27. Barcelona, Spain ISEA2022

26. Montreal, Canada ISEA2020

25. Gwangju, South Korea ISEA2019

24. Durban, South Africa ISEA2018

23. Manizales, Colombia ISEA2017

22. Hong Kong, China ISEA2016

21. Vancouver, Canada ISEA2015

20. Dubai, (Abu Dhabi & Sharjah) UAE ISEA2014

19. Sydney, Australia ISEA2013

18. Albuquerque,  (Santa Fe & Taos), New Mexico ISEA2012

17. Istanbul, Turkey ISEA2011

16. RUHR region (Dortmund, Essen and Duisburg), Germany ISEA2010

15. Belfast, Northern Ireland ISEA2009

14. Singapore, ISEA2008

13. San José, USA ISEA2006

12. Helsinki, Finland, (Tallinn, Estonia and on the Baltic Sea) ISEA2004

11. Nagoya, Japan ISEA2002

10. Paris, France ISEA2000

9. Liverpool/Manchester, UK ISEA98

8. Chicago, USA ISEA97

7. Rotterdam, Netherlands ISEA96

6. Montréal, Canada ISEA95

5. Helsinki, Finland ISEA94

4. Minneapolis, USA FISEA’93

3. Sydney, Australia TISEA, 1992

2. Groningen, Netherlands SISEA, 1990

1. Utrecht, Netherlands FISEA, 1988

For more information see the ISEA Archives

THE INTER-SOCIETY FOR THE ELECTRONIC ARTS
ISEA NEWSLETTER

#71 April - May 1999
_______________________________________________________________
		* CONTENTS *

* Editorial * ISEA News * Notes from HQ * News from Members*
* Report on  Virtual Africa * Article * Event Report * Jobs and Calls *
_______________________________________________________________

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

EDITORIAL
Dear members,

Two major events have made an impact on ISEA these last months. The first one
being the meeting of ISEA's Board of Directors in Montreal in early March; and
the second, the production of DAKAR WEB, a series of web art workshops in
Dakar, Senegal during February 1999.

The ISEA Board meeting was attended by all members except Tapio Mäkelä, who
is no longer serving on the Board, and Roger Malina, who participated as the co-
chair of the IIAC. The agenda of this crucial meeting was to confirm the
viability of the Montreal headquarters and outline the main trajectories for the
coming years. ISEA will celebrate its 10 year anniversary in 2000: a turning
point and a propitious and critical moment to rethink the mandate of the
organization as well as the symposium.

The intensive three-day meeting, moderated by Sue Ditta, a curator and
consultant associated with the Canada Council for the Arts, focused on the
mission of the organization, its structure, its components (members,
committees), the local and the international environment, the symposium and
the special projects. An Executive Committee of three people (Alain Mongeau,
chair, Amanda McDonald Crowley, secretary, and Kathy Rae Hoffman, treasurer)
was created in order to improve the information and decision process between
headquarters and the board. Many insights were raised, mostly around the
membership issue (one being, for instance, to gradually reduce the membership
fees), and two major motions concluded the meeting.

In the first resolution, the mission of ISEA was redefined: it now emphasizes the
electronic arts in their cross-cultural and interdisciplinary dimensions, and in
their multiple relation to the other fields, of technology, science, industry and
education. It also broadens the mandate of ISEA to include special projects such
as exhibitions, publications, and multilateral partnerships.

The second resolution, in response to the recommendations of the international
community, will make the Symposium a biannual event once again. At the same
time, this resolution gives ISEA headquarters the mandate to organize a special
activity of international scope in Montreal in the year between symposia. This
motion in particular validates the relevance and the existence of the
headquarters, recognizing the importance of initiating activities with Montreal
as a central pole, in order to stabilize the operation of the organization itself. In
brief, the board's refusal of this proposal would have meant the closure of the
Montreal headquarters in the short-term, since without projects of local 
initiative, it is almost impossible for ISEA to find financing through Canadian
and Quebecois institutions. In this ISEA NewsLetter, you will find a summary of
resolutions made during the Board Meeting.

Concerning DAKAR WEB and ISEA's global initiative to participate to the AVVA
network promoted by OLATS (http://www.olats.org), we invite you to visit our
website to view the on-line projects created in Dakar, and to send us your
comments. Embarking on a cooperative project with Africa (and other so-called
Third World regions) always raises the delicate moral and political question of
cultural imperialism and sustainable development. DAKAR WEB, which I discuss
in detail later in this edition of the ISEA NewsLetter, was conceived as a pilot
project oriented toward French-speaking countries. As such, the project has met
its stated goals of training and artistic creation, encouraging African content on
the web, and branching out to other kinds of representation and traditions.

I sincerely hope that this project will serve as a motor and a lever    for other
multilateral initiatives, and that it won't stay a single and limited activity. We
are currently organizing an event that will be a continuation of the DAKAR WEB
project: an international colloquium on African Art and New Technologies in
Montreal this April.  I forsee the ISEA2000 symposium as an auspicious occasion
for the creation of another Virtual Africa activity, workshop, colloquium,
forum, etc. People and email messages from all over to tell us that we have
spread seeds; we should now water the plants. The spring is probably a good
season for it! We will follow the developments with you. 
Happy reading,

Eva Quintas
Development and Special Projects Coordinator

********************
ISEA NEWS
********************

1. Board Meeting
March 4-7, 1999 Montreal, Canada

Here are the two major resolutions passed by the ISEA Board:

ISEA Mission Statement
ISEA is dedicated to the interdisciplinary and cross-cultural
communication/cooperation between the arts and the fields of technology,
science, education, and industry. ISEA creates platforms for :

	-the exchange of ideas and critical discourse
	-connecting communities and facilitating access
	-research, presentation and exhibition

ISEA will realize this mission through organizing international
symposia and
local events, developing partnerships, implementing culturally diverse
initiatives,  and through publishing and archiving. ISEA is committed to
collaboration, membership participation,      creation of new work, and
multilingual communication.

Through these means ISEA both shapes, and is responsive to, the evolving
nature of the relationship between the arts and technology.

Symposium
ISEA symposium, as it is known, will be biannual from 1998.

The symposium guidelines as they are now, will be adapted by the symposium
committee and presented for approval to the Board, in order to reflect the 
newly revised mission statement.

And active search for the ISEA2002 symposium host will be launched, in
accordance with the revised guidelines.

ISEA HQ will organize, on an on-going basis, projects unfolding in Montreal, the
location of the HQ.These projects will be clearly related to ISEA's mission
statement.One of these projects will be a cycle of events, of an international
scope.

A draft proposal on the format of this cycle of events will be submitted for
approval by the HQ to the Board.

2. The General Assembly on the Media Arts
12-14 October, 1999
Montreal, Canada

As a first response to the desire and need to anchor the organization and to
develop special events between the symposia, ISEA is pleased to present the
General Assembly on the Media Arts, an international conference, 12-14 October
1999 in Montreal.

The conference will survey the state of the media arts through an exploration of
the various disciplines, issues, and stakes inherent to new digital technologies of
creation, production, and distribution. Different Canadian and Québecois
experiments with these technologies will be placed in perspective with other
models from around the world. These professional encounters will unfold over
three days, at the new Complex Ex-Centris, just before the 28th edition of the
Festival du nouveau cinéma et des nouveaux médias de Montreal(FCMM), and
will include presentations, panels, and round-tables, in addition to live events
and on-line coverage.

The publication of the conference proceedings and an exhibition of Canadian
media art in the following year will tap into the 10th Anniversary of ISEA and
the ISEA 2000 Symposium in Paris. This anniversary will be an opportunity to
reflect on the evolution of the electronic and digital arts over the course of the
last decade, as well as to examine the tendencies of cybercreation into the 21st
century.

The ISEA team will start a process of consultation within the elect-ronic art
scene in order to define the specific content of the sessions. We invite ISEA
members to contribute their input. What are the   concerns that you would like
to see discussed at such an event? What are the theoretical and practical issues,
what strategies of action are important? In the spirit of exchange and
communication, we invite you to submit your proposals, questions and opinions:
MAILTO: isea@isea.qc.ca

********************
NOTES FROM HQ
********************

The make up of the ISEA team has fluctuated once again in recent months, and is
currently comprised of three people. These three women, fully invested in the
continuing evolution of the organization are: Natalie Melançon and Katarina
Soukup, who have taken charge of, among other tasks, the web site and  this
month are introducing ISEA's on-line calendar of events and a "flash news
section"; and Eva Quintas, who, in the absence of an Executive Director, will
ensure the continued smooth operation of the HQ.

Here are several new additions to the ISEA website:
- ISEA Calendar <http://www.isea.qc.ca/inl/calendar.html>
As promised in the last ISEA NewsLetter, we are launching a comprehensive
calendar of events on the ISEA website. This calendar will be updated weekly.
Bookmark this page and check it regularly to plan your year! Calls for projects
will continue to be sent exclusively to ISEA members through the INL.

- Flash News <http://www.isea.qc.ca/inl/ninfo.html>
The content of this new section will be changed regularly to reflect new and up-
to-date issues in the electronic arts. Look here for links accompanying articles
in the ISEA NewsLetter.

- Portfolio
Just a reminder that the ISEA Members Portfolio section is now up and fully
operational. Some members have already updated their page and put up some
visuals. We encourage you to add your artwork to this showcase for members.
Contact ISEA HQ for a user's guide.

- Survey
In the coming months we will be circulating a survey asking for your ideas and
comments about how to improve the ISEA NewsLetter. Participating in this
survey will give you the chance to win a year's subscription to Mute magazine !
Stay tuned.

*************************
NEWS FROM MEMBERS
*************************

Digital Traces Exhibition, NYC
from Cynthia Beth Rubin, USA

ISEA members in this exhibition include: Cynthia Rubin, James Faure Walker,
Sue Gollifer, and Annette Weintraub.

Seven  artists who engage the computer in the production of prints and video
art  are exhibiting in "Digital Traces",  at the 55 Mercer Gallery in New York City
from April 27 to May 15, 1999.  The reception for the artists is on Saturday, May
1, from 5 - 8 pm.

"Digital Traces" includes artists who began integrating the computer into their
artistic production years ago, when the field was still undefined.   As artists
coming from painting, printmaking, and video, Shalom Gorewitz, Sue Gollifer,
Jean-Luc Touillon, Naomi Ribner, Cynthia Beth Rubin, Annette Weintruab, and
James Faure Walker, have all been part of the development of the emerging new
aesthetics surrounding the computer.

Shalom Gorewitz (New York City) is exhibiting parabolic paintings created on
canvas and board using acrylics, oil, and ink in which traces of digital imagery
appear, mirror-like, as pools of plasticity scattered in a frozen ocean of color.

Annette Weintraub's (New York City) Day of the Dead is a QuickTime movie about
two encounters with death in the city. Interweaving multiple narratives, it
contrasts the warmth of a ritualized recollection of friends with the brutality of
sudden violence on the street.

James Faure Walker (London) uses digital technology in capturing
inconsequential slices of life and weaving them into the fabric of a picture - a
tourist looking at a map, shoppers carrying bags, the cup of coffee to avoid
getting down to work, pigeons on the pavement like touches of the brush.

Sue Gollifer's (Brighton, UK) work has developed in the last twenty years
according to a rigorous program of formal experiment, through which sets of
relationships have evolved among shapes,   colors and tones.  A long time
computer user, she found the transition to technology to be a natural extension
of her printmaking explorations.

Jean-Luc Touillon (Paris) is a painter poet, taking the French tradition of lyrical
representation into the digital world.  His digital drawings maintain the
spontaneity of a sketch while exploring the richness of textures and colors of
the computer.

Naomi Ribner (Boston) explores the passage of time and  the power of places and
artifacts to tell stories. She mixes the illusory textures of inkjet prints with the
tactile qualities of drawing, printmaking and collage in a multi-layered process.

Cynthia Beth Rubin's (New Haven) works are an investigation of the threads of
cultural memory.   Her images grow from the affinity between life as a
contemporary American, and the legacies of many cultures, including her own
Eastern European Jewish heritage and other traditions she has discovered in her
travels.

For additional information please contact:
by email	 Cynthia Rubin  <cbrubin@brainiac.com>
On the Web: http://CBRubin.net/art/DigitalTraces

**If you have your own news to submit to this section, please forward it to ISEA HQ: **
isea@isea.qc.ca

**********************************************
REPORT ON DAKAR WEB / VIRTUAL AFRICA
by Eva Quintas

DAKAR WEB
It is important, firstly, to place the Dakar Web project within the context of the
network of French-speaking countries known as la Francophonie. As soon as
spring 1997, ISEA was invited by Canadian Heritage to develop a project that
could be submitted to the Conférence des ministres francophones des inforoutes,
(Francophone Ministers' Conference on the Information Highway) at the Hanoi
Francophonie Summit. It was thanks to this anchoring support and certain
specific under-lying development goals that ISEA was able to obtain
complementary subsidies from the Agence de la Francophonie.

Last summer, as I was putting together a more precise multilateral proposal, it
seemed important and relevant to set up an activity involving artistic
development -that is, concrete work in the field- and not simply a theory-based
session, in the style of an ISEA conference, which, I feared, would once again
group together North American and European experts to debate ON African
people and African issues.

Having defined the artistic creation aspect of the project, I also questioned
myself about the appropriateness of sending a team to Africa instead of inviting
the African artists to a workshop here, in the North (in Montreal or some other
location). Since the principle interest was to promote a different kind of
representation on the web, I agreed that these images should come from over
there.

The choice of Senegal as a partner came about quite naturally, since a network
of artistic exchange already exists with Quebec. The country also has a strong
artistic tradition, the legacy of cultural policy under the president-poet
Senghor. We can also talk about a real emergence of technology with the
implementation of five Internet servers in the country in recent years. Finally,
a local technology partner, the cyber cafe Metissacana, was identified quite
quickly as the host organization in Dakar.

It was the identification of a local artistic partner that was more difficult. At a
geographical distance and without knowing each other, you know as well as I
do, "virtual communications" are not always easy. The information on the ISEA
workshops was circulated little by little by different local contacts. The Biennale
of Dakar (a major event for the presentation of contemporary arts in Western
Africa) showed interest in the project but at such a late date that it could not
play the hoped-for role of advisory body. No official selection process to identify
and evaluate the artists who wished to      register for the workshops took place
at the local level. Those who registered did so on a first-come first-serve basis
and by sending their dossier to ISEA. Since the production budget was quite
restricted, there was no opportunity of doing a pre-workshop scouting tour in
Senegal. The goal of artistic creation was always fundamental, and for this
reason, I proposed workshops which would entail the production of web fictions
(and not merely provide a training activity). Indeed this genre of fiction
encompasses team work, and calls for various disciplines (image, text, sound)
within a narrative construction.

Instead of the 8 to 12 expected participants, we ended up with 20 artists
registered for the workshops in Dakar! All were professional artists, between 24
to 60 years in age. The majority worked in the visual arts and had not touched a
computer even once in their lives. An ambitious programme awaited us ...

20 artists, 5 projects, numerous articles and stories, 24 days, 10 to    12 hours of
work per day, 2 weeks of post-production in Montreal, constant support from the
ISEA team at HQ, a launch of the   project on March 19 for the Fête del'internet ,
and an exhausting but positive experience for the leaders!

The goals of the project as stated at the beginning were accomplished. Beyond
the transfer of technological knowledge, the project provided a real cultural
exchange in which all the Montreal and
Dakar artists shared and confronted their cultural models. With the support of
the Canadian Embassy in Senegal, ISEA also received some great visibility: a
meeting with the Senegalese Minister of Culture and local cultural organizers, a
press conference, and a    public demonstration of the web art projects.

The Dakar artists are the major winners in this adventure: they now have their
own bilingual web showcase that is both documented and indexed. They created,
with our support, the first five Senegalese web art projects. Though the
concepts are genuinely those of the Dakar artists, the multimedia production of
the projects was mainly assumed by the Montreal team. Lack of time, lack of time
and money once again prevented us from completely training a group which
was, from the beginning, quite inexperienced with   digital media.

What will they do with this apprenticeship? Have we really contributed to a
sustainable development of the media arts? Did we work with the right target
group? Did we invest too much of our own cultural experiences and sensibilities
in the projects?

This set of concerns will only be answered in the long term. The ball is now in
the hands of the artists, as well as, obviously, in those of Senegal's cultural
decision-makers The question of access to digital technology remains the major
challenge. I invite you to read a       follow-up commentary on our site written
by Michel Lefebvre, a writer and multimedia producer, and a participant in the
project.

For my part, I can only invite the international community to support
multilingual/multicultural local development initiatives with an open and
generous approach that I like to think of as anthropophagic. This artistic
tendency stems from from Brazilian modernism of the 1920s (which is, in fact,
very close to the "art nègre" of Senghor), and is effectively defined as the
claiming of an original national identity through cultural métissage: that is to
say, through the selective appropriation, assimilation, and ingestion of people,
ideas and technology from elsewhere.

*******************************
AFRICAN ART AND NEW TECHNOLOGIES COLLOQUIUM
This international colloquium, organized as a continuation of Dakar Web, will
take place, as we announced in the last INL, on April 23rd at the Cinematheque
quebecoise in Montreal in tandem with the Vues d'Afrique Film Festival.

Unfortunately, for reasons of funding arriving too late, the Afromedi@rt
exhibition which was intended to accompany the      colloquium has been
cancelled: we hope this snag is only a postponement until next year.

Much to our great regret, Olu Oguibe who was to moderate the first session will
not be able to attend because of visa complications. Below you will find the most
recent colloquium programme. The ISEA web site remains the place for future
up-dates and reports on the sessions.

African Art and New technologies International Colloquium, April 23rd, 10pm to 5pm
Cinémathèque québécoise, 335 boul de Maisonneuve Est, Montreal

This one-day seminar will bring together African artists and experts from
around the world to discuss the various challenges, issues, and strategies related
to the development of new communication and creation technologies in Africa.
The seminar is organized by ISEA with the participation of the Canadian curator,
Sylvie Fortin.

Session I: 10am-12:30pm
Soft Futures or Digital Imperialism
The first session will examine analytical and critical perspectives of the artistic
and social impacts of the networking of Africa.

Moderator :
SALEM MEKURIA, artist and filmmaker, (Ethiopia/US)

Participants :
FRANKLIN SIRMANS, curator, writer, (USA)
IBA NDIAYE DJADJI, art critic, researcher and professor, (Senegal)
CAMEL ZEKRI, artist (Algeria/France)

Session II: 2:00pm-4:30pm
Accidental supports and obscure determination :
Digital and electronic technologies as creation tools and conceptual relays.
This session will be dedicated to the presentation of artistic practices
anchored
in African realities which use the possibilities offered by new
technologies for
critical purposes.

Moderator :
AKRAM ZAATARI, filmmaker and video artist, (Lebanon)

Participants :
BILI BIDJOCKA, interdisciplinary artist (Cameroun/Belgium)
KENDELL GEARS, artist (South Africa) - to be confirmed-
FATIMAH TUGGAR, artist (Nigeria/US)

***********************
ARTICLE

Net Radio: Recent Adventures in Audio Streaming
By Kathy Kennedy

First of all, the term itself is problematic. The word "radio"  doesn't
accurately
describe the latest phenomenon of the internet. Since radio deals with the
transmission of frequencies through the airwaves, it far from represents the
flowing bits of data through phone lines that is then translated back into audio.
In spite of this, people have chosen to refer loosely to most sonic transmissions
on the net as "internet radio." It is, however, a new hybrid medium that
addresses a completely new set of tastes and expectations.

The conventional listening experience is being customized to accommodate a
variety of changing perspectives. We can now stay tuned to our local
community through traditional radio stations from anywhere in the world
online (http://www.frido.u-net.com/worldwide.htm). Tuning in at the proper
time is no longer an issue since many shows are now archived and retrievable
at each listener's convenience. They can be repeated again and again just as TV
viewers capture their favorite episodes with VCR's.  The best thing, though,
about radio shows created specifically for the net is that they are often
accompanied by a java-enabled chat space on most web browsers. It hearkens
back to the immediacy of talk radio, except that only those participating in the
chat are listening.

Commercial internet radio sites or shows are springing up at nearly every ISP
in exchange for rather "loud" sponsorship, but there is also a thriving
experimental culture for open ears online. The penultimate resource for
innovative audio work on the net is the Xchange network. Xchange is a project
of the E-Lab in Riga, Latvia, and is administered by Rasa Smite, Raitis Smits and
Janis Garancs. It received an award of distinction at Ars Electronica 98 for its
initiative to link the most vital experimental audio art sites worldwide. Under
the name of "acoustic.space" Xchange presented a live mix of audio streams
being sent from major net stations like Backspace.org of London
(http://www.backspace.org/radio/live.ram), ConvexTV of Berlin
(http://www.art-bag.net/convextv) , and Radioqualia of Sydney
(http://www.va.com.au/radioqualia/).

These are are only a small portion of an ever widening community of audio
artists who also communicate regularly through the xchange (mailto:
XCHANGE@re-lab.net)  mailing list. Somewhere within these communications the
term for this audio artform has been coined as "net.radio." As net artist and
theorist Pit Schultz describes it, "artists [...] are exploring the sound of network
topologies, loops, stars,rings, clusters, and pyramids."

There are generally points of entry at each site into which certain invited
guests may upload their own music for programming. The quality to the
receiver generally  ends up being that of AM radio depending on the bandwidth
on either end. (Consider whether your own computer plays stereo before even
embarking on the issue of what kind of file you are receiving.) However, the
lack of fidelity brings forth the refreshing challenge of providing interesting
content to make up for the loss.

On the less optimistic side, it must be admitted that reception for most internet
radio shows is generally still choppy, and net congestion is not expected to
diminish in the near future.  Unlike the
warm hum of the analog radio, the sense of immediacy is not nearly as present,
even if the online crew is even smaller and more makeshift than the
college/community stations that we've held as bastions of counterculture.

The xchange list also frequently congregates in realtime  for numerous
conferences: Net.radio days, Berlin '98 (http://www.mikro.org), Art Servers
Unlimited in London(http://x-i.net/asu/) , as well as Xchange Unlimited in Riga
(http://xchange.re-lab.net/xu). They continue to examine the current state of
net.radio, build structures for content as well as to devise strategies for staying
online despite their noncommercial nature. Much of each conference has been
archived in realaudio and there is even an occasional presentation in realvideo.

Serving as invaluable information resources for the radical associations made
with the term radio, two more  sites must be mentioned.  At
http://www.irational.org/radio  basically everything one needs to know about
pirate radio can be found. The entire irational site is host to some of the most
ingenious hoaxes and subversive online art around. There is, as well, an
exciting, acerbic, and accessible critical journal called Crashmedia
(http://www.yourserver.co.uk/crashmedia) about radio or any other current
net culture. How-to kits and schematics for low watt radio transmitters are even
available for mailorder. Edited by Micz Flor in Newcastle, England, Crashmedia
served as the cultural hub from which sprang the Revolting conference during
ISEA 98.

Aside from internet radio, it is obvious to anyone on the net that audio
capabilities and potentials are among the greatest concerns of late. The
development of MP3 or (mpeg layer 3) is listed recently as second in daily hits to
very few. This new format, conceived initially for motion pictures (mp) has
given the Real Network, and their      latest G2 developments cause for stiff
competition in terms of high quality compression.  The MP3 site is now famous
for being the initial scene of an ongoing industry battle over copyright
policies. Thousands of CD's worth of audio files have been downloaded from the
site illegally. A new portable audio player "Rio" has recently been released to
enable the listener to play these files away from the computer. It also converts
regular CD audio into mpeg format so that they too can be stored onto the hard
drive and copied over to the player.

Sites like a2bmusic.com and EZCD.com allow customers to buy CD tracks of
various artists individually and compile them onto a CD for substantially lower
costs than the price of buying each entire CD.  You can also customize and
program your own "radio station" on some sites that will play background music
while you continue to surf the net. Audible.com offers yet another audio format
and player that is used away from the computer, and the list goes on ad libitum.
At the very least, these are times where there is still hope that the broadcasting
system could potentially be changing, as Brecht had hoped, from a distribution
system into a real communication apparatus.

Kathy Kennedy is a sound artist specializing in voice and the interface of
technological. She is currently trying to live in San Francisco and Montreal
simultaneously.

*see the Flash News Section on ISEA's website for links to net radio resources*

***************************************
EVENT REPORT
Next 5 Minutes 3 Conference on Tactical Communications Culture
Amsterdam, March 12-14, 1999

Report by Katarina Soukup

subversive engagement/creative expression

This seemed to be the guiding principles of many at the third Next 5 Minutes
Conference on Tactical Communications Culture held in Amsterdam this past March.

N5M, which was first held in 1993, is planned whenever its volunteer team of
editors "feel the need", rather than as an annual or biannual ritual. This past
edition attracted practionners of do-it-yourself media, dissident art, and
electronic media activism. These included people as varied as Fanny Armstrong
of the London based McSpotlight website documenting the McDonald's libel
debacle in the UK, Tetsuo Kogawa, mini-fm aficionado and the patron saint of
pirate radio, asci artist Vuk Cosic, and a group known as the Association of
Autonomous Astronauts. What all held in common was a desire to push the
boundaries of the electronic media in both art and politics

Conference paraphernalia defined tactical media as a "critical usage and
theorization of media practices that draw on all forms of old and new media for
achieving a variety of specific non-commercial goals and pushing a plethora of
potentially subversive political issues". With this mandate, N5M3 delved into
exploring the connections between art and activism, critiquing the
social/cultural/         economic conditions in which new communication
technologies develop, and the effects of increasing globalization on art, politics,
and the media.

Featuring over 300 presenters in some 30 sessions, N5M3 occupied three venues:
the Paradiso Theatre, De Balie, and De Waag-Society for the Old and New Media.
N5M3's tentacles also spread to two satellite conferences at V_2 in Rotterdam
(Cyberfeminist International and Insular Technologies).

In parallel, over-lapping sessions, N5M3 covered streaming media, satellite
technology, low-tech art performances, radical software, slam-poetry, video
activism, net activism, tactical education, cyberfeminism, South Asian
independent media, and numerous other topics. Each night also featured a series
of video programmes -and did I mention the DJ parties until the wee hours of the
morning (the best of which was a party on the inaugural evening in a
warehouse squat serviced by the coolest red chrome 50s shuttle bus I've ever seen)?

In short it was a huge, stimulating and, at times, chaotic event. The organizers
wanted room for spontaneity, but this inevitably left some gaps in organization
and communication -most notably at the How Low Can You Go Show in which I
participated-  which made some participants comment wryly that while the
event may have been about the next five minutes, it appeared to have been
planned only in the *last* five minutes.

Some sessions were packed to the rafters with panelists, leaving little time to
advance the discussion at hand beyond introductions and surface commentary.
Art After Activism, for instance, had 8   presenters plus a moderator, and to the
frustration of many,  the 90 minute discussion about the effectiveness of art in
an activist context never got beyond the same tired polarities. Dee Dee Halleck of
Paper Tiger Television was wary of the aestheticization of politics ("The
Revolution will not come through images"), while Steve Kurtz of Critical Art
Ensemble argued that in a world of global communications, politics of any kind
*already are* aestheticized and highly constructed  through  media
representation: "If we're thinking of building campaigns, of building global
supports, of really trying to construct movements," he said, "it's going to be done
through representation. And this is where artists carry such a pivotal role". Shu
Lea Chang worried that "activism was going conceptual". Here, an examination
of the success and failures of *specific* projects would have been more useful
and illuminating than this abstract discussion of the pros and cons of marrying
art with activism.

Despite the conference-syndrome effect of having too much to see, say, and do,
and not enough time to do it all, I was elated to see some of Holland's major art
organizations as well as key players in the electronic art world involved in an
activist event. This opened up opportunities to look at new media practices from
a critical perspective, and look at concrete actions toward social and global
change.

At the Radical Software panel, for instance, the question of whether such a
thing as "radical software" truly exists was raised from the get-go by moderator
Ted Byfield. An intriguing example of what could be considered radical software
was proffered by Volker Grassmuck, co-organizer of the upcoming Wizard of OS
conference in Berlin, who mentioned a software which would enable "illegal" or
banned documents to be placed on-line. Consonants of the banned text would be
housed on one server, and the vowels located on another, brought together by
the software as virtual document existing only in cyberspace rather than in any
one physical location. The Mongrels, whose interactive installation "National
Heritage" appeared at DeWaag during N5M3, presented their suped-up version of
Adobe Photoshop (Heritage Gold), a software for altering ethnic heritage, with
drop-down menues for modifying social mobility, skin colour, prejudice, and
"emotional blur".

Micz Flor of Public Net-Base in Vienna argued for seeing programmers as
cultural workers who can have an informed and motivated social role in the
software they create, and seeing code as a cultural text like any other. To
this it
was countered that unintended consequences and appropriation by others often
informs the effect, radical or not, of a particular software more than initial
intentions. Ultimately it was concluded that perhaps what could be considered
radical is not software itself, but the context and the practices surrounding it:
that there can only be radical *decisions* in using software.

The impact of increasing globalization on culture, media, and politics (and our
ability and freedom to make these radical decisions) was an important theme at
N5M3. As Saskia Sassen pointed out in her presentation during the Post-
Governmental Organization session, we are seeing the "incipient
denationalizing" of all kinds of state structures and organizational capacities.
According Sassen, however, this does not mean that the state is dead: some of its
capacities, such as central banks and ministries of finance, have become more
powerful, not less.

While national borders appear to be more and more inconsequential for global
capital, the "No One is Illegal" Campaign aims to highlight the much more
restricted flow of human beings. As was presented at the N5M V2_East/Syndicate
meeting, campaign organizers are planning their second "Cross the Border
Camp" this coming August 7-15 on the EU frontier between Germany, Poland,
and the Czech Republic. Activists and artists from various countries will gather
at the campsite to participate in a conference, mobile radio transmissions,
actions, and net activism. There will also be simultaneous camps elsewhere in
Europe and the USA.

Throughout these discussions and debates, N5M3's on-line coverage was
excellent, with live radio and television web streams (as well as traditional
broadcasts), and an Internet journal. This really expanded the event beyond the
confines of Amsterdam. A far cry from the static conference website which in
many cases is just a list of the    sessions, the N5M3 site is a an incredible
example of how the web can be used as a liaison between a local event and a
larger virtual community. Previous to the conference, N5M provided a listserv
to start the the debates percolating (and I am sure they still are to this day!), so
that the discussions and ideas raised during the three day event represent, in
many ways, only a snapshot of lively and continuing discourse.

At the time of this writing, with NATO air strikes over Yugolsavia going into
their third day and the Serbian government's crackdown on Belgrade's besieged
independent radio station  B92 (an important conference participant), the N5M
production team at De Balie have mobilized into the B92 Support Centre. For the
moment, B92 continues its broadcast streaming via the Amsterdam server xs4all.
How fitting that discussions about the art of campaigning have transformed so
seemlessly into the act of campaigning. See the links below for how you can
become involved.

links:

Next Five Minutes: <www.n5m.org>
Help B92 Campaign: <www.helpb92.xs4all.nl>
Cross the Border Camp: <www.contrast.org/borders/camp/index99.html>
Download the Heritage Gold shareware: <www.mongrel.org.uk/HeritageGold>
V_2 East/Syndicate archives: <http://colossus.v2.nl/v2_east/index_frames.html>

************************
CALLS FOR PROJECTS
************************

***************
4TH INTERNATIONAL FESTIVAL OF NEW FILM SPLIT

Split Film Festival is open to all new, creative, innovative, personal, radical,
subversive etc work (FILM, VIDEO & NEW MEDIA) of all genres and lengths,
preferably from outside the mainstream, whether it's involving traditional film
techniques or the latest technology of electronic image.

CALL FOR ENTRIES
The Festival is open to all new, creative, innovative, personal, radical,
subversive etc work (FILM, VIDEO & NEW MEDIA) of all styles, themes, genres
and lengths, preferably from outside the mainstream, whether it's involving
traditional film techniques or the     latest  technology of electronic image.

REGULATIONS
All works must have been completed after January 1st 1998. The deadline for
entries is June 1st 1999. Screening copies must reach Split by September 10th
1999.

All submissions must include a VHS preview tape, or CD-ROM, as applicable,
accompanied by an entry form (or neccesary information on artist and work)
completed in Croatian or  English, along with supporting documentation.
Preview entries should be mailed as Small Packet/petit Pacquet and must be
clearly labelled for custom purposes as follows: Video cassette, no commercial
value, cultural exchange only. Please allow ONLY ONE item per tape.

PREVIEW TAPES & DOCUMENTS WILL NOT BE RETURNED.
-There's no limit to the duration of entries. The selection panel will select work
for competition (or other programmes), the international juries will award prizes.
-Entries selected for screenings will be notified promptly after selection of
procedures for transporting screening copies.
-The Festival will make all reasonable effort to present work in the best possible
conditions. Transport of the copies is at the risk of the sender.
-The screening copies will be returned after 15 days (if not arranged
otherwise). The cost of return shipment will, as a rule, be paid by the Festival.
-Unless specific written notice is given to the contrary, the Festival
reserves the
right to print any accompanying information and still photographs for
promotional reasons, or in Festival's catalogue.
-Screenings of selected films and videos, CD-ROMs, installations, Internet
projects, performances, retrospectives, homages, (workshops), discussions and
the catalogue will be presented at the Festival
-Along with special money prizes, the Festival sculpture (Grand Prix: The Tail)
will be awarded for each category (film, video & new media) by international
juries.

All entries should be sent to:
SPLIT FILM FESTIVAL
PO Box 244
Split 21 000
Croatia (Hrvatska)

More information could be found  on Festival's web site:
http://www.st.carnet.hr/split-filmfest/
where the entry form can be downloaded, completed and sent back.
split.filmfest@st.tel.hr

***************
FESTIVAL INTERNATIONAL NOUVEAU CINEMA/
NOUVEAUX MEDIA

In bringing together fiction, documentary, animation, performances,
installations, multimedia and net projects, the  innovative and imaginative
programming fosters a transversal dialogue between these
wide ranges of expression. As a launching pad for new and original works, and a
meeting ground where discoveries are made, thoughts provoked and emotions
roused the Festival is pursuing its 27 year tradition of welcoming Quebecois,
Canadian and international artists year after a year in a hearty and exciting
atmosphere. The Festival encourages exchanges with the audience and
professionals and provides an attractive showcase for the selected works as well
as concrete distribution possibilities.

In 1999, the Festival will move to a new complex dedicated entirely to cinema,
video and new media. The works will thus be shown in a state of the art
environment ensuring top of the line screening and reception quality.

Call for Projects
Always on the look-out for the latest in innovative and original works, the
Festival is devoted to the promotion of independent cinema and video, and the
expanding field of new media. The two guidelines for inclusion in the Festival
are innovation and  exploration. The programme is divided into three main
sections: features; short and medium-length films and videos; and new media.
Special       presentations, retrospectives and profiles further complete the
program.

FEATURE LENGTH FILMS AND VIDEOS
An international selection of contemporary independent films. Films and videos
are accepted in this section regardless of their genre    (fiction, documentary,
experimental, animation).

SHORT AND MEDIUM-LENGTH FILMS AND VIDEOS
The length of works presented in this section should not exceed 60 minutes. An
international selection clustered into programme blocs. Films and videos are
accepted in this section regardless of their genre (fiction, documentary,
experimental, animation).

NEW MEDIA
An international selection including performances, interactive installations,
multimedia projects  (CD-ROMs, Web sites) conferences and artists'
presentations. The works submitted to this section should explore the
emergence
of the new creative field arising out of the integration of new media
technologies and artistic practices. The Festival welcomes any work that
distinguishes itself through a       creative, innovative and challenging use of
sound and image technologies.

RETROSPECTIVES AND TRIBUTES
The retrospectives and tributes will highlight the works of renowned artists
who have made a significant and original contribution in the respective fields
of cinema, video and new media.

SPECIAL PROGRAMMES
A selection of works grouped around specific themes. This section proposes a
series of documentaries and archival documents which focus on disciplines,
territories and the imaginary.

CONDITIONS OF PARTICIPATION
1. Only works produced after January 1st, 1998 are eligible; 2.Works must not
have previously been shown in Quebec; 3. All selected entries must be in their
original language,  preferably subtitled in French, or in English; 4. Submitted
documents will not be returned.

All entries must be received by May 15, 1999 at the latest. Results are mailed out
in mid-August. Each entry must include: one duly completed application form;
one VHS video copy of the submitted work, or the equivalent for a piece
submitted in the new media section; one still photo of the submitted work (black
and white, horizontal format); aphoto of the director; payment of the entry fee.

ENTRY FEE
A standard entry fee of CAN$25 is required for all submitted works (foreign
works: US$20).  Methods of payment: Canada/United States (cheque or money
order); other countries  (international money order in US dollars; please note
that cheques are not accepted).

MATERIAL
For each piece selected by the Festival, the following publicity material must be
submitted for  press, promotional and marketing purposes: 20 press kits; 3 sets of
5 different still photos; 5 posters; one VHS NTSC video tape of the selected work
for the press bureau;   one Betacam SP NTSC video tape of excerpts (for television).

The Festival reserves the right to authorize broadcast and publication of
excerpts or other appropriate segments of selected works as part of the overall
promotion of the event (web site, television, newspapers, magazines, etc.)

SHIPPING AND INSURANCE
Shipping, customs and insurance costs for the selected works must be paid by
the applicant  (including return costs). The Festival covers insurance costs only
while the material is in its  possession. In case of loss or damage during this
specific time, the Festival is only responsible forthe replacement cost of the
material. To avoid problems clearing customs, only indicate the replacement
value of the actual tape, film stock or other medium submitted on the pro forma
invoice. Also, please take note that it is important to write the following
statement on the air waybill:

"FILM / VIDEO / MULTIMEDIA FOR FESTIVAL PURPOSES ONLY - NO COMMERCIAL VALUE"

Shipping Address:
MONTREAL INTERNATIONAL FESTIVAL OF NEW CINEMA AND NEW MEDIA
3530, boul. Saint-Laurent,
Montréal (Québec) Canada H2X 2V1
Tel. 1 514 847 9272 Fax. 1 514 847 0732
montrealfest@fcmm.com
more information and the entry form on the festival website: www.fcmm.com

*************
OUTFEST '99 LOS ANGELES GAY AND LESBIAN FILM FESTIVAL

Outfest '99 Los Angeles Gay and Lesbian Film Festival, will be held from July 8 to
18, 1999. Outfest is seeking short and long feature35mm, 16mm, et vidéos.
Info:  (323)960-9200 www.outfest.com

************
SNOW ON SNOW CREATIVE VIDEO PRODUCTIONS ON THE THEME OF SNOW

Snow on Snow proposes an original mix of creative video productions on the
theme of snow, projected on a screen made of snow. All styles accepted on
VHS or
U-Matic PAL, SECAM or NTSC formats. Running time is 5 minutes
maximum.Works can be submitted in any language but subtitled in French. Only
musical videotapes will be accepted without subtitles. Deadline for
submission is
September 1999 but we would appreciate it if you could send us your work as
soon as possible after winter 98-99.
Address:
Bande video et film:
541 St-Vallier Est, B.P.2, G1K 3P9, Quebec, Ca,
Tel: 418-522-5561Fax:418-522-4041
Email: labandevideo@meduse.org

***********
D.ART 99

D.art, dLux media arts' acclaimed annual event is Australia's premier showcase
of inter/national experimental digital film, digital video, cd-rom and computer
animation art. D.art will once again screen to capacity audiences at the
prestigious Sydney Film Festival in June. The program will then tour
inter/nationally. D.art 99 will also feature a forum on topical issues in digital
media arts.

CALL FOR ENTRIES
CLOSING DATE EXTENDED: 16 APRIL 1999
CONDITIONS OF ENTRY

* CRITERIA
- entry open to all Australian and international screen artists
- works should be innovative/experimental (non-narrative)
- works must have been produced either entirely or primarily within the digital
domain, or, in the case of video and film(S8, 16mm, 35mm), involve some digital
prod/manipulation
- works must have been completed within 1998/99)
- works should be a maximum of 10 minutes duration(does not apply to cd-roms)

* ENTRY FEE
AUD25 - or free to current members of dLux media arts
(support screen arts, join dLux now! AUS$30).
Method of payment:
- overseas entries: international bank cheque only in AUS dollars;
- Australian entries: personal cheque, bank cheque or money order.

ARTIST'S FEE
- artists whose work is selected for exhibition will be paid a once only fee of
AUD250.

FORMATS
Please submit preview tape/s in ONE of the following formats:
- SP Betacam PAL only, or
- high-grade VHS PAL, or
- high-grade VHS NTSC
- cd-rom, Mac or PC (must contain all necessary operating files)

CLOSING DATE FOR ENTRIES 16 April 1999

INFORMATION
- to obtain a fax or email copy of the entry form, or for information about other
dLux activities and membership benefits, please contact:
Martha Ansara, administrator, dLux media arts
PO Box 306 Paddington NSW 2021 Australia
tel 61 2 9380 4255 fax 61 2 9380 4311
sinsite@ozemail.com.au
www.ozemail.com.au/~sinsite

***************************
CALLS FOR SUBMISSIONS
***************************
EMERGING ZONES/ZONES D'ÉMERGENCES: TOURING VIDEO
EXHIBITION

Every generation of artists seeks to define a place of their own, to establish a
passage to all other zones of influence. This call for proposals looks to reunite
new artists from here and elsewhere who use new technologies of image and
sound and who stand out by their imaginativeness. Zone d'émergence
("Emerging Zones") brings together works that show current preoccupations-
experimentations and expose them in a new and poetic vision. We think that
digital technology rejuvenates artistic practices to new transformations,
although, just using technology is not sufficient enough to generate new ideas.
These tools must bring to seeing things differently but most importantly
transform, and invest the world of our presence and considerations. Zones
d'émergences is the place of those attitudes.

These videos selected in this touring programme will be presented in events in
Canada and abroad starting in fall 1999. Artists interested in this project can
communicate with us and send their proposal right away.
DEADLINES:
Canada -April 15, 1999
International -May 15, 1999

272 Villeneuve Ouest
Montréal, Québec, CANADA H2V 2R1
Canada ++(1) 514-288-9634  France ++(33) 02 99 79 49 42
www.elfe.com/signal     perte_de_signal@altavista.net

************
ANIMAC, MOSTRA INTERNACIONAL DE CINEMA
D'ANIMACIONS DE LLEIDA

This non-competitive event aims to provide a comprehensive view of this year's
best animated works. the event will contain retrospective programmes as well
animac welcomes submissions of films that   animators wish to present.

further info on website or by email:
http://www.paeria.es/emba/animac
animac@paeria.es

***********
PRIX ARS ELECTRONICA

Conducted for the first time this year by the Austrian Broadcasting
Corporation
(ORF), Upper Austrian Regional Studio, the Prix Ars Electronica will offer ATS
1.35 million (US$ 116, 379) in prize money. The idea behind it: the
computer as a
tool, an instrument, and a medium for the artist.

The Prix Ars Electronica is open to works in the categories of Music, Animation,
Visual Effects, Interactive Art, and the World Wide Web. The Prix Ars Electronica
is at the core of the Ars Electronica, a festival for art, technology and society,
held since 1979.

In all categories below, you may register on-line at:
http://prixars.orf.at
DEADLINE: 25 APRIL, 1999

NET award US$ 17, 240
This category is open to all artistic cultural Internet activities, including Web
sites, MUDs, MOOs, online games, etc. The determining factor is that the work has
been conceived/realized exclusively for the Internet. If the content of the work
is linked to an additional interface, please enter it in the category for
Interactive Art. Although entries will still be judged partly on the basis of
previously determined criteria (ie. community forming, user input & feedback,
links, manageable complexity) the jury will also be developing new criteria in
keeping with the expansion of the category as well.

INTERACTIVE ART award $US 25, 862
This category is open to all types of current interactive works in any form:
installation, performance, audience participation, virtual reality, multimedia,
telecommunication, etc. It is prerequisite that the
projects have already been realized to the extent that they may be judged on the
basis of documentation. Criteria for judging the works include: the form of
interaction, interface design, new applications, technical innovations,
originality and the significant role of the computer for the interaction. One
work may be entered per participant.

COMPUTER ANIMATION/VISUAL EFFECTS award US$ 51, 724

Per category, you may enter one work with a maximum length of  5 minutes (not
including credits). If your entry is considerably longer than five minutes,
please specify the segment you consider most representative of your work (and
for the jury) with precise TC times on the entry form. Without these
specifications, we can unfortunately not accept longer works. If your work is
selected by the jury (for a prize or honorary mention) it will be shown at the
Ars Electronica Festival (in consultation with the jury) in its entirety. Send us a
jury version of your entry on VHS or S-VHS (PAL/NTSC/SECAM). If you wish to
enter works in both categories (Computer Animation and Visual Effects), we ask
you to please fill out a separate entry form.

DIGITAL MUSICS
This new category of the Prix Ars Electronica is open to:
Electronica, Sound & Media, Computer Compositions.

Analog methodologies, the use of voices and acoustic or amplified instruments
are allowed as well, but the crucial criterium is the artistic and innovative use of
digital tools to manifest a convincing realization. Each participant may enter
one piece, which has been created/realized within the last three years.

Please send your DAT or CD. Enter projects such as sound installations, real-time
performances, audio/visual habitats, etc as a video document (VHS 3-10 minute).
This document should describe not only the event itself but also the
characteristics of the work's environment aside from music, such as space and
technical requirements for the realization of the piece. Along with the work
please also include information about equipment, scores, setups, and if possible,
any sketch illustrations.

IMPORTANT: in addition to the complete work, please include a 2-3 minute
excerpt that effectively portrays an introductory summation of the essential
elements explore in the whole piece.

1999-2000 NATIONAL MCKNIGHT ARTIST FELLOWSHIP FOR INTERDISCIPLINARY ARTISTS

This is for a four-week residency at Intermedia Arts in Minneapolis with an
artists fee of $10,000 plus travel and lodging money.
You can find out all about it at their website:
http://www.intermediarts.org

***********
VIDEO ARCHAEOLOGY [International Videoart Festival]
INITIAL CALL for VIDEO ARCHAEOLOGISTS

Archaeology today involves a lot of scientific research and analysis directed
towards reconstructing the nature of our ancestors' existence. On the basis of an
excavated coin, tool, masterpiece or a funeral, studied in their historical context,
the archaeologist recreates pagan or religious rites, folklore customs, ethnic
characteristics, economical changes, cultural history. But today's scientific
studies often disregard these results in their arguments and final statements.
Moreover, there is no consensus in interpreting our forebears' traces. Scientists
tend to restore people treating them as      statistical objects rather than as
complex human beings, with no concern for their emotional outlook or
psychological world. Should future archaeology be so facts-driven, one-sided
and indifferent as a method of research?

TARGET
VIDEO ARCHAEOLOGY picks up video as its prevailing visual form of expression
with the intention to raise issues about the archaeological image of our present.
What kind of findings will the future
scientists discover through their excavations? What will the findings reveal
about the close of 20th century?

VIDEO ARCHAEOLOGY calls for competitive artists who are keen to take the
reverse way of research-making. Artists are invited to      submit their new
videoworks - possibly UNSHOWN before. The works should be created as if
topredict the 'coin' or the 'tool', which present inhabitants would assumingly
leave as an archaeological product of our time. AWARDS arelikely to be
uncovered for the BEST VIDEO ARCHAEOLOGISTS.

VIDEO ARCHAEOLOGY will also bring artists, theoreticians and general audience
in a two-day symposium accompanied by public art installations and screenings
of curated video archaeology packages from ZKM, Karlsruhe/G;VideoMedeja,
Novi Sad/Yu; VIA, Basel/Sw; WRO, Wroclaw/Pol; Video Data Bank,Chicago/US,
TransHudson Gallery, New York/US, FACT, Liverpool/UK.

VIDEO ARCHAEOLOGY [VA] is initiated by Boris KOSTADINOV & Zhivka
VALYAVICHARSKA, Sofia/BG for ATA Center for Contemporary Art, Sofia/BG and
co-curated by Iliyana NEDKOVA, Sofia/Liverpool, BG/UK. VA is organized
incollaboration with National Fine Arts Academy/Sofia, Soros Center for the
Arts/Sofia, USIA American Center, Sofia, National Archaeology Museum/Sofia.
VA has sought funding from PHARE Euro-BG Arts Fund/Sofia, Artslink
Collaborative Projects Fund/New York, KulturKontakt/ Vienna, Soros Center for
the Arts/Sofia, Trust for Mutual Understanding/New York.

CONTACTS
Please, send a preview tape [VHS, PAL] to:
ATA Center for Contemporary Art [for VIDEO ARCHAEOLOGY]
3 Karnigradska Str, Sofia 1000, BULGARIA
t/f: +359 2/ 980 80 25, e: ata-ray@mail.bol.bg
Please, include the following info:
Artist's Name & Contacts:
Brief CV [up to 200 words]:
Brief Synopsis [up to 200 words]:
Tech Details:
DEADLINE MONDAY, 31 JUNE, 1999

*********
GULLIVER'S CONNECT PROGRAMME 1999/2000

Following the successful launch of the programme in 1997 the Felix Meritis
Foundation in Amsterdam, Kultur Kontakt in Austria and the Open Society
Institute in Budapest are happy to announce that the Gulliver's Connect
Programme 1999/2000 will be launched in March 1999. Gulliver's Connect aims
at developing collaborative partnerships between arts practitioners within the
region of the former communist states, and at encouraging the process of
'learning from practice'. The idea is that a "visitor" becomes for a certain period
of time part of the working mechanism of an arts organization in another
Central and Eastern European country different to their own. They become a
temporary member of the organisation's working team via a working
placement. The Connect programme provides an opportunity for both the "host
organization" and the "visitor" to establish or widen their working contacts with
colleagues from other countries. This can lead to developing exciting
internationalcollaborations.

The programme is open only to professional arts practitioners and arts/cultural
organizations from Central and Eastern Europe. The programmecovers the costs
of travel, accommodation and a daily allowance. The deadline for this years
applications is APRIL 30th 1999. Placements will take place between September
1999 and September 2000.

Gwen Crawford or Helma Verkleij
The Felix Meritis Foundation
Keizersgracht 324
1016 EZ Amsterdam The Netherlands
Tel  	+ 31 20 6262321
Fax   	+ 31 20 6249368
Email  	gch@felix.meritis.nl
gwen.crawford@felix.meritis.nl

***************
D.FILM DIGITAL FILM FESTIVAL

The D.FILM DIGITAL FILM FESTIVAL is seeking films made with computers and
other new forms of technology for it's 1999 series of shows. This includes films
created with digital/desktop video,computer animation, digital cameras, non-
linear editing and custom software.
http://www.dfilm.com.
Deadline is ongoing as screenings are ongoing.

***************
CIMELICE CASTLE ARTISTS-IN-RESIDENCE GENERAL
INFORMATION

H i s t o r y
The Foundation and Center for Contemporary Art-Prague (former SCCA-Prague)
is a non-profit organization supporting contemporary visual arts in the Czech
Republic through documentation, grants, exhibitions, residencies and other arts
events. The SCCA-Prague was established in 1992 as a part of the SCCA Network 
which includes similar centers functioning in Central and Eastern Europe and 
the countries of the former Soviet Union.

P r o g r a m s
The artist residency program is the main activity at Cimelice Castle. In 1999 two
two-month sessions will be held from June throughSeptember. Artists will be
required to give presentations of their work. During each session an open house
will be organized for artists,arts professional and the public. Additional events
will be organized. For international participants the residency will include a
one week visit to Prague. They will become acquainted with the Czech cultural
scene by visiting galleries, performances and other events and through
meeting people from the Czech art world. In addition, various workshops will
take place at Cimelice Castle during May.

L o c a t i o n
Cimelice is a small historical village, located an hour's drive south-west of
Prague.  It is situated in the woods and rolling hills, typical of the Czech
countryside. The Baroque castle, now owned by the Schwarzenberg family, was
built in  1728 -1730 by the famous Italian architect Antonio Canevalle. Adjacent 
buildings include a granary, which has been reconstructed from the relic of a
medieval fortress. The castle is surrounded by a park and a tree-lined avenue
leads to a neighboring castle in Rakovice.

F a c i l i t i e s
The facilities include 5 painting studios, 2 sculpture studios, a writer's
apartment, 2 rehearsal spaces, 8 bedrooms and a communal kitchen and a dining
room. Additional spaces, including the castle parlors and cellars, nearby
agricultural buildings and the surrounding property may also be made available
through with permission of the owner.

E l i g i b i l i t y
The program is designed for artists who require facilities suitable for focused
work and who are particularly interested in meeting othe members of the
international artistic community. The program will host Czech and
international artists working in visual, performing andliterary arts.
Experimental as well as interdisciplinary approaches will be encouraged.

F e e s
Studio & Accommodation: Two-month residency: $1,500 / 7 weeks at Cimelice
Castle + 1 week's accommodation in Prague
otherwise - $200 / week at Cimelice Castle Meals are not included in the
accomodation fee.

F i n a n c i a l   A i d
Participants are encouraged to seek funding from state and private institutions
in their countries to cover the above fee. The FCCA-Prague is available for
guidance, and fee exemptions in special cases. Artists who are under the age of
35 can apply through UNESCO-ASCHBERG Bursaries for Artists program. The
UNESCO-ASCHBERG bursary covers all expenses.

H o w   t o   A p p l y
Please submit a brief artists statement and proposal of no more than 2 pages
indicating why you would like to work at Cimelice Castle, a
curriculum vitae and portfolio. Please indicate the preferred time of the
residency. For the UNESCO-ASCHBERG bursary use their application form.
Deadline:	April 30, 1999

For more information, please contact: FCCA-Prague, Jeleni 9
118 00 Prague 1 Czech Republic
tel (420 2) 2437 3178, 3335 1359 fax (420 2) 5732 0640
e-mail: scca@ecn.cz http://www.ecn.cz/osf/scca

*************
SOUND SYMPOSIUM: INTERNATIONAL FESTIVAL OF NEW MUSIC & THE ARTS

Come to Newfoundland's Sound Symposium 2000 and celebrate the past and the
future with musicians and artists from around the world. Salute the beginning
of the new millennium and the 1000th anniversary of the establishment of the
first Viking settlement in North America. Take part in a joyous celebration of
the arts and discover the amazing world of Sound.
Deadline for Artists/Musicians
Deadline for proposals for Sound Symposium 2000 projects and performances is:
May 15, (postmarked). Fee: $25.00 (non-refundable) to be enclosed

Dear Artist:
Our experiences with past Sound Symposia have shown that we need to
streamline the selection process for prospective projects to be performed or
exhibited during Sound Symposium 2000. Only proposals that are submitted
following the strict format of our guidelines will be considered by the
programming committee. Wetherefore ask you to read the following pages
carefully and submit your proposal according to the given guidelines. Thank
you for your cooperation.You may apply in the following categories:
                        A - Interdisciplinary
                        B - Concert Music
                        C - Music Video
                        D - Visual Sound Art
                        E - Other

All applications must include:
- your artistic resume (including past performances, projects, commissions,
  work in progress, discography, videography, bibliography)
- support materials such as reviews, high quality images (photographs, slides,
  video) and high quality recordings of past works and performances
- make sure to write your name on any item you send
- a typed, well formulated and well organized project description limited to 500
  words, please indicate whether this is a work in progress, (don't be wordy, but
  tell us clearly what you are planning to do!)
- a complete list of the performers of your Sound Symposium 2000 project
- the performance duration of your work
- a detailed list of your technical needs and space requirements
- for publication in the programme booklet, we need a 100-200 word typed bio in
  publishable quality, which you will also submit on disk in either format Word
  Perfect 6.X or higher or Microsoft Word 7.X or higher
- a sharp, well contrasted photograph of yourself, your group and/or your work,
  which if possible, you may also submit on disk, CD or electronically via our email
  address scanned in at least 600dpi in either JPEG or TIFF format.

Indicate your application category clearly on the attached application form
<http://www.sound.nf.ca/2000/2000_application.html>  in the provided space.
The non-refundable application fee of $25.00 must accompany your application.

On the outside front of the envelope please write the word "Application."
Please remember the absolute deadline for your proposal is: May 15, 1999 (post-
marked)! Any late arrivals will be returned to you unopened!

Please comply with above outline, otherwise we may not consider your application.

On-line application form and details for each category:
<http://www.sound.nf.ca/2000/2000_application.html>

**************
CONTEMPORARY CITY: BETWEEN ARCHITECTURAL PROJECT AND INFORMATIONAL NET

If you are interested in ALL POSSIBLE kinds of contributions and proposals to
the programme, please contact us. The possibility of adding something new to
the programme still exists. This is a preliminary programme.

Art-Locus-Transit Curator S. Veselova
11 - 18 of May 1999
Intercultural program
Contemporary city: Between   architectural project and   informational net.

The project has a purpose to represent and combine the possible positions of
contemporary city culture: an inhabitant,  an artist, an architect, a sociologist, a
hacker, a philosopher, etc. It will be conducted as a series of exhibitions,
simposiums and cultural actions. The vitality of the problem has been growing
in the situation of implementation and acceleration of the brand new
communicative technologies in contemporary megapolis. The net-city growing
inside the cyber-net starts the process of deterritorization of traditional city
landscapes made out by architecture. It causes the transformation of inhabitable
space into a sort of informational desert, thus making possible archaic forms of
being of cities which were founded mostly on crossroads by means of
"negotiations" with the landscape. In any european city, well regulated by some
definite architectural project, the traces of such unpredictably expanding
infrastructure which comes into actualization again and again can be found.
Today, the newest technologies make possible understanding, examination and
inhabitation of the info-net, into which the contemporary megaplois has been
transformed.

Problems for discussion and exponation:
- What will the  millennium city be like?
- What will follow the junction of the city infrastructure (transport and roads,
  energy, communications, mass media) and brand new information technologies?
- In the situation of the previous (market place, church) forms of consolidation
  decondstruction and the establishment of the new ones, what will be the zones
  of construction of the collective body of  "new" citizens? What will be the
  principles, according to which, in the situation of transition from mass culture
  to some local hierarchies, the new zonal division of the city will be conducted?
  New values in the situation of the global order disintegration.
- New technologies of life in the situation of reorganization of the previous
  methods of the information storage into the interactive net not available for
  the masses. The threat of informational collapse.
- Psychosomatic results of the interactive net inhabitation. The disjunction of
  the real. Socio-symbolic relations and identification.

SECTIONS:
1) The algorithms of the city formation and development.
    L. Trushina, M. Kagan, M. Uvarov, D. Lanin, A. Skidan;
2) Contemporary order  mirrored by megapolis.
    B. Markov, T. Savinova, V. Podoroga, V. Prozersky, G. Revsin,
    B. Waldenfels;
3) The figures of communication in the informational environment.
     A. Mitrofanova, G. Skvortsova, S. Veselova;
4) Virtualization and memorialization of the city landscape.
     O. Nazirova, A. Punin;

5) City as an artistic action/provocation/experiment.
     D. Golynko-Volfson, N. Ivanov.

 actions taking place at:
- St. Petersburg State University, faculty of philosophy, room 24;
- Armenian Church, V.O.;
- Navicula Artis (Pushkinskaya 10);
- Gallery 103 (Pushkinskaya 10);
- staircases, roofs and other premises of Pushkinskaya 10.

- City-symphony. A. Molev
- The architectonics of spirit. B. Arazyan, A. Igatkhanyan
- Open city. A. Skidan, Shuvalov
- The technology of life. Group 2012 AHE group, V. Igumnov

Tel. +7 812 151 22 91; fax +7 812 550 67 50;
e-mail: stadt@dean.philos.lgu.spb.ru

*************
SYMPOSIUM  "SEL DES ARTS"  ACAVA & ARTEMIA

Call for participation organized the first Symposium " SALT OF ART"  in the
presqu'ïle of Guerande, where there is a Salt ground ( west of France) on the
atlantic ocean,  In this spectacular environment,  for 2 weeks there will be
installation in situ. ( Land Art, video, sculpture made with salt, choreography in
situ. performances etc...)

If you're interesting please contact acava99@hotmail.com for more information
submission before 30 April.

ACAVA
sabine Fazekas
5, rue de charonne Paris 75011
tel:01 40 21 75 51

****************
4th GRAZ BIENNIAL ON MEDIA + ARCHITECTURE

For the 4th time the GRAZ BIENNIAL ON MEDIA + ARCHITECTURE invites ||
ENTRIES FOR THE INTERNATIONAL COMPETITION: DEAD-LINE June 30, 1999

The 4th GRAZ BIENNIAL ON MEDIA + ARCHITECTURE, taking place from
November 24 - 28, 1999, will again establish an experimental environment for
most recent artistic projects (visual/interactive media) relating to architecture
and urbanity coupled with current discourses on cultural spheres. The GRAZ
BIENNIAL will thus create outstanding inhabited information spaces - get
connected to what is at stake in contemporary culture!

For the INTERNATIONAL COMPETITION the GRAZ BIENNIAL ON MEDIA +
ARCHITECTURE is looking for challenging works of moving images - film - video
- CD-Rom - internet - that creatively and innovatively deal with architectural
spaces and urban issues. Entries are welcome from now on!

The competition is composed of the two sections:
- "Art & Essay": creative perspectives on cultural, social, political and aesthetic
implications of material / immaterial spaces - "Architectural Documentation":
leading forms of documentary reflections of architecture and urban spaces.
-6 awards are donated with overall ATS 300.000,-! || ENTRY FORMS are now
available at http://www.thing.at/art.image

Don't miss being part of one of the leading competitions for visual media and
urbanism!

Furthermore, the GRAZ BIENNIAL ON MEDIA + ARCHITECTURE calls from now on
for papers and proposals for the subsequent sections of its '99 program: DEAD-
LINE May 31, 1999

4th GRAZ MEDIA + ARCHITECTURE CONGRESS
ARCHITECTURE NOW! SPACE

The Congress ARCHITECTURE NOW! SPACE will focus on the interaction of art,
culture, technology and economy in the conception and realization of
architectonic and urban planning projects. Within this interdisciplinary
framework, ARCHITECTURE NOW! SPACE will deal with media-specific
possibilities of conception, documentation and mediation of contemporary
spatial structures. ARCHITECTURE NOW! SPACE will present and discuss landmark
examples of application and new trends in visual and interactive development,
analysis and representation of architectonic and urban spaces. Architects,
producers, artists, representatives from television stations and architecture
journals, architecture critics and media experts will discuss the roles of media-
aided spatial analysis and present new designs and projects.

In the special program section INSPIRING SPACES exemplary documentations of
ground-breaking spatial concepts will be shown: from Frank Lloyd-Wright, Le
Corbusier, Mies van der Rohe and Archigram, to Rem Koolhaas, Jean Nouvel,
Greg Lynn, Winy Maas and Toyo Ito.

METROPOLIZED
Spaces under Pressure - Bodies in Excess

With the large film retrospective METROPOLIZED the (mediatized) network of the
city will be reconstructed for the first time from the perspective of an urban
individual in an over-stimulated state. The film and video program will show
how contemporary film-makers design "portraits" of the body and its current
disorders. These disorders in the relationship between the body and
surrounding territories, these confusions between bodies, subjects, urban
spaces and their concrete as well as represented spatial orders, lead to a general
state of confusion between the body, space, time and visual surfaces. The
retrospective explores the tense interrelation between the city and the body,
and lays out diverse (visual) paths through a seemingly, increasingly
hypertrophic urbanism.

METROPOLIZED. Spaces under Pressure - Bodies in Excess is a project with the
Festival dei Popoli, Florence, and the European Media Art Festival, Osnabrück,
within the scope of the European Coordination of Film Festivals (ECFF).

INSTALLATIONS

A number of unusual venues scattered all over the city will be taken as settings
for "delocated screenings" and "spread installations": temporary, unexpected,
but above all energetic, situational and interventionist. With installations from
the field of media, temporary encroachments and interventions within the city
prove to be catalysts for the reanimation of urban space - topical and
experimental contributions to applied urbanity.
(program as of March 99 - subject to changes)
Hallerschlossstrasse 21
A-8010 Graz
tel. +43-316-356155
fax +43-316-366156
http://www.thing.at/art.image
art.image@thing.at

4th GRAZ BIENNIAL ON MEDIA + ARCHITECTURE < film+arc.graz >
Graz, Nov 24 - 28, 1999
Entry form for the International Competition available on line!

************
STUDIO MIDWEST

Studios Midwest provides free housing and studio space for two-month artist
residencies in Galesburg, Illinois, USA.The application form and additional info
about Studios Midwest is available online at
http://www.mindspring.com/~studios Please forward this e-mail to anyone that
might be interested or could help spread word of this residency program.

For more info, contact:
Carla Markwart, Coordinator
Studios Midwest
P.O. Box 291
Galesburg IL 61402-0291  USA
(309) 343-8923      fax (309) 342-7437
studios@mindspring.com

************************
CALLS FOR PAPERS / ARTICLES
***********************
CRASH MEDIA

Crash Media was set up as a combined tabloid / online publication which would
attempt to bridge the gap between the net discourse online and the activist
streaks in the field. Throughout pastexperiences we came to the conclusion that
the web / mail networks are all very well, but the outlet for the streets needs
working on!

Contributions in many guises required: deep undercover analyses, sub-
cutaneous cuts, bilateral dissections, polemics for the hard of reason, trinkets
for the virtual mantelpiece, eye-sores for the foot-sore, nectar for thehive
mind, befuddlement for conspiracists, personal highlights and urban low-lights.

In other words: articles, logos, interviews, artwork, reviews, literature, listings,
cartoons and info-blips. We favour text within the 500 to 800 word limit - and we
envy the capacity to make a strong point with 200 words!

Scans should be 300dpi and stuffed, send as attachments (MAC or PC) - stamp-
based mail is just as good. Currently we are not able to pay contributors.
Every contributor will receive ten copies of Crash Media.

Crash Media has been published in print as a free, bi- monthly tabloid, since the
middle of March 99. Printed on tabloid paper, each issue has a print run of 5,000.
Crash Media is based in Vienna (A), Salford/Manchester and London (UK). Each
issue normally consists of 12 pages.
Crash Media is being distributed intensively in the North West of England and
London, and selectively world-wide. We are also open toany suggestions for
worthwhile locations.
Issue #5 of Crash Media will inlcude a special section dedicated to some of the
open questions and unwritten histories which come out of the next 5 minutes
conference in amsterdam. thanks a lot and keep it real!

Crash Media is a combined effort of:
- Skyscraper Digital Publishing, London (UK)
- Public Netbase t0, Vienna (A)
- Salford University (UK)

Crash Media is extended through a digital forum.Threads generated in Crash
Media on-line will beselectively reprinted in the next issue.
http://www.yourserver.co.uk/crashmedia/
Micz Flor, Josephine Berry
[EDITORIAL SURFBOARD crashmedia@yourserver.co.uk]

****************
ZAYAC- ZINE ABOUT YOUNG ART  CULTURE

It is our pleasure to inform you that as of March 3, 1999 SCCA - Skopje,
Macedonia launched the Internet Magazine for visual arts
"ZAYAC" - Zine About Young Art  Culture.

The concept of the magazine is imagined as a domain for promotion of different
aesthetic or philosophic ideas, the presentation of different artistic concepts yet
to be realized (in true or "other" space), posting and announcing of reviews, and
short texts related to Macedonian and International exhibiting activity.

"ZAYAC" does not aim to encompassbulk aspects of the theoretical analysis of the
recent production, but its purpose represents a frequent and dynamic field for
reaction. "ZAYAC"is organized and edited by group of young enthusiastic artists,
curators, fine arts critics and students who are invited to contribute their own
issues,as well.

It will be our pleasure if you enrich and affect the contents of our Internet
Magazine withcontributions, donations, ideas, reflections and projects of yours.
You may e-mail all your contributions, donations, ideas, considerations, concepts to
Nikola Pisarev <npisarev@freemail.org.mk>
and Kristina Miljanovska<kika@soros.org.mk>
not later than 25th of every month.

About the content of the first issue of "ZAYAC" and for the entire latest local art
happenings visit us at: http://zayac.scca.org.mk

**********
JOBS
**********
NEW RESEARCH STUDENTSHIP OPPORTUNITIES AT THE UNIVERSITY OF SUNDERLAND

The School of Art, Design and Media are pleased to announce around six new
Research Studentships in art and design, including a jointly supported "Baltic
Centre for Contemporary Art/University of Sunderland Studentship in New Media
Curation".

The studentships attract a grant valued at £6455 per year and tenable over a
three year period for students pursuing research programmes leading to the
award of Ph.D. The School is interested in a wide range of boundary-pushing 
research, but has a particular interest in, and ability to support:

- Art-Practice-Led research (where making art is an integral part of the
  research process).
- Public Art, Sculpture, Glass and New Media Art (NOT including Virtual Reality).

Closing date for applications: 20th April 1999.
Further information is on web page:
http://www.sunderland.ac.uk/~as0bgr/lestu99.html

For further information or guidance please contact:
Herbert Spring, Research Administrator
University of Sunderland
School of Arts, Design and Media
Ashburne House, Ryhope Road, Sunderland SR2 7EF
Tel: 0191 515 3229   Email:as0hsp@adc.sunderland.ac.uk

**************
PROFESSOR OF MULTI-MEDIA (BESGR. C2)

Fachhochschule Augsburg
Faculty of Design
Faculty of Computer Science
Multi-media Program

The Fachhochschule Augsburg, Design Division, is accepting applications for
the position of

Professor of multi-media (BesGr. C2)
Available in the Winter semester 1999/2000 or later.

Teaching subjects: Fundamentals of Design, 3D Design

The interdisciplinary multi-media Program strives to a large extent for the
integration of digital and conventional media from conceptual points of view.

For this purpose, applicants should be qualified to teach the fundamental
principles of Art and Design (e. g. through drawling, painting or sculpture). At
the same time, he/she should demonstrate the methods and strategies for
realizing 3D design concepts by means of computer technology and be able to
integrate three dimensional platforms in interactive media projects.

Several years of work experience in the field of electronic communication
design, as well as exceptional achievements in design related projects are
expected.

Job requirements

-- Completed post-secondary education
-- Suitedness for teaching Graduate studies (in exceptional cases, other proof of
special academic or artistic abilities will be considered )
-- special achievements in the application or development of academic/artistic
knowledge and methods in a professional occupation of at least five years, three
of which must have been completed outside of applicant's academic studies.

The possibility of attaining the status of civil servant exists for all who are 52
years of age or younger.
Providing otherwise equal qualifications, handicapped people are preferred.
The college is aiming for an increase in the percentage of women in the academic
staff.
Applications, including the usual documents (CV, academic transcripts, proof of
professional and academic work) are to be sent to - and received by - the
president of the FACHHOCHSCHULE AUGSBURG before 19 June 1998.

An den Präsidenten der Fachhochschule Augsburg
Baumgärtnerstr. 16
D-86161 Augsburg
Tel. +49-821-5586-213
multimedia@fh-augsburg.de

************
GRAPHIC DESIGN/VIDEO PRODUCTION

In keeping both with our current programs and with the possible development
of a Ph.D. program, we seek to hire an Assistant Professor (tenure-track) with
expertise in Graphic Design and/or Video Production. Expertise in Audio
Production is also highly desired. Applicants should share LCC's commitment to
interdisciplinary work at the theoretical and applied levels, as well as to the
incorporation of new electronic media into humanities education. Women and
minority candidates are strongly encouraged to apply. We will begin screening
applications immediately, and continue until the position is filled. Send letter
and c.v. to Professor Richard Grusin, Chair, School of Literature,
Communication, and Culture, Atlanta, GA 30332-0165. Georgia Tech is an AA/EO
employer.

Ellen Strain, Assistant Professor
School of Literature, Communication & Culture
Georgia Institute of Technology

email: ellen.strain@lcc.gatech.edu
phone: (404) 894-8923
location: Skiles Building 301

*************
1999 SEEKING ANIMATION/3D VISUALIZATION. FULL-TIME,TENURE-TRACK, RANK OPEN.

The School of the Art Institute of Chicago seeks practicing artist to teach and
help expand animation courses in art & technology and filmmaking. Animator-
filmmakers, 3D animators,and real-time 3D Visualization artists are encouraged
to apply.

Ability to work with beginning and advanced students. School's open
curriculum nurtures experimentation and interdisciplinary work in art&
technology, film, video, sound, painting, sculpture, etc. AA.EOE.WMA.

Send letter of application; resume; statement of teaching philosophy;
sample of
work; names/addresses of 3 references and SASE      to: Animation Search
Committee--em3, SAIC,
Dean's Office, 37 S Wabash,
Chicago IL 60603

***************
(FACT) requires a: PROJECT MANAGER: COLLABORATION
PROGRAMME

The COLLABORATION PROGRAMME is an innovative series of participatory art
projects involving artists and technologists working with communities and
informal education initiatives across Merseyside and the north-west. The
PROJECT MANAGER is responsible for devising, commissioning, facilitating and
implementing projects.  This is a highly creative and challenging role for
someone who is passionate about creating art with people and has a sound
knowledge and enthusiasmfor contemporary media practice.

Send Applications to:
Laurie Hunte, FACT,
Bluecoat Chambers, School Lane,
Liverpool L1 3BX,
UK

***************
DIGITAL ARTIST COMMISSION

Lighthouse are seeking an artist with experience of working with digital media
for a commission to produce a new creative work with six young people with
physical disabilities.

The project aims to give participants an opportunity to explore the possibilities
of becoming producers of their own art-works. This could involve using images,
sound, installation or any medium the artist feels is appropriate. Funding for the
project comes from the National Lottery and will allow the artist to work with
the group for one day a week over a period of ten months. It will take place at
the new Clinical Services building at Chailey Heritage in East Sussex.

Chailey Heritage has a world-wide reputation for providing comprehensive
medical, therapy and educational services for children and young adults with
severe, complex and multiple physical disabilities.

The exact details of what the project will involve will be planned by the artist
with the participants. The artist will help the participants through this
planning process, pushing boundaries and investigating ways to adapt
equipment and techniques to meet the groups special needs.

This is an extremely challenging and unusual project that will provide an
artist with a unique opportunity to explore ways of empowering young disabled
adults to gain creative skills.  Programming, engineering and technical support
will be provided in order to allow the artist to adapt software and hardware as
necessary and there is a budget for purchasing equipment for the project.

Fee: £10,000 (approx. 50 days)
Timetable: September 1999 to July 2000
Deadline for applications: May 10th 1999
Applications from artists with disabilities are particularly welcome.

The project is being run by LIGHTHOUSE in Brighton who specialise in working
creatively with digital media. For more information and details of the
application process please send an A4 SAE to:

CHP
Lighthouse,
9/12 Middle Street
Brighton BN1 1AL

*  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@isea.qc.ca *  http://www.isea.qc.ca *=20

THE INTER-SOCIETY FOR THE ELECTRONIC ARTS

THE ISEA NEWSLETTER

#69 November - December  1998
_____________________________________________________________
			* CONTENTS *

* EDITORIAL * ISEA NEWS * REPORT * INFO * JOB POSTINGS
* CALLS & EVENTS SECTION *
_____________________________________________________________
* EDITORIAL * 

Please allow me introduce myself. I am the Interim Director (part time) of
the ISEA HQ as of October 98. My job is to give Alain Mongeau and the HQ
staff a hand in running the various activities of the HQ until March 99.

I was Alain's assistant program director and responsible of the
electroacoustic music series at ISEA 95 and have followed with interest the
evolution of ISEA since then. I am impressed to see that ISEA has come such
a long way in such a short time and am proud that Canada is one of the
leading countries in this field.

My professional activities have been principally in the fields of
electroacoustics, interdisciplinary production, acoustic ecology, the media
arts and in service organisations such as the Canadian electroacoustic
community (CEC) and the World Forum for Acoustic Ecology (WFAE).

My life philosophy is to listen. Listening to people, the environment and
to myself. My philosophy as an administrator is to work in close and
respectful collaboration with my co-workers and clients. I also believe in
the principal of "less is more", whereas a professional organisation such
as ISEA, with its precious limited resources, must be careful to not
overload itself and to focus on its basic mission first and foremost and to
grow from there...

One of our challenges at the ISEA HQ is to filter through the complex
interdisciplinary web inherent to the contemporary electronic arts and
serve a sounding board and critical voice in the international community.
Of course, ISEA does this through its Symposium but we also do it through
our other activities : publications, lobbying, workshops, seminars, etc.
Please find included in this newsletter some vital information about what
is happening in the international electronic arts community, as well as
some critical comments on recent events and ongoing questioning of the ISEA
movement (which is a sign of health in any organisation, I think).

However, in spite of our best efforts, this is only a fraction of what is
really going on in the electronic arts community. Therefore we need YOU,
the membership, to help us keep a steady and useful flow of relevant
information going. Please inform us of your activities and concerns as we
diffuse them through the ISEA communication network :  newsletter, web
site, listservs, etc.. We will make a note of your concerns and interests
and try to make ISEA work better for the membership and the electronic arts
community at large.

This is a critical year for ISEA. We are moving into Daniel Langlois' new
media arts complex in March and there is much to do to ensure a smooth
transition. Among other activities, your board of directors has concluded a
virtual email meeting in early December in which they have taken some
important steps towards creating active tools to realise the objectives of
ISEA. The HQ will be keeping you in touch with these activities as they
evolve.

Finally, I would like to thank Isabelle Painchaud, who is leaving the ISEA
staff at the end of January, for her extraordinary work as information and
administration Coordinator. She will be greatly missed, but I think will
always be close to ISEA.

Claude Schryer
ISEA HQ

******************************************
ISEA NEWS
******************************************

VIRTUAL AFRICA

Afrique Virtuelle/Virtual Africa (AVVA) is an international network created
under the aegis of OLATS/Leonardo
(http://cyberworkers.com/Leonardo/africa). Its main goals are to stimulate
contexts of ideas exchange between intellectuals, scientists and artists
originary from Africa and other continents. The working toolsare the web
and the new technlogies, the challenge being to establish a contact between
a real, ancient and contemporary Africa, in a virtual communication mode
and to develop original works using these technologies.

Starting from this initiative, ISEA HQ proposes an action plan and a
project orientaded on French-speaking countries. Afrique virtuelle
francophone 1998-2000 is shaped in parternship with Vues d'Afrique Festival
in Montreal (http://www.vuesdafrique.org), OLATS/Leonardo (for the
activities to be realized in France) and the group Metissacana, Dakar,
Senegal (http://www.metissacana.sn). The proposed activities are
articulated around these two axis :

1) the realization of web art workshops in Western French-speaking Africa,
coupling local artists with artists from other continents to create web art
projects (multimedia fictions, interactive tales, etc). This aspect
includes training, technological exchange and multilateral collective
creation concepts. The first pilot-project will be held in Dakar, February
1999. It addresses professionnal artists from various disciplines
(litterature, visual art, media arts, audio) in order to constitute a first
corpus of French language african fictions created specifically for the
web. The electronic works will be diffused publicly within the Montreal
Festival Vues d'Afrique in April 1999 and through the partners' web sites.

2) the organization of conferences/seminars in Quebec/Canada and France
bringing artists and theoricians around new creation and communication
forms and models in Africa. The first conference will be held in Montreal,
April 1999, during Vues d'Afrique. Under the general theme of "African art
and new technologies: challenges and developments", this conference wishes
to bring together african and international artists and experts, including
some participants from the Senegal workshop. This seminar as well as the
diffusion of the electronic works should also be used as a context of
awareness and networking on the emergent needs related to the development
of new technologies in Africa.

In parallel to the conference and with ISEA's collaboration, Vues d'Afrique
is programming the exhibit Afromedi@rt, a collection of contemporary
african media art organized by the nigerian/austrian group Cross Cultural
Communication (http://www.t0.or.at/~ccc). A second worshop/seminar is
proposed by OLATS/Leonardo and Foundation Sophia Antipolis, in Nice or
Marseille (France) during the summer of 1999.

Any ideas or suggestions relating to the above projects are welcomed !

******************************************
ISEA2000 Update

Discussions are continuing with the public institutions in order to insure
the financial support of the event and to create strong cultural
connections. A steering committee has been put in place within the Ministry
of Culture, bringing together 6 representatives from different sections
that will follow the project. (Délégation au  Développement et aux
Formations, Mission de la Recherche et des  Technologies, Département des
Affaires Internationales, Délégation aux  Arts Plastiques, Direction de la
Musique et de la Danse, Centre National de la Cinématographie). The
committee also includes a representative from the General Direction of the
Cultural Affairs of Ile de France. It will meet at the beginning of
December to study the distribution of the support from the Ministry in
1999, and to discuss future collaborations to implement.
In addition, this project is followed by the interdepartmental Mission for
the year 2000, and the Paris 2000 Mission. These two missions, which
objectives are to define and support the cultural operations within the
framework of the national commemorations of year 2000, will start to
integrate ISEA in their communications with the media. This is a
significant lever to find private partnership. Consultations are talking
place with professionals (artists, researchers, intellectuals...) in order
to constitute a network of persons involved in the creation of ISEA in
France. These persons will refer to the first editorial and scientific
committee, formed last April, as well as on the spontaneous contributions
to come. A Symposium committee is being put together, and should start work
at the beginning of December. Starting from now, we are awaiting for your
feedback, propositions, suggestions or questions. We can be reached at the
ART3000 email address: art3000@calvanet.calvacom.fr.

Don't hesitate to contact us, we would be happy to exchange with you. We
are currently preparing a Web site to start communicating on ISEA. We would
be happy to receive information that will help us structure the project
(artists' files, key persons to contact, etc...) Therefore, don't hesitate!

Nils Aziosmanoff
ART3000 President

******************************************
NEW SUBSCRIPTION DISCOUNT FOR ISEA MEMBERS !

Mediamatic Magazine
http://mmol.mediamatic.nl/index.html

The accelerating convergence of modern media has created a maelstrom in
which hype and relevance are difficult to distinguish. Located in the eye
of this maelstrom, Mediamatic's strong philosophical and historical roots
allow it to offer you a perspective on and participation in this digital
'third culture', where art and technology merge.
Established in 1985 as a meeting place for video artists and TV dissidents,
Mediamatic Magazine has evolved into today's sophisticated and beautiful
quarterly on art and media and the changes being wrought by techno-culture,
hypermedia and virtuality.
Mediamatic focuses on understanding what's going on with our culture rather
than boring you with the latest corporate mergers or technological
breakthroughs. It is a magazine for literate people.

Each issue has a theme, such as Storage Mania, Home, or Religion. Articles
are commissioned in which playfullnes and freedom of thought are employed
to produce unexpected insights. Mediamatic fosters the uncommon rather than
the common. Its raw material is the text of theory: analysis, polemics,
experimental theory, speculations and sometimes pure fiction. Authors from
Europe, Japan and North America examine the themes through the filter of
Mediamatic's only assumption: New media are changing every facet of human
endeavour more rapidly and more deeply than one can guess.

Next to the World Wide Web publication on the Internet, Mediamatic Magazine
is also published in print plus CD-ROM. This printed edition is available
by subscription.

For more information on your ISEA membership discount to subscribe to
Mediamatic, please contact the ISEA HQ:  isea@isea.qc.ca

******************************************
LEONARDO SUBSCRIPTION DISCOUNT FOR ISEA MEMBERS

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.

Founded 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.

TO RECEIVE THE SUBSCRIPTION FORM, PLEASE EMAIL US AT: ISEA@ISEA.QC.CA

******************************************
REPORT by Mike Stubbs
******************************************
(la version francaise suit)

Plastikman meets Rubberlegs
Re-defining New Media in Montreal
15-25 October 1998

Artists define new media by entering art into a festival of new media.

The festival director and committee define it by accepting it.

Nothing is definitive.

Someone will attempt to try, but not me.

A lot of CD ROMs,  a few websites, 10 live performances and combination
work represented through presentation defined a cracking programme at the
Festival of New Cinema and New Media of Montreal.
I'm tapping my foot to a techno beat as I write this on a  computer station
at the new media section of the FCMM.  Checking out  yesterday's snapshots
expediently imported by the web casting crew, I browse (window shopping)
some of the more technically sophisticated sites a site advertising web
design that looked like a TV advert and some streaming audio site linking
record labels.  One young artist suggested that the web is like a
supermarket   - - "you go there, get what you want and then get the hell
out" or " you go there for a pint of milk and end up with a trolley full of
fresh only's that you then try to consume in three days".

Hull Time Based Arts have recently finished presenting  'ROOT 98 - Lucid ",
our annual festival back in England, and now I have  a week to  take in
some new media as a jury member, here in Montreal. A team of Marie-Josée
Jean (Co-director Le mois de La Photo Montreal), Louis-Phillipe Demers
(President, Kunst Macchina) and myself have to decide during the week which
artwork/artist will be awarded the $2,000 prize.  This is the first time a
jury has been set up in the context of the Festival  - amongst the other
prizes of best feature, short, Canadian, all nice and easy to define...we
will be selecting from a diverse mixture.  Clearly it will not be for this
jury to judge what is new media and for this reason the commendations (not
prizes) could be awarded  to any of the formats included within the
programme - but my view is that the commendations are for the quality of
art - not the technology.

I 've just spent 3 hours  dancing to Plastikman  (alias DJ Richie Hawtin).
The morning after I find myself  jet lagged  and rubber-legged. Before I
danced I watched. I watched him spin his home made discs,  wringing sound
from the barest of clips, sending it into delay, leaving it looping whilst
cueing his next home-cut disc, Chicago, Detroit, Windsor all meet here,
minimal and  stripped down into a very live interactive performance - the
audience creeps  forward to watch a great craftsmen manipulate vinyl,
performer testing 3 or 4 different tracks before finally finding the new
beat which will fuse best - is this improvisation or live composition ?
Starting with a simple die, Richie casts a new tool, in the mixer / reverb
unit  -  instant audio sculpture -  formed, previewed and sent all within a
few seconds.  This solo improvisation  has more in common with improvised
jazz than techno. Mike Ink and Pole spring to mind but the live quality of
this performance has more in common with Miles Davis and Jeff Mills.  The
audience  ignored the  bobbing rotating cubes video projection overhead and
become transfixed by the acoustic magic happening around them.  The
audiences hunger for a beat or a groove is momentarily  satiated as Richie
releases a monster beat he has been previewing as a click or a crackle in
the delay unit, the audience explodes into dance.

Richie seems to love what he does and provides a human open performance
that is accessible and unreliant on a learnt or academic appreciation.  Raw
and essential.   Many new media artists have been massively influenced by
contemporary music or incorporate audio into their work. It is time that
audio art is acknowledged directly for exemplary work on the threshold of
two cultures:-dance culture and audio art.

The next  morning I order a beer at the bar and discuss the politics of non
governmental organisations with a newly met  friend.  Real World recordings
have presented a brief history of their activities in the music and design
industries over since its inception and how over more recent years they
have taken under their wing an increasing number of multi-media designers
and fine artists in addition to the impressive list of African and Asian
artists.  They recounted how hard it can be to track down some of the
African artists and bring them over to their recording studios in Bath,
whilst  Peter Gabriel said a piece to camera because he could not come to
Montreal !

Metamkine  performed with celluloid and analogue projections last night -
flagging projectors, making loops and using coloured filters across the
projector lens they accompany an audio track to make a dramaturgy of the
smashed mirror - the story they told last time I saw them in London - the
raw grainy imagery and mechanical tech form of  film projectors are
charming. Metamkine  know what it is they are doing and have not caved into
electronics - or have not  experimented enough with the form and possibly
content of what they are doing.  Providing a long cold experience,
relentless,  hypnotic yet already tried and tested - there is little
'happy' here - but why should there be ?

Vuk Cosik showed 'real ascii',  a spoof new programme along with other
influential web based artists dominating the contemporary arts media
festival circus this year.  Showing fake history and other "archaeologists"
findings.  Vuk also presented Gebhard Sengmuller's promo for his new trash
peg format  data recording system 'vinyl video'.  I know what I write will
make it sound good here - fakery and intervention always sounds good and
makes good folklore.  I want to make a special award  to Vuk of 2,000 ASCII
dollars for Best Media Archaeology.

In the background David Rokeby is providing a constant flow of surveillance
imagery bringing  attention to how we are watched all the time, but hang on
a minute that girl on the street looks cute and what's that man doing with
that dog......I watch the piece again and it grows on me - having studied
it and tried to work out rationally what is happening, I give up and take
it as a perception extender.  This is about time and space and inside
outside.  Border Control is an installation I saw at Ars Electronica
earlier this year made in collaboration with Paul Garrin.  A checkpoint
charlie automatic person recognition and  tracking system for weapons. It
graphically displays what is possible and might not be out of place at a
military fair.   The response of the audience is ambiguous and I am not
convinced that context within which these technologies 'speak' is fully
explored, considering the chilling nature of the implications.

Later I will chat with David about  the paradox of "the necessity for
surveillance in our society and how useful it is in minimising inner city
crime."  He agrees that the discussion is no longer about whether
surveillance is bad and it becomes apparent that he is struggling through
with a complex set of issues regarding data tracking and market profiles
which will look at the subtler actualities regarding information and
surveillance and remote agents.  I look forward to seeing his new work.

Constance De Jong presented 'Fantastic Prayers' a solo  performance
utilising video, CD Rom and the spoken word,  full of metaphor on issues
surrounding the body and skin.  With headset mic in an 80's New  York
style, she has collaborated with musician Stephen Vitello, sculptor Dan
Graham and Video artist Tony Oursler.  Constance demonstrated why multi
media should be meshed. More browsing in the CD ROM section.

A lounge set up with several Macs made available the individual works of
artists delivering artworks on this outdated storage format.  It so
difficult not to group them all as one, I did watch them all as individual
artworks (having followed some of the net criticism of selection processes
at Ars Electronica recently) but its difficult to guarantee  every path has
been explored ?
I  liked the humorous one best.  It was only later after lobbying from
Marie Josée, that I watched the entirety of 'The best of Connanski' and yes
it was funny. But that line about cutting off a women's clitoris  seemed a
bit strong and I was surprised that it was finally Marie-Josée arguing most
strongly for the work, maybe women are cooler in Quebec about these kinds
of things than they are in England ?  or maybe she did  not get through all
Connanski's questions to get to see that clip ? (the work is frustrating
test).  Alex Mayhew said during his presentation that he thought the best
CD ROMs were the most linear - "why waste time scripting stuff which people
may never find?" when he demonstrated and talked us through his beautiful
CD ROM, Ceremony of Innocence produced by Real World.  Clever scripting and
good one line tricks like the lizard making hole and climbing through - but
tedious having to read all those romantic letters (it is based on a book).
CD's make nice stocking fillers and will become cult collectibles in the
future - they are marketed as records or conventional artefacts but there
real strength is as a playground for high speed multi player web work where
real interaction may take place in the future.

Masse de Terre  a music video performance by Michael Chion took the form of
a liturgy combing an electro acoustic soundtrack with video projection
(some pre-recorded some live like the toy glockenspiel). If the work was a
"subversion of mass" then it was a  little difficult  to penetrate, which
then begs the question, should one have to understand the terms of
reference ? The audience seemed to hate it - but maybe that was the
intention, in the bar someone commented "is it pompous nonsense or
nonsensical pomposity for fucked up Catholics".  This made sense somehow in
relation to the video masturbation, lots of squiggly electronic effects
form the worst of 80's video art.  Formally a mess, technically inept but
refreshingly unfriendly:- Rhythmless 'anti-entertainment' or conceptually
half formed ?

If one heard the performance of "Symphony no 1 for printers" without seeing
the sound source - you might have a dance about - nice complex techno
rhythms, played on  a bank of 16 desktop PCs conducting a similar bank of
dot matrix printers. The work was fresh, pure and unpretentious:- Great
rhythms and quality music - arrived at through a compelling low tech route
- dramatic in expectation and surprising in its simplicity. The machines
are administered but I know with time they will develop more creatively as
they learn to multi task and develop a more complex longer working day.   I
hope the Best Canadian award helps to develop the work and solves some of
the conflicts these young artists are facing regarding future direction -
the seemingly mutual exclusiveness of  art and money.

Steina Vasulka performed 'Violin Power' . The re-manipulation of herself in
time and the dissection of  the falling dancing man are very strong
sequences and I would love to see them focused and developed  to the
exclusion of some other elements. Steina is a truly important artist - she
is owed lots for her input to media art through the formation of the
Kitchen in New York and seminal video work with Woody, her partner for many
years. As an individual she represents so many threads of media art history
and is still committed to making art.

David Shea performed live audio to 'Dial History';  a feature length found
footage film. I've seen it  on video but not with a live soundtrack before
a mesmerised audience of 200. Why were they mesmerised ?  Exploding images
of crashing airliners, a highjacker in his dying moment, a geeky kid saying
how much he enjoyed being held hostage ? Dial History flattens out history
- de-contextualises death and floats between a semi- Buddhist statement
about our transitory nature and 'cool' gallery based art film...would
someone contest this please?

A-Live provided a four on the floor techno set straight out of the
sequencer with related 'rave'  visuals. Dull predictable pre-recorded and
too loud, even for me.  Four or five people danced badly to the 4/4 beat.
The video image was always central and mostly colourful. Most interesting
when the sound and image connected and shared a relationship not just the
same time code, but then I remembered some of those experimental films by
Fischinger or  Garrard...at this point I decide to argue strongly in favour
Plastikman winning the prize.

The new media section of the Festival was very well organised, very social
and excellently programmed in terms of transition between formal programme
and club night, this was reflected in the diversity of  people attending
this section of the festival. The webcast was the best I have seen in terms
of efficiency and refresh rate (despite technical problems) and that could
only be a product of a great working team and volunteers putting their
heart into making it all happen and on time.  I'd like to take this
opportunity to thank everyone who produced the festival for doing so and
Alain Mongeau for inviting me to have the opportunity to concentrate on and
enjoy so much new work.

Mike Stubbs

******************************************
INFO
******************************************
L'IMMAGINE LEGGERA 1998  -  THE AWARDS OF THE THIRD EDITION

The International Jury of the third edition of
"L'IMMAGINE LEGGERA - Palermo International Videoart+Film+Media Festival"
held in Palermo (Italy) October 2 through 10, and composed by:
Robert CAHEN (France),
Lars Henrik GASS (Germany),
Marina GRZINIC (Slovenja),
Sandra LISCHI (Italy),
Paolo ROSA (Italy),
has decided to award the following prizes and appreciations:

First prize (endowed with 10.000.000 Itl. lire) to:
"ICH TANK"  by David Larcher  (new version, France-Germany, September 1998,
international premiere)

Second prize - sponsored by Planète (endowed with 5.000.000 Itl. lire) to:
"A BOX OF HIS OWN" by Yudi Sewraj (Canada 1997)

Third prize (endowed with 2.000.000 Itl. lire) to:
"WHAT FAROCKI TAUGHT" by Jill Godmilow (USA 1998)

Special prize of the Jury (no cash prize) to:
"IN MY CAR" by Mike Hoolboom (Canada 1998)

Two honourable mentions (no cash prize) go to:
"S.O.L." by Robert Suermondt (Belgium 1997), and
"NOCTURNE" by Yervant Gianikian, Angela Ricci Lucchi (Italy 1997)

The Prize of the Audience (promoted by the film magazine "Ad occhi
aperti"), has been awarded to: "THE TRANSLATORS" by John Zeppetelli (Canada
1998)

The Jury for the Italian videos, composed by Simonetta CARGIOLI, Bruno DI
MARINO, Alessandro VIANI, has tributed the following awards: Fearless Award
to: "SETTE MELE BEN LUCIDATE" by Giuseppe Stassi (Italy 1998) Volcano Award
to: "IL REGNO" by Paola Lo Sciuto (Italy 1997) Honourable mention to:
"SYRENA" by Mariano Equizzi (Italy 1998)

The award for the best Artist's CD-Rom has been decerned to: "INTERZONA
*654Mgb* v.1.1" by Toni Serra (Spain, 1998)

The Jury of the competition for Italian experimental Radioplays, composed
by Pinotto FAVA, Otello URSO and Paolo CANTARUTTI, has awarded its prize
(endowed with 1.000.000 Itl. lire) to: "MOLTO CORTO (QUELLO CHE E' MORTO)"
by Massimo Toniutti (Italy, 1998)

L'IMMAGINE LEGGERA
Palermo International Videoart, Film and Media Festival
3rd edition: October 2 - 10, 1998
Festival staff: Alessandro RAIS (director), Marcello ALAJMO, Ignazio PLAIA,
Maurizio SPADARO
http://www.imprese.com.immagineleggera
voice: +39-091-6961740, +39-0339-2103962
fax: +39-091-6111682
e-mail: 00253aaa@mbox.infcom.it

******************************************
Book Publication: The Art of the Accident

On the occasion of DEAF98, V2_ Organisation and NAI Publisers are
publishing a book that is more than a catalogue of the festival, its
exhibition projects and participating artists. The fully illustrated book
takes a synthesising approach towards the intersecting practices present in
the festival, outlining the basics of an ars accidentalis.

The Art of the Accident also includes essays and interviews by: N.
Katherine Hayles (USA), Perry Hoberman (USA), Knowbotic Research+cF (D/A),
Steve Mann (CDN), Brian Massumi (AUS), Humberto Maturana (CHI), Marcos
Novak (USA), Dick Raaijmakers (NL), Lars Spuybroek (NL), Otto E. Roessler
(D), and Paul Virilio (F).

Articles about the projects of the DEAF98 exhibition and other programmes,
including: Mark Bain (USA), Calin Dan (RO/NL), Masaki Fujihata (J), Perry
Hoberman (USA), JODI (NL/B), KIT (GB), Knowbotic Research+cF (D/A), Gunter
Krueger (D), Seiko Mikami (J/USA), Debra Solomon (NL),  VinylVideo/Gebhard
Sengmuller (A), Tamas Waliczky  (H), Herwig Weiser (A/D), Aaron Williamson
(GB), Bureau of Inverse Technology (USA), Association of Strategic
Accidents (D), John Bain (USA), programm 5 (D), Karoly Toth (HU/NL), Zoltan
Szegedy-Maszak + Marton Fernezelyi (HU), and Timothy Druckrey (USA).

Documentation of the transArchitectures 02 + 03 at the Netherlands
Architecture Institute with works by: ABB/ TUD B. Franken (D),
Arakawa/M.Gins (USA), Asymptote (F), Maurice Benayoun (F), Objectile/Cache
Beauce Hammoudi (F), Karl S. Chu (USA), CyberNetiK[A] (B), Decoi (F), degre
zero (F), Neil Denari (USA), Dunne + Raby (GB), Ammar Eloueini (F), John &
Julia Frazer (GB), Christian Girard (F), Gregoire Kligerman Petetin (F),
LAB [au] (B), Greg Lynn (USA), F. Meadows/ F. Nantois (F), Ben + Laura
Nicholson (USA), Marcos Novak (USA), NOX/ Lars Spuybroek (NL), Kas
Oosterhuis (NL) Reiser + Umemoto (USA), ROCHE, DSV & Sie (F), Philippe
Samyn (F), Nasrine Seraji (F), Adrien Sina (F), Neil Spiller (GB), Bernard
Tschumi (F/USA).

The book The Art of the Accident can be purchased or ordered at every
bookstore in the Netherlands, at the Netherlands Architecture Institute
Rotterdam, and at V2_Organisation, Rotterdam. During the DEAF98 festival,
at all other festival locations.

256 pages full colour, price: HFL 49,50 (during the festival, on location,
HFL 45,00 with discount coupon)

Published by NAi publishers and V2_Organisation
ISBN 90-5662-090-8

Check the DEAF98 website for text excerpts: http://www.v2.nl/deaf (projects)

Further information:

DEAF98
V2_Organisatie
Eendrachtsstraat 10
3012 XL Rotterdam
T ++31 10 206 7275
F ++31 10 206 7271
deaf@v2.nl
URL: http://www.v2.nl/deaf

******************************************
JOB POSTINGS
******************************************
VIVID
Birmingham's Centre for Media Arts is looking for a Director with the
skills to develop creative opportunities in the digital & media arts &
cultural industries.

Experience of creative project development & management, fund raising, and
income generation in the media necessary.

Purpose of Post
The Director is responsible for the strategic and creative development of
Vivid in conjunction with the staff, the management committee and  funders.
The Director co-ordinates the planning, realisation and  promotion of the
activities of Vivid.

Therefore the key role of the position is the Strategic and Creative
Development of VIVID :

a) To work with the management committee, staff, funders and other partners
to plan Vivid's future development through the production and
implementation of a rolling three year artistic and business plan.
b) To develop creative and innovative projects that fulfil Vivid's aims and
objectives.
c) To produce and implement an income generation strategy and develop
relationships with existing and new funders and sources of income.
d) To develop appropriate partnerships with other organisations and individuals

For full details, and a copy of the application form go to :
http://wavespace.waverider.co.uk/~vivid/job/direct.htm
or email vivid@waverider.co.uk or via the address / tel.no. below

It should be pointed out that Vivid will increasigly be involved in
producing its own new media projects, and developing new practice. This is
perhaps not reflected in the current website. If you want to actually speak
to someone here, then ask for either andy robinson (digital and photo
co-ordinator), or Colin Pearce (Chair of directors).

Andy Robinson
VIVID
Unit 311f
The Big Peg
120 Vyse Street
Birmingham
B18 6ND

Tel. 0121 233 4061
Fax. 0121 212 1784
email. vivid@waverider.co.uk

******************************************
The FOUNDATION FOR ART & CREATIVE TECHNOLOGY (FACT) is seeking to appoint
two new members of staff please circulate the information below:

GENERAL MANAGER ref. GM98
(£22k - £25k)

PROGRAMME CURATOR ref. PC98
(£18.5k - £21k)

As a leading agency for the commissioning, presentation, servicing and
support of artworks using existing and emerging technology, FACT has a
successful and impressive track record of initiating and producing major
international projects including VIDEO POSITIVE and ISEA98, as well as
operating MITES (the Moving Image Touring & Exhibition Service).

These two new posts are key to FACT's next exciting stage of development
including  the staging of VIDEO POSITIVE 2000 and the development and
completion of the FACT CENTRE - a centre for moving image media in
Liverpool.

GENERAL MANAGER will be responsible for financial control and planning,
human resource management plus business development and planning issues.

PROGRAMME CURATOR will have principal responsibility for curating, project
managing and organising an international programme of exhibitions and
events throughout the UK including the VIDEO POSITIVE biennial in
Liverpool, scheduled for 2000.

We are looking for dynamic and ambitious individuals who can work
energetically and enthusiastically on multiple projects.

For further details, please send an A4 SAE (49p) stating the reference
number for the post to:

Laurie Hunte,
FACT,
Bluecoat Chambers, School Lane,
Liverpool L1 3BX

Deadline for receipt of applications: THURSDAY 17th DECEMBER 1998
Interviews scheduled for: week beginning MONDAY 11th JANUARY 1999

The Foundation for Art & Creative Technology [FACT]
[The UK's leading development agency for video and electronic media art]

******************************************
Volcano Programme
POOLE ARTS CENTRE

Poole Arts Trust have been awarded Lottery funding from the Arts for
Everyone department to develop an innovative new programme of visual arts
(specifically photography and new media).

A freelance Project Leader is required to manage and develop the programme
on behalf of Poole Arts Centre.  The programme, which will focus on
photography and new media/digital technology will pilot a new direction for
Poole Arts Centre, and for arts and community development across the
borough of Poole.  The programme is comprised of 3 major commissions, a
participatory arts programme, a small exhibitions programme, a training
programme and 3 arts festivals.  It specifically targets new audiences for
the visual arts, particularly young people, people with disabilities,
culturally-diverse groups, students and workers.  In addition the programme
aims to develop strong partnerships between local authority service units,
local industry, local further and higher education institutions, artists,
and the community.

JOB DESCRIPTION

1. To manage and develop the Volcano programme, with the support of the
Project Team and Project Steering Group.

2. To create partnerships and develop new links with local industries,
higher education, local authority service units and other relevant
organisations and individuals.

3. To support the work of artists undertaking the commissions.

4. To develop a series of participatory arts programmes, which meet the
needs and aspirations of target groups and individuals, and to support the
work of the artists delivering projects.

5. To develop a Website for Poole Arts Centre in conjunction with artists
and participants of the Volcano programme.

6. To make presentations about the project to potential partners and other
organisations.

7. To access additional resources for the Volcano programme,  through
business sponsorship,  grant aid, income in kind and other fundraising
activity.

8. To make verbal and written reports to the Project Team, the Project
Steering Group and the Arts Lottery Board.

9. To manage the Volcano budget with the support of the Finance Officer

10. To carry out basic administration of the Volcano Programme

The post will be supported by a steering group, an internal project team
within Poole Arts Centre and The Borough of Poole's Local Arts Development
Officer.

PERSON SPECIFICATION

You will be a creative thinker and an excellent facilitator. You will be
experienced in arts management with an understanding of the needs of
artists, and the needs of the potential target groups.  You will be able to
demonstrate awareness of the issues involved in developing the arts with
new audiences, particularly in disadvantaged areas.  Well-organised,
efficient and imaginative,  you will enjoy communicating with a wide range
of people.  You will be able to demonstrate an enthusiasm for contemporary
visual arts, photography and new media/digital technology.

EXPERIENCE & SKILLS

Essential: a knowledge of new developments in contemporary arts,
particularly photography and new media / digital technology a knowledge of
arts in education, participatory arts, disability arts, youth arts,
public/commissioning arts experience in organising exhibitions experience
in fund-raising and applying for grants/sponsorship.
Experience of Microsoft Office and related software experience and
understanding of the Internet

Desirable: experience of working in disadvantaged areas
curatorial experience
own transport
practical experience of participatory arts

FEES

The fee for the position is 12,000 GBP per year for approximately three
years until December 2001. (To be paid in monthly instalments of 1000 GBP).
You will be expected to work approximately 3 days per week, although this
may fluctuate substantially in accordance with the requirements of the
programme.  Hours are flexible with some weekend and evening work expected.
This is a freelance contract and you will need to make your own Income Tax
and National Insurance contributions.  Reasonable travel expenses will be
agreed. There will be a three month probationary period with one months
notice period.

Poole Arts Trust operate an Equal Opportunities policy.

APPLICATION PROCESS

Send a CV and letter of application, including 2 references, to:
Alistair Wilkinson, Programme Director, Poole Arts Centre, Kingland Road,
Poole, Dorset BH15 1UG.

Your letter should indicate what you feel you can offer the project with
reference to the person specification and the experience and skills
indicated.  Please also indicate your availability to take up the role.
Please contact the above on 01202 665334, if you would like to have an
informal chat about the role prior to application

Deadline for receipt of applications: 		15 January 1999
Shortlisted candidates will be informed by: 	22 January 1999
Interviews will be held on: 			29 January 1999

Successful applicant to start as soon as possible.

******************************************
The School of the Art Institute of Chicago
ANIMATION

Animation/3D Visualization.  Full-time, tenure-track, rank open.

The School of the Art Institute of Chicago seeks practicing artist to teach
and help expand animation courses in art & technology and filmmaking.
Animator-filmmakers, 3D animators, and real-time 3D Visualization artists
are encouraged to apply. Ability to work with beginning and advanced
students.  School's open curriculum nurtures experimentation and
interdisciplinary work in art & technology, film, video, sound, painting,
sculpture, etc. AA.EOE.WMA..

Send letter of application; resume; statement of teaching philosophy;
sample of work; names/addresses of 3 references and self-addressed, stamped
envelope by February 1, 1999 to: Animation Search Committee/em3, SAIC,
Dean's Office, 37 S. Wabash, Chicago, IL  60603.

******************************************************************
The School of the Art Institute of Chicago
SOUND

Audio Artist/Musician.  The School of the Art Institute of Chicago.
Full-time, tenure-track, rank open.

Sound department seeks practicing audio artist/musician with experience in
one or more of the following:  digital/analog electronic production
techniques, experimental instrument design and construction, improvisation,
sound installation, and sound for internet or multi-media presentation.
Candidates should be familiar with current critical discourse as well as
with the history of audio art and experimental music. Candidates should be
comfortable working with sound and music in the context of a variety of
artistic disciplines.  MFA or other terminal degree or equivalent
experience as well as college-level teaching experience required.
AA.EOE.WMA.

Send letter of application; resume; documentation of work (audio cassette
or DAT, VHS/NTSC videotapes, slides, CDs or CD-ROMS, written materials);
names and addresses of three references and self-addressed stamped envelope
by February 1, 1999 to:  Sound Search Committee/em3, SAIC, Dean's office,
37 S. Wabash, Chicago, IL 60603.

******************************************
CALLS  & EVENTS
******************************************

1. [Call for Participation]
AT HOME' ABROAD
Tábor, Czech Republic
August 20-24, 1999

2. [Call for Works]
THE NEW YORK ANIMATION FESTIVAL
New York City, April 1999
Deadline for submission: February 1, 1999

3. [Call for Participation]
STRANGE CASE WITH ART!
http://www.cryptic.demon.co.uk/case.html

4. [Call for Submission]
POWDERKEG CONTEMPORARY PERFORMANCE
Seattle, WA/Los Angeles, CA
February 1999
Deadline for submission: January 1, 1999

5. [Call for Papers]
EURICOM--WACC COLLOQUIUM ON MEDIA OWNERSHIP AND CONTROL IN EAST-CENTRAL EUROPE
Piran, Slovenia,
April 8-10, 1999

6. [Call for Submission]
MY FIRST WEB PAGE
Online Exhibition

7. [Call for Works]
CALL FOR FEAR
SEEKING MEDIA WORKS
SF Art Commission Gallery

8. [Call for Papers]
CONVERGENCE: THE JOURNAL OF RESEARCH INTO NEW MEDIA TECHNOLOGIES

9. [Call for Works]
LITERATURA
Slovenia

10. [Call for Submission]
LIFE 2.0 International Competition
Madrid, Spain
Deadline for submission: January 15, 1999.

11. [Call for Submission]
SOUND BOX 2.0
Museum of Contemporary Art in Helsinki, Finland
Deadline for submission: February 1st 1999

12. [Call for Scores]
ISCM World Music Days 2000
Luxembourg
29 september - 8 october
Deadline for submission: March 1st 1999

13. [Call for Entries]
VRML.ART
Paderborn, Germany
February 23-26, 1999.
Deadline for submission: January 15, 1999

14. [Call for Participation]
01 ART INTERNATIONAL EVENT
Rio de Janeiro, Brazil
March 1999

15. [Call for Works]
COLLAGE JUKEBOX  2.0
Musee d'art contemporain de Lyon France
February to April 1999

16. [Call for Works]
INTERNATIONAL FESTIVAL OF YOUNG INDEPENDENT ARTISTS
Ljubljana, Slovenia
May 1999
Deadline for submission: February 8, 1999

17. [Call for Works]
AVAILABLE LIGHT
Ottawa, ON Canada
Deadline for submission: January 15, 1999

18. [Call for Works]
INDEPENDENT EXPOSURE 1999
Seattle, WA, USA

19. [Event]
SCHOOL OF SOUND
London, UK
15-18 April 1999

20. [Event]
W3LAB :: BETA-TEST
Exhibit

******************************************
1. [Call for Participation]
AT HOME' ABROAD
An Arts Festival of Cross-national Interdisciplinary Collaborations

Reflections on Adopted Cultures from Im/E/Migrants, Refugees, Extra-legal
and Resident Aliens, and Others making their Homes on Foreign Soil
Cultural Exchange Station in Tábor, Czech Republic August 20-24, 1999

As world borders grow, change or disappear, the results are evident in
movement: here to there, near to far, inside to outside. This is not a new
occurrence, nor is it strange, yet foreigners remain strangers. Through At
Home' Abroad we will take a look at our societies from the Other side by
discussing and witnessing the experiences, rejections, losses, gains and
illusions  of these social voyeurs, these uninvited viewers. We will debate
the placement of foreigners into non-participatory social categories and
offer their descriptions  as integral contributions to understanding our
societies as a whole. Through the process of collaboration the artists
themselves will also investigate the similarities and differences of their
adopted cultures.

CESTA's festival parameters of cross-national interdisciplinary
collaborations represent the center's commitment to developing
communication through creative expression.  We base our selection of
artists on a review of applications resulting from our annual open call.
Interested artists submit a prepared concept that fits the festival
parameters or request CESTA to connect them with potential collaboration
partners. For At Home' Abroad participants must join or present a
collaboration group in which the members:

1) currently live in a country in which they are considered "foreign"
2) are using different artistic media
3) create a large portion of the work(s) exclusively for At Home' Abroad

We do not accept consecutive year applications from previous CESTA festival
participants. For more information or an open call application form for At
Home' Abroad, please contact CESTA.
CESTA is an international non-profit center committed to the development of
cultural understanding and tolerance through the arts.
CESTA was founded in 1993 in the southern Bohemian city of Tábor, Czech
Republic. For the past four years our association has pursued the
development of this center through community events and annual arts
festivals of cross-national interdisciplinary collaborations. Housed in a
century-old mill, the project serves as a resource center for local and
regional artists, and exhibition and performance space for festival
participants and visiting artists.

CESTA Novakova 387, Tabor 39001, Cech Republic tel: +420-361-258-004 email:
http://www.cesta.cz

******************************************
2. [Call for Works]
THE NEW YORK ANIMATION FESTIVAL
New York City, April 1999

First annual festival featuring film, video and digital animation from
around the world.

Deadline: February 1, 1999
Early Deadline: January 4, 1999

For entry form or information, call, fax, write or e-mail your name,
address or e-mail address to:

New York Animation Festival
PO Box 1513
Peter Stuyvesant Station
New York, NY 10009
USA

Tel: (212) 982-7781
Fax: (212) 260-0912
E-mail: NYAFest@yahoo.com

******************************************
3. [Call for Participation]
Help fill the Strange Case with art!

You are one of a number of dispersed and diverse individuals, invited to
gather in a virtual place to draw, paint, collage, montage. The resulting
artworks will be distributed by hand to other individuals. The art makes
random connections between one network and another: between the electronic
and the social, from the telematic to the personal.

Please alter Polaroid images of the Strange Case: maybe you would like to
put something in the case, decorate it, obliterate it, whatever. Download
the images via your browser. You will need graphics software, for example
Photoshop, Paint Pro, GraphicConverter, to make your marks. Once your work
is complete, simply send me an e-mail, with the altered image(s) attached.

To take part, visit http://www.cryptic.demon.co.uk/case.html

Contributions will be archived on this site for all to see. I will collate
the altered images after one month, output to a laser printer, and place
them in the Strange Case.

Exhibition

At the opening of the exhibition, I will invite people in attendence to
take an image from the Strange Case. The location will hopefully be
Rotterdam, during this year's Dutch Electronic Art Festival. No money will
change hands, this is a non-profit project, concerned solely with exchange
of ideas. All participating artists will be credited.

Gulp! Gallery

This project is included in the programme of Gulp! a travelling free space
in operation since 1995. For further details, consult the web site:
http://www.hi.is/~tbth/gulp

"All that is comes from the mind"

Chris Byrne, Kaleidoscope
chris@cryptic.demon.co.uk
http://www.cryptic.demon.co.uk/index.html

The Strange Case of Art
http://www.cryptic.demon.co.uk/case.html

Variant Magazine on the web:
http://www.cryptic.demon.co.uk/variant.html

******************************************
4. [Call for Submission]
POWDERKEG CONTEMPORARY PERFORMANCE

Powderkeg Contemporary Performance is now accepting submissions of
contemporary video work that is 20 minutes or under in length.

The exhibition will take place in February in Seattle, Wa and in Los
Angeles, CA in late Spring of 99.

Please send all submissions to:
Powderkeg
1122 E Pike St #443
Seattle, WA USA
98122

The deadline for submissions is January 1, 1999, but the sooner the better.

Requirements:

- each piece submitted should be under 20 minutes
- all work should be on 1/2 inch VHS or S-VHS tape
- a $5.00US processing fee should accompany your work (the amount of videos
you would like to submit is unlimited. The $5.00US fee is per artist, not
per submission and is strictly to offset the costs of the venue and
necessary equipment for the event, as well as the needed facilities to
convert the European format submissions to NTSC)
- if you want your work returned, please send a SASE with appropriate postage.
- if you want more detailed information concerning the event and or
selection process, then send a letter of specific request and a SASE.

If enough funding can be generated by local arts organizations and
submission fees then the panel will select two artists to travel to Seattle
for the opening of the exhibition and present an informal lecture about
their work.

questions: thepowderkeg@hotmail.com

******************************************
5. [Call for Papers]
EURICOM--WACC COLLOQUIUM ON MEDIA OWNERSHIP AND CONTROL IN EAST-CENTRAL EUROPE

Piran, Slovenia, April 8-10, 1999

The European Institute for Communication and Culture and World Association
for Christian Communication will hold a colloquium in Piran, Slovenia on
media ownership and control in East-Central Europe. With the end of the
communist utopia at the turn of the 1980's, East-Central European countries
have been undergoing fundamental changes -- in politics, economy, as well
as social consciousness. The media followed suit: A few thousand newspapers
and magazines changed their owners, many went out of business and even more
new ones were launched. Dozens of commercial radio and TV stations have
appeared on the market. Nowhere in the world were these changes more
dramatic than in East-Central Europe. While the process is still far from
complete, there is no doubt that these region has
the richest experience of democratisation and its impact on the mass media.
The abstract debates about the ideal relationship between the media and
democracy have a concreteness and an urgency which are is sometimes lacking
in discussions about more stable societies, either democratic or
dictatorial. These processes of democratisation have taken place more or
less at the same time as the growth of new media, and have clearly
influenced both governments and citizens in their thinking about the role
and functions of the media. The questions of commercialisation,
ideologisation, objectivism, politicisation, private ownership, monopoly,
state control, the role of church and, generally, the relationship between
the mass media and democracy are hotly debated topics, both by scholars and
by political and social actors. This colloquium will address those themes.

We welcome papers that look at the experience of the media and
democratisation, and the new media and democracy, in both East-Central
Europe and other regions to enable a comparative perspective. We are
interested in detailed country studies, comparisons of two or more
countries either within the region or between regions, and attempts to draw
more general theoretical lessons from the concrete experiences in question.
As is always the case in Colloquia organised by or with Euricom, we do not
intend to prioritise any particular approach or method. We welcome papers
from any perspective, or employing any methodology. It is one of the
strengths of the kinds of gathering we organise that these differences can
be debated and discussed in an open and friendly way, to the benefit of all
participants.

Abstracts due: January 1, 1998
Papers due: April 1, 1998

Abstracts of approximately 250 words should be submitted to:
Slavko Splichal, University of Ljubljana, Faculty of Social Sciences,
Kardeljeva pl. 5, 1000 Ljubljana, Slovenija. Fax: +386 61 721 193.
E-Mail: slavko.splichal@uni-lj.si

******************************************
6. [Call for Submission]
MY FIRST WEB PAGE
Submissions are requested for an online exhibition My First Web Page.

Curators will comb through the virgin net projects of self-professed
artists AND non-artists. Pages focused on personal hobbies or experiences
as well as first web pages demonstrating art, programming or underground
talent are welcome.

URLS or files (appropriate if the first web page is no longer online)
should be sent to Heath Bunting (mailto:nov98@irational.org) and Rachel
Greene (mailto:rachel@rhizome.org).

Rachel Greene and Heath Bunting

******************************************
7. [Call for Works]
CALL FOR FEAR

Seeking media works (video, photography, film, CD-ROM, sound, web) relating
to collective disquiet and fear in contemporary society for an exhibition
scheduled for
Fall 1999.

Themes particularly related are:
Fear and Anxiety (the state of unease as the Zeitgeist of the times)
Fear and the Family
Fear and Authority
Fear and Technology
Fear and the 'Other" (fear of invasions)

Send proposals or for a prospectus to:
Rupert Jenkins, Paula Levine,curators,
SF Art Commission Gallery, 25 Van Ness Avenue, Suite 240, San Francisco CA
94102

******************************************
8. [Call for Papers]
Convergence: The Journal of Research into New Media Technologies

Special issue on young people and new media technologies guest-edited by
David Buckingham and Julian Sefton-Green

The Winter 1999 issue of Convergence will be devoted to the theme of young
people and new media technologies. Debates on this issue typically invoke
contrasting visions of the future. On the one hand, there are those who
celebrate the autonomy of the new generation of 'cyberkids'; while on the
other, there are those who lament the decline of traditional notions of
childhood into a technological dystopia. Young people are the key target
market for a range of new media products and marketing; they figure in
disputes over the place of technology in redefining domestic and public
spaces; and they are apparently the
most ready to grasp the cultural possibilities offered by new digital
media. Developments in this field also reflect the changing nature of
'education' and 'entertainment' and of the relationships between them. Yet
research is only just beginning to assess the significance of computer and
on-line games, both in themselves and in terms of their influence in other
forms of cross-media output; and we still have a long way to go in
realising the potential impact of new media in bringing about new kinds of
teaching and learning. We welcome submissions relating to the cultural,
educational, economic and political dimensions of this field, particularly
those based on empirical research into young people's uses of digital media.

Copy deadlines
Refereed research articles 30 April 1999
Debates 30 June 1999
Feature reports 30 May 1999

All proposals and submissions for this special issue to either:

Dr David Buckingham Reader in Education Institute of Education, University
of London, 20 Bedford Way, London, WC1H 0AL, UK. Tel: +44 171 612 6515, Fax:
+44 171 612 6177, E-mail: d.buckingham@ioe.ac.uk

OR

Dr.Julian Sefton-Green, Media Education Development Officer, Weekend Arts
College, Interchange Studios Dalby Steet, London NW5 3NQ, UK. Tel: +44 171 284
1861, Fax: +44 171 482 4727, E-mail: sefton@home77.demon.co.uk OR
julian@wac.co.uk

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

******************************************
9. [Call for Works]
LITERATURA MAGAZINE

I would really appreciate it if you could send me the URL of your:

- cyber (hypertext) literature projects
- net art projects
- theory of computer art

If it's not too much trouble it would be very nice if you could include
short description (or statement, or something similar) of the project.
Please try to be as short as possible (few sentences), use English language
and Slovene if you know it. (If you have some information about cyber
literature (like URL of on line literature magazines or mailing lists, ...)
I would appreciate if you send me this data also.)

WHERE TO SEND DATA?
Please send data to:
jaka.zeleznikar@kiss.uni-lj.si

WHY DO I NEED THIS?
I'm one of the editors of slovene literature magazine called LITERATURA.
It's published in Slovene language only, but the magazine is now going on
line and soon there will be some parts translated into English.
Magazine covers poetry, fiction and theory of literature. By going on line
it will cover also hypertexts literature and theory and also there will be
part about net/web art (computer art).
In on line part of the magazine will be a page with links to hypertext
literature projects and to other net art projects and also to the theory of
net art/ computer art.

Best regards and thanks in advance
Jaka

******************************************
10. [Call for Submission]
LIFE 2.0 International Competition

This is a call for submission of art works to an international competition
on "art and artificial life." We are looking for works in electronic and
digital media that cross over with the field of a-life research. Artists
whose work uses digital synthesis techniques and whose conceptual concerns
are related to synthetic life and artificial evolution, are invited to
submit their pieces. The work may employ techniques such as digital
genetics, autonomous robotics, recursive chaotic algorithms, knowbots,
computer viruses, avatars or virtual ecosystems.

An international jury (Jose Luis Brea, Manuel DeLanda, Joe Faith, Rafael
Lozano-Hemmer, Sally Jane Norman and chair Nