-humanism, or 
are there other, as-yet-unimagined, ways? How do we create new languages 
to describe unprecedented experiences? How has the language of 
cyberspace changed since the first CYBERCONF?

Are there digital ethnic groups? How can ceremony and language be used 
in the retro-colonization of cyberspace? Can the international economic 
system be de-virtualized? What kinds of non-digital virtuality are 
there? What are the experiences of new online communities in countries 
where access is relatively recent, and how are their contributions 
changing the time and space of cyberspace? Who are the new marginals? 
The "Global Village" and other myths.

What is seductive about technology out-of-control? What would be the 
uses of a "personal dis-organizer"? What is technological correctness? 
How will our ethics be transformed by the ability to "undo" our virtual 
actions? Will artificial intelligence finally deliver an automaton that 
disobeys? What is cyber-pain? (and where to find it).

Can cyberspace behaviour be "rendered" (as in designer-behaviour)? What 
constitutes interesting behaviour? Will synthetic behaviour change what 
we mean by normal behaviour? What is the virtual equivalent of the 
Undead? What proposals challenge the dead/alive binary (videogames, 
military simulators, etc.) as the primary paradigm of virtual 

To submit an abstract for the potential inclusion of your paper in the 
5CYBERCONF programme, please follow these format guidelines:

Title of the paper
Institutional affiliation, if any
Chosen 5CYBERCONF theme (from the list above)
Abstract, 500 words maximum
Brief biography, 100 words maximum
Audiovisual equipment requirements
Contact information (email preferred)

There are two ways to submit: 1) Email 5cyberconf@ceai.telefonica.es 
with the subject "5CYBERCONF Submission" or 2) mail both a printed copy 
and a PC or MAC diskette to the address given below. 

The selection will be done by an international and a local committee 
made up of academics, theorists, artists and technicians in the field. 
Submission of an abstract indicates the submitter's intention and 
capability to write and present the corresponding, full length paper, if 
chosen. Papers will be alloted a half hour for presentation and may be 
in English or Spanish. Please be advised that the selection committees 
will not consider abstracts that are not formatted as stated above nor 
papers that have been previously published. 

All papers will be published in a bilingual edition of the proceedings, 
which will be available in late 1996.

Deadline for reception of abstracts: February 15, 1996
Notification of selection for presentation: March 15, 1996
Deadline for registration: May 1, 1996

The registration fee will be waived for those presenting a paper in 
5CYBERCONF. In addition, a limited number of grants are available to 
those presenters who demonstrate financial need. These grants cover the 
costs of travel, accommodation and a per diem.

The registration fee for attending 5CYBERCONF is US$200 (US$100 for 
students). For detailed information on how to register and information 
on travel and accommodation, please contact Susie Ramsay at 
5cyberconf@ceai.telefonica.es or at the address given below. Please note 
that registration is on a first-come, first serve basis and attendance 
is limited to 140. Late registration will be available as space permits 
and at an extra charge.

Fundacion Arte y Tecnologia
Gran Via, 28. 2 planta
28013 Madrid, Espana
Tel: 34-1-542-9380, Fax: 34-1-521-0041, E-mail: 5cyberconf@ceai.telefonica.es

3rd Alternative Film Festival
February 23 - March 2  1996, Barcelona, Spain

A non-competetive event that strives to promote directors and works 
which, due to their innovative creativity, are often marginalized by 
mainstream distribution channels.
Send A VHS tape, a photo from the film and a photo of the director, 
together with a completed entry form before December 30, 1995.
Professional Cinematographic Grants 'Helping Hand', for films, (not 
Info and Entry forms for both the Festival and the Grants:
La Fabrica de Cindema Alternatiu
Ms Silvia Capella or Karyn Riegel, CCCB, Montalegre 5, 08003 Barcelona, Spain
Tel: 34-3-4120-781/82, Fax: 520 or: 34-3-3180612

March 29 - April 3  1996, Stuttgart, Germany.
Competitions. One prize of DM 35.000, 2 of DM 15.000 and several other
amounts to be won. Info:
Internationales Trickfilm-Festival, Teckstrasse 56, D-70190 Stuttgart,
Germany. Tel: 49-711-262-2699, Fax: 4980

The Inter-Society aims at joining a world-wide network of artists, scien-
tists and their institutes, making it easier for the institutes and
individual members to share expertise with each other. The aims of the
Inter-Society are to promote a structured approach to electronic art and
to help finance worthy electronic art projects. For membership information
contact ISEA at the address on the front page.

ISEA distributes a hard copy version of this Newsletter in order to keep
its members, who have no access to Electronic Mail, informed. Those members
can, if they desire, get in touch with the Email addresses mentioned in this
Newsletter by contacting ISEA.

Support: Erasmus University Rotterdam (Law Dept),  Amsterdam University,
V2 Organisation,  YLEM,  ISAST,  Media Research, Museum der Stad Gladbeck,
The Council for the Int. Bienale in Nagoya,  KITT Engineering,  Viking
Eggeling-Salskapet,  Bratislava Academy of Fine Arts & Design,  Softimage
Inc,  Lokman Productions, ARTCOM in Deutschland e.V., Painatuskeskus Oy,
Tallinn Art University, School of the Art Institute of Chicago, BSO Medialab,
Koln Academy for Media Arts, Monitor Information Systems, Nordiska
Konstkolan, Centre Georges Pompidou, Rotterdam Academy of Art & Design .

End of Newsletter
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#045 Sep 1995


                               THE ISEA NEWSLETTER

                                 #45 SEPTEMBER 1995

Editors: Dirk Boon, Wim van der Plas (Holland). Correspondents: Yoshiyuki
Abe (Japan), Ray Archee (Australia), Peter Beyls (Belgium), Leslie Bishko
(US/Canada), Paul Brown (Australia), Annick Bureaud (France), Jurgen Claus
(Germany), Roger Malina (US), Rejane Spitz (Brazil).
Lay-out: Rene Pare (Grafico de Poost). Text editors: Ray Archee, Seth
Shostak. Honorary Member: Herbert W. Franke
               ISEA, POB 8656, 3009 AR Rotterdam, The Netherlands. 
                             Tel/fax 31-10-4778605, 
         Email: ISEA@MBR.FRG.EUR.NL (Board) or ISEA@SARA.NL (Newsletter)
                        WWW URL http://www.xs4all.nl/~isea

Wim van der Plas

When you receive this copy of the Newsletter, you will either be in
Montreal or missing ISEA95 (people with e-mail), or you were there and have 
missed it already (hard copy readers).
Anyway, this is written just before the Sixth International Symposium on 
Electronic Art takes of. The expectations have never been so high. Through
the years, the ISEA Symposia have gained an exellent reputation, and from
what we hear and see, practically the whole electronic art community is aware
of the event.
Presenters usually do not have high budgets and the artists and scientists
who attend have to make sacrifices. There are no money prizes to be won, but
at least, the electronic art community has the feeling this is their own
event which is why discussion is so important. It is not, in the first place,
a Festival (although the festival part of ISEA keeps growing), it is a 
Symposium. The aim is, to quote the Guidelines: "A structured approach
towards the problems and potentials of electronic art".
Canada is positively known for it's cultural policies, and the temporary 
cooperation of artists and scientists from several universities that have 
gathered their forces in order to organize ISEA95 has resulted in an
incredible job. 
No doubt ISEA95 will be the largest of all ISEA symposia so far, it will
most likely also be the best. Of course, we will report on it in the next 

The Call for Papers and Participation for ISEA96 (organized by HR&O
Rotterdam Regional College, September 16-20, Rotterdam, The Netherlands) has
now appeared in print. It will be distributed at ISEA95 and large scale
mailings are planned for immediately after ISEA95. Proposals are called for
Papers, Panels, Round Tables, Poster Sessions, Institutional Presentations,
Workshops, Tutorials, Concerts, Performances, Exhibition Work, Web Sites and
Web Projects, Electronic Theater, Open Air and other Public Events. The first 
deadline is January 1st, 1996.
The Call can be found at the ISEA Web site and at a new Website, see below.
ISEA96, POB 1272, 3000 BG Rotterdam, The Netherlands
Tel 31-10-2133003, fax 2134190, e-mail ISEA96@HRO.NL
URL:  http://www.eur.nl/ISEA96

Jean Ippolito

There seems to be some misunderstanding about the SIGGRAPH96 Art Show
policies, so I would like to try to clarify them here.

SIGGRAPH only allows so much money for the art show budget, and they will not
commit to a budget until the previous year's SIGGRAPH conference has ended.
Since the Call for Participation is printed before the end of the previous
conference (LA 95), I cannot completely commit to funding much of anything in
The Call, and this is why the policy is so fuzzy.

In the past, SIGGRAPH has allowed $9 thousand for framing, and only $4 to $5
thousand for shipping.  This is why SIGGRAPH has only paid for shipping one
way.  This has been a good policy for 2-D art, but a bad one for heavy,
expensive to ship even one way, 3-D art.

In 1993, Simon Penny (Machine Culture) wanted a more 3-D interactive show, so
he proposed to use the framing money for shipping heavier 3-D and interactive
works both ways instead of just one.  Simon Penny also tried to provide
travel for artists who had to come to SIGGRAPH to set up or monitor their
work during the week of the conference.  The artists seemed fairly satisfied
with this policy.  Except for one thing;  Simon Penny eliminated 2-D work
from the show.  Artists reacted to this policy.  They did not like such
limitations placed on their work.

This year, we are trying to make the art show more cohesive and interesting
by working with a theme, and encouraging more installation-type submissions.
One problem, in the past, is that the art show receives thousands of 2-D
entries, and very few 3-D or interactive installation type proposals.
Because of this, the art show usually ends up with a great deal of 2-D work,
and very little 3-D or interactive pieces.  

This year, I am trying to balance the scales.  I do not want to eliminate the
2-D category.  I think there is a great deal of good 2-D work out there (I am
a 2-D artist myself).  But, I would like to see more installation-type work.
Therefore, I chose to use the money that is usually reserved for framing, to
provide shipping both ways for 3-D and interactive pieces, or for really
interesting 2-D pieces.  In addition, my commitment is to apply for outside
funding to pay for travel and lodging for artists that need to be onsite
during the conference.  

In order to apply for outside funding, it is necessary to have most of the
entries selected by November.  We must know the primary content of the show
in order to approach outside funding sources.  

If you read The Call carefully, you will find that it says that we intend to
provide shipping - both ways - and perhaps even travel, to artists who submit
proposals by the early deadline date:  October 4, 1995.  Only the artists who
are not selected from the early proposals, or do not submit until the
February deadline date, will be expected to ship their own work both ways.

Even if we do not get outside funding, I intend to use SIGGRAPH funds to
provide shipping both ways for artists selected from the early deadline
The 1996 SIGGRAPH Art Show committee will be selecting works from the early
proposal submissions that work with the theme of The Bridge:  works which
attempt to bridge gaps between the two sites, the conference center and the
Contemporary Art Center, between SIGGRAPH and the local communities, between
the international and domestic arenas, or between social or cultural issues.

We will NOT provide funds for development.  The proposal should be for
completed works, including equipment.  It is getting more and more difficult
for SIGGRAPH to get computer equipment donations for the conference.  It some
cases, however, we may be able to provide video equipment at the exhibition

The Contemporary Art Center in New Orleans is a really exciting exhibition
space.  I hope that we will receive proposals that utilize the unique spaces
at the CAC and the T-Line connection between the Convention Center and the

The are detailed explanations about the theme for The Bridge and ground plans
for the CAC in the Call for Participation.  Please read it thoroughly.

Jean Ippolito, E-mail: Ippolito22@aol.com
The Bridge:  SIGGRAPH 96 Art Show Chair

January 18 - 21  1996, Amsterdam & Rotterdam, The Netherlands
Conference and Exhibition

Next 5 Minutes is a conference and exhibition project about tactical media,
due to take place on January 18th - 21st, 1996, which is being organised by
De Balie, Paradiso, V2_Organisatie, the Society for Old and New Media and the
Centre for Tactical Media in collaboration with other national and
international organisations.

Next 5 Minutes: Tactical Television (1993)
Next 5 Minutes: Tactical Media is a sequel to the first Next 5 Minutes
which took place at the beginning of 1993. Under the heading of 'tactical
television' it brought together television makers from different parts of
the world. The festival presented media initiatives and productions that
were not simply providers of often vital information, but that were also a
means through which people could make their unmediated voices heard.

Next 5 Minutes: Tactical Media
Next 5 Minutes: Tactical Media will continue to develop many of the themes
and relationships that emerged in the first conference, broadening the
scope towards the more inclusive notion of 'tactical media' which also
implies more recent developments, esp. the rapid growth of electronic
networks, and which concentrates on the crossing of boundaries between old
and new media. Tactical media producers from mainstream companies,
activists from social movements, theoreticians, media artists and computer
activists will meet, show their productions and work together during the
conference. In a series of public presentations, discussions, workshops and
exhibitions we will examine critical areas, dilemmas and fault lines in
contemporary media.

The conference is subdivided into four distinct but closely related topics:
tactical research; public domain and access; metaphorical languages; net
1. The means and ends of tactical research are the theme of a series of
presentations from television, radio, phone and computer networks, which
question the information monopoly as practised by mainstream broadcasting
organisations and individual or corporate experts.
2.  As 'democratisation' is one of the central claims associated with the
tactical media, we will have to assess critically to what extent it can
actually be achieved. In this context we also want to discuss the effects
that tactical media have on the reconfiguration and revitalisation of our
notions of community, as well as the technical, political and ethical
aspects of public access and large-scale local connectivity.
In addition we propose to use the conference to scrutinise several legal,
political, economic and ethical issues about the state policy concerning
public and commercial broadcasting.
3. For us the question of metaphor is not abstract. It includes and goes
beyond issues of representation and asks the strategic question, what
language shall we use. We have therefore made the third theme of the
conference the use of metaphorical languages. Current metaphors, like the
socio-spatial metaphors of digital cities and electronic superhighways, or
the biological metaphors of the media ecology of cyborgs and memes, will be
4. Finally the conference will strive to introduce the concept of Net
criticism. We imagine this as a form of reflexive critical consciousness
about the contents and practice of the communications culture as it has
been affected by the emergence of the Net. It  will be an investigation of
language and metaphor in the electronic age, and it should strive to
formulate aesthetic and ethical categories for net and media discourse. The
continuous involvement of visual artists with the interrogation of
metaphors places their work at the heart of the development of a political
poetics for the media age.

Programme Elements
Next 5 Minutes will have the benefit of three very different kinds of
buildings for large-scale public debates, screenings of movies,
installations, as well as for more intimate workshops about specialised
subjects. While De Balie en Paradiso in Amsterdam will function as central
discussion and workshop locations, V2_Organisatie in Rotterdam will open
the festival with a central presentation. During the conference, V2 will
organise a series of events and an exhibition of contemporary art projects
which explore the social, political and aesthetic potential of the tactical
media in new and challenging ways.
There will be continuous (live where possible) radio and TV programmes
which will be linked to national television stations. Participants will
have access to the Next 5 Minutes library and archive, as well as to local
and translocal computer networks. Information about N5M2 will be
distributed twice daily in an on-site and on-line journal made by our own
team of journalists. The combined journal and network shall play a vital
role in maximising connectivity between the locations in the two cities.

Call for Participation
Next 5 Minutes will open a Web-site and electronic newsgroup (URL:
http://www.dds.nl/n5m) to inform about the conference, collect information
about tactical media-projects and discuss topics with possible
participants. Everyone is kindly invited to participate in the process of
gathering information about new projects and developments in the tactical

Please contact the production team
De Balie, Production Team N5M,
Kleine Gartmanplantsoen 10, 1017 RR Amsterdam, The Netherlands.
Tel: 31-20-6233673, Fax: 6384489 Email: N5M@dds.nl.

An international, interdisciplinary conference on "Complexity, Society and
Liberty" will be held on June 11-12, 1996, at the Universite du Quebec a
Trois-Rivieres (Trois-Rivieres, Que., Canada). Like for our 1994 "Chaos and
Society" conference,* we expect disciplines represented to include economics,
political science, sociology, philosophy, management, psychology, computer
science, etc.

Complete information on the CSL conference -- including a call for papers,
registration information, and an on-line registration form -- is available at
the conference Web site: http://www.uqtr.uquebec.ca/complexity

Special pre-registration rates are available until Dec. 31, 1995. 
Deadlines for submitting abstracts is Nov. 30.

Pierre Lemieux

* Our Web site also includes the main table of contents of the proceedings of
the 1994 "Chaos & Society" conference. The book was just published as _Chaos
& Society_, edited by Alain Albert (Amsterdam: IOS Press, 1995).


Developments in Virtual Environments
R.A. Earnshaw & J.A. Vince (Eds)
UK PS 29.95. Brochure available. 
Academic Press, Marketing Dept, 24-28 Oval Road, London NW1 7DX, UK
Tel 44-181-3003322, fax 171-2670362, e-mail app@apuk.co.uk

Object, Environments and Frameworks
S. J. Gibbs & D.C. Tsichritzis, US$ 30. 
J. F. Koegel Buford, US$ 38
M.M. Blattner, R. Dannenberg, US$ 39
J. Vince, US$41
Info sheet available.
ACM Member Services Dept, Church St. Station, POB 12114, New York, NY 10257, 
USA or ACM European Service Center, Avenue Marcel Thiry 204, 1200 Brussels,
Belgium. Tel 32-2-77496-02, fax 90, e-mail acm_europe@acm.org
URL http://www.acm.org/

                                  WORLD WIDE WEB

ANNOUNCING SOUNDSITE - http://sysx.apana.org.au/soundsite/

We are proud to announce the launch of Soundsite on the World Wide Web,
with the involvement of Contemporary Sound Arts, who have given permisson
to Soundsite to republish material from their journal, 'Essays In Sound'. 

Soundsite is a World Wide Web publication for sound artists, practitioners
and theorists. Soundsite deals with the cultural, theoretical and
practical aspects of sound as manifest in: 

language and discourse; voice; poetics; acoustics; psycho-acoustics; the
nature of perception and sensory experience; hearing vs. listening;
aurality and corporeality; space and architecture; sound geographies;
philosophies of sound; post-musics; film, video and tv soundtrack; sound
art and sound by artists; sound and noise; virtual systems; human-computer
interface; communication and technological systems; low fidelity sound;
radio and radiophonic art; performance; recording; composition;
aesthetics; art. 

This list is not exhaustive! We will be implementing several new features
on Soundsite in the coming months, including a WWW forms implemented
discussion and user contribution area, a major sound events page, and many
other interesting (and fun!) sound orientated projects. 

We are interested in your contributions! Essays, project descriptions,
biographical material, criticism and artists statements are all welcome.
Essays are preferred in a 'journal' type format, with footnotes and
bibliography as appropriate. We are also very interested in receiving
criticism and artist's descriptions of sound artworks and performances. 

Please send your essay proposals, reviews, feedback, etc, to
Soundsite looks forward to your visit.


Is exhibiting an interactive installation at The Digital Village at the 
University of Maryland - College Park, that is opening on November 1. Web 
site of this exhibit:
She is also exhibiting some of her artwork at the Williams Gallery Web site
from September 15 - October 15.  That address is: http://www.wmgallery.com

The TeleCommunity Project presents 'Heroes', a collaboration involving young 
students in Jerusalem, Pittsburgh, and Los Angeles. The students are
developing ideas, digital imagery, and multimedia pieces about their heroes. 
They communicate these works to their remote companions by means of the 
Internet: by access to and editing of WWW pages, through e-mail,
telepainting, videoconferencing, and data transmission.
Robert Dunn, Arc Vertuel, Inc.
111 The Oaks, Pittsburgh, PA 15215, USA
Tel 1-412-781-1563, fax 8138, e-mail rd1s+@andrew.cmu.edu


Information on the German Association for Advancement of Culture e.V. 
Berlin can be found at: http://www.snafu.de/~dgfk/index.html

The DGFK publishes the film magazine "Weltwunder der Kinematographie -
Beitraege zu einer Kulturgeschichte der Filmtechnik" or in English
translation: "Real World Wonders of Cinematography - Contributions to a
Cultural history of film technique".

The next issue (April 1996) of our annual magazine in under  "construction".
It will deal with "Sound - Der Ton im Kino" - Film Sound aspects.
Contributions from outside authers are welcome until 15th Dec. 1995.

Joachim Polzer of the DGFK works currently on a 16mm short and silent movie 
called "KEBLA". The subtitle means: Film piece for two present pianists. The 
film only works as a live event for two piano musicians. The film will be 
finished by the end of 1995 and looks forward for a live event premiere 
within festivals. Suggestions therefor can be mailed to dgfk@berlin.snafu.de

DGFK e.V., POB 100 274, D-10562 Berlin
EMAIL: dgfk@berlin.snafu.de
WWW: http://www.snafu.de/~dgfk/index.html

                             CALLS FOR PARTICIPATION


*** SIGGRAPH 96 ******* EARLY PROPOSALS ****** OCTOBER 4 1995 *****

Preparing a great SIGGRAPH conference takes a lot of hard work and planning.
We hope that you are already thinking about what you would like to contribute
to make SIGGRAPH 96 a success. As a starting point for contributors, we would
like to remind you of the upcoming early proposal due date  -- OCTOBER 4,
Early proposals are strongly encouraged, but not required, for the following
SIGGRAPH 96 programs:

      * Panels
      * Courses
      * Technical Sketches and Posters
      * Applications
      * Digital Bayou
      * The Bridge: SIGGRAPH 96 Art Show
      * Artist/Designer Sketches
      * Animator Sketches

Early proposals enhance your project's prospects for acceptance because:

      * Your proposal will be referred to the most
        appropriate SIGGRAPH 96 program.
      * You will receive careful consideration and
        thoughtful feedback from the appropriate
        SIGGRAPH 96 program committee on how your
        early proposal can best be expanded into
        a final submission.
      * The appropriate SIGGRAPH 96 program chair
 will personally contact you to discuss the
        committee's comments and suggestions.

Your proposal should be a one-page outline that describes your ideas and
goals for your presentation. Include an estimate of the amount of time that
would be required to experience your project and the size of audience that it
could accommodate.

We need to know if you are proposing a lecture for a large audience, a highly
interactive presentation for a small group, a poster that could be displayed
for an extended period, or better yet, a presentation format we haven't even
thought of! Also include a brief description of the printed and/or electronic
material (if any) that you would be willing to develop for distribution after
your presentation.

Proposals may be sent to individual program chairs, or to all the program

(send one week ahead to allow for confirmation)

Mail or Courier:
Cindy Stark, SIGGRAPH 96                                                      
Conference Management, Smith, Bucklin & Associates, Inc.
401 North Michigan Avenue, Chicago, Illinois 60611 USA.
Tel: +1.312.321.6830

For a full discussion of early proposals see:

Holly E. Rushmeier < holly@cam.nist.gov >


You are invited to participate in this exhibition/event by offering a gift to
the next millennium.  The space at 621 will be divided into 7 sections. Each
section will represent one of the seven continents --- Africa, Antarctica,
Asia, Australia, Europe, North America, and South America. These seven land
masses will be available to receive your gift.
You may also FAX your object/offering from Sept. 1 to Oct.1 (24 hours a day)
to 1-904-644-4078. Send a fax during the opening on Friday, Sept. 15, between
7 and 9 pm. Smaller objects/offerings may also be mailed to the 621 Gallery
at the above address.
Dates of Exhibit:  September 15th to October 1st, 1995 You may also deliver
gifts while the exhibit is open during regular operating hours:  Wednesday -
Friday, 11-2;  Saturday & Sunday, 2-5.

The 621 Gallery
621 Industrial Drive
Railroad Square
Tallahassee FL 32310

Paul Rutkovsky & Doo Daa Florida
Fax: 1-904-644-4078

A Juried Art Exhibition. Opening online 10-10-95

CALL FOR PARTICIPATION   * preliminary announcement * 

The world is rapidly becoming wired. Every day, thousands more people flock
to the new digital commons. Who are they? What brought them here? How has it
affected them?
On 10/10 the MIT Media Laboratory will host "A Day in the Life of Cyberspace"
-- a global, online, participatory event. A highlight of the event will be a
juried art exhibition, "Portraits in Cyberspace". This exhibit will feature
images and writings that depict the inhabitants of the global networked

We are seeking images that address: Who is online?  Who inhabits the edges
and margins of the online world?  What constitues identity in cyberspace --
and how can it be portrayed?  How are essential human experiences -- such as
family, religion, community, sex, ethnicity, childhood, personality -- being
transformed in the digital era? We are interested both in documentary
portraits of people in the virtual world and in experimental depictions of
online society.

Prizes for the top entries will be provided by Kodak.  Submissions judged by
an international jury to be of excellent quality will be  included in the
"Portraits in Cyberspace" exhibition.  This exhibit will open on 10/10 and is
expected to be seen by millions of viewers worldwide. Results may also appear
in a subsequent book or in a permanent exhibit.

Submissions will be accepted from Sept 17-Sept 24.
For information about submission formats and procedures:
URL: http://www.1010.org/Exhibit/  or  Email: exhibit@www.1010.org


is seeking voice contributions for a forthcoming sound-based art
installation, entitled "Disembodied Voices".

The theme of this project is IDENTITY. To take part, simply call the
voice-mail system on +44 181 440 1792. When you call, our computer will allow
you to enter rooms inside the virtual gallery - which you may select by
pressing number keys on your telephone.
Inside each room, you will hear a voice ask you one question. Your answer to
that question will leave a clue about one facet of your identity.
All of the recorded messages that you contribute will be used in a gallery
installation - which will be presented in England later this year.

Deadline 31st October 1995.

To take part, call +44-181-440-1792 (24 hrs)

Disembodied Voices Telephone Project
BM-Disembodied, London, WC1N 3XX, England.

E-mail: voices@dismbody.demon.co.uk

16 - 18 April 1996, BCS, UK

Call For Papers and Book Chapters

The British Computer Society Computer Graphics & Displays Group will hold an
international two day meeting on this theme to take place in the UK 16-18 Apr
1996. A book based on, but not restricted to, papers presented at the event
will be published after the meeting.
Receipt of abstracts 1 November 95.
Please send all submissions to the first named person below. Queries can be
addressed to any of the Co-Chairs.

Huw Jones, Centre for Electronic Arts, Middlesex University
Cat Hill, BARNET  EN4 8HT, UK. E-mail: huw1@mdx.ac.uk


This is an open invitation to artists of any nationality and any medium to
participate in the "construction" of a graphic bridge ad perpetum . The
project calls for images letter size in height (21cms) and length of any
size. In each drawing the connection point between each drawing will be
at 14 cms height in order to create certain continuity in the over all
connection and hanging.

Each drawing/image/painting should be between 100k or 400k in formats GIF and
Info: Kepa Landa, E-mail: klanda@mide-cu.uclm.es Fax: 34-69-231221


September 28 - 30  1995, Moscow, Russia
Info: Alexandre Sokolof, Moscow Conservatory
Ua. Tepuena 13, Moscow 103871, Russia. Fax 7-95-2297630

Each Thursday from October 5 to December 14, 1995, 7.30 pm
Videoconferencing at 4 locations, 3 in Holland (Amsterdam, Delft 
and Groningen), 1 in Canada (Toronto). Lectures and performances. 
Info: Karel Koch, tel 31-20-4204505, e-mail karel@acsi.nl

October 8 - 11  1995, Chicago, USA
Info: Graphic Arts Show Company, Tel: 1-703-2647200, Fax: -6209187

October 17 - 22 1995, Minas Gerais, Brazil.
Info: Forumbhzvideo, Rua Santa Rita Durao 384, 30140-111 Belo Horizonte/MG,
Brazil. tel/fax: 55-31-2232474

October 19 - 22  1995, Madrid & Barcelona, Spain
Virtual museum, Internet, Star Trek Special, Cyberfeminism, Virtual
communities, Performance, Installations, Computer graphics, Virtual reality,
Cyber party.
Info: tel: 34-1-4310007, fax 5778330, e-mail artfutur@ran.es
WWW: http://www.ciberteca/artfutura.es

October 25 - 29  1995, Luzern, Switzerland
International Film- and Videofestival.
Info: Viper, P.O. Box 4929, 6002 Luzern, Switzerland. Tel/Fax : 41-1-2717227

October 29 - November 3, 1995, Atlanta Airport Hilton & Towers, Georgia, USA
Info: Bill Ribarsky, GIT, tel 1-404-8946148
E-mail: bill.ribarsky@oit.gatech.edu
WWW: http://www.gatech.edu/vis95.html
or: http://davinci.informatik.uni-kl.de/Vis95

November 1 - 3  1995, Hamburg, Germany.
International Symposium. For a Program contact:
Interface 3 Office, Studio Andreas Heller, Tel/fax 49-40-470968
E-mail: interface2@hfbk.uni-hamburg.de
Web Site: http://www.hfbk.uni-hamburg.de/interface3/link.html

November 1 - 5  1995, Sofia, Bulgaria
The seventh edition of the international computer art forum
COMPUTER SPACE 95 will incorporate the following categories:
1. Computer Graphics(slides or pictures A4,A3)
2. Computer Animation(VHS tape)
3. Computer and Electronic Music(tape,CD or DAT)
4. Multimedia
5. CAD systems
Entry deadline: September 10, 1995
For further info and the entry form, contact:
Rossen Petkov, phone/fax +359-2-870293
SCAS, office 407, 10, Narodno sabranie sqr.,1000 Sofia, Bulgaria

November 4 - 12 (exhibition) and 10 - 11 (symposium), 1995
Luxemburg International Trade Fair
Exhibition and Symposium on the Interactive and Networked City
Contact: Medienlabor Munich, Lothringerstrasse 13, D-81667 Munich, Germany.
Tel: 49-89-48407-3, fax: -4, E-mail: telepolis@mlm.extern.lrz-muenchen.de
Web Site: http://www.lrz-muenchen.de/MLM/telepolis.html

November 7 - 10  1995, Amsterdam, Holland
Title: Info-Eco Communities'. Theme: 'on matter'
NVI, Keizersgracht 609, 1017 DS Amsterdam, Holland. 
Tel: 31-20-5516500, Fax: -6201031, E-mail desk@nvi.mediamatic.xs4all.nl

November 8 - 12  1995, Dessau, Germany.
The International Video Forum at the Bauhaus Dessau Foundation.
Video-installation, performance, workshop, symposium, emare.
For info and application form:
Stephen Kovats, Studio Electronic Media Interpretation, Bauhaus Dessau
Foundation, Gropiusallee 38, 06846 Dessau, Germany. 

November 9 - 11  1995, Bologna, Italy.
Info: Lelio Camilleri, Comitato Organizzatore del XI Coloquio di Informatica
Musicale, Conservatorio di Musica G.B. Martini, Piazza Rossini 2, 40126
Bologna, Italy. Tel: 39-51-233975, Fax: 223168, Email:

November 9 - 15  1995, Arnhem, Holland
Info: AVE, POB 307, 6800 AH Arnhem, Netherlands. Tel 31-85-511300, fax 517681

November 21- 26  1995, V2_Organisatie, Rotterdam, The Netherlands
"Interfacing Realities"
Info: V2_Organisatie, Eendrachtsstraat 10, 3012 XL Rotterdam
Tel: 31-10-404-6427, Fax: 31-10-412-8562, E-mail: v2@v2.nl

November 22 - 26  1995, Buenos Aires, Argentina
World Wide Competitive Section, Informative Section, Seminars and Workshops. 
Info: Festival Internacional de Video, Guardia Vieja 3360, 1192 - Capital
Federal, Argentina. Tel: 54-1-862-0683/865-8024, Fax 54-1-866-1337

December 3 - 8  1995, San Diego Convention Center, CA, USA
Info: tel (in USA) 1-800-niisc95, fax 1-619-5345039, e-mail 
WWW: http://sc95.sdsc.edu/SC95

December 4 - 17  1995, Utrecht, The Netherlands
Info:  Cultuurcentrum EKKO, t.a.v. Springtij 1995
Bemuurde Weerd WZ 3, 3513 BH Utrecht, Holland
E-mail: Springty@dru.knoware.nl  Fax: 31-30-310402 
URL: http:\\dru.knoware.nl/maatschappij/organisaties/ekko/springt.htm

December 14 - 15  1995, San Diego, USA
First Annual Symposium on the Virtual Reality Modelling Language
University of California, San Diego. 
Info: http://www.sdsc.edu/Events/vrml95

February 21 - 23  1996,  Monaco, France
Conferences on Virtual Worlds, Augmented Reality, Infohighways, 
Special Effects. Panels, Workshops, International Competition, 
Industrial Exhibition.
Info: INA-Imagina, 4 avenue de l'Europe, 94366 Bry-sur Marne cedex, 
France. Tel 33-1-4983-2693, fax 3185, e-mail imagina@imagina.ina.fr

March 25 - 27 1996, Melbourne, Australia
The Simulation Technology and Training Conference. Info:
Dr. Sabina Sestito, SimTecT 96
Air Operations Division, AMRL
POB 4331, Melbourne, VIC 3001 Australia
Tel 61-3-9626-7271, fax 7084, e-mail Sabrina.Sestito@dsto.defence.gov.au

August 26 - 30  1996, Futuroscope Poitiers, France
Info & Call: Eurographics'96, INRIA Rocquencourt, POB 105, 78153 Le Chesnais
Cedex, France. Tel: 33-1-396356-00, fax: 38, E-mail: eg96@inria.fr

September 16 - 20  1996, Rotterdam, The Netherlands.
Organized by H.R.& O. Rotterdam Regional College. 
Including DEAF96 (Dutch Electronic Art Festival, September 17-22, organized
by V2) and in co-operation with R96 (city-wide festival on New Media,
September 16-29 organized by Rotterdam Festivals). 
The Call can be found at the ISEA Web site and at a new Website, see below.
ISEA96, POB 1272, 3000 BG Rotterdam, The Netherlands.
Tel: 31-10-2133003, Fax: 2134190, Email: ISEA96@HRO.NL 
URL: http://www.eur.nl/ISEA96

The Inter-Society aims at joining a world-wide network of artists, scien-
tists and their institutes, making it easier for the institutes and
individual members to share expertise with each other. The aims of the
Inter-Society are to promote a structured approach to electronic art and
to help finance worthy electronic art projects. For membership information
contact ISEA at the address on the front page.

ISEA distributes a hard copy version of this Newsletter in order to keep
its members, who have no access to Electronic Mail, informed. Those members
can, if they desire, get in touch with the Email addresses mentioned in this
Newsletter by contacting ISEA.

Support: Erasmus University Rotterdam (Law Dept),  Amsterdam University,
V2 Organisation,  YLEM,  ISAST,  Media Research, Museum der Stad Gladbeck,
The Council for the Int. Bienale in Nagoya,  KITT Engineering,  Viking
Eggeling-Salskapet,  Bratislava Academy of Fine Arts & Design,  Softimage
Inc,  Lokman Productions, ARTCOM in Deutschland e.V., Painatuskeskus Oy,
Tallinn Art University, School of the Art Institute of Chicago, BSO Medialab,
Koln Academy for Media Arts, Monitor Information Systems, Nordiska
Konstkolan, Centre Georges Pompidou, Rotterdam Academy of Art & Design .

End of Newsletter


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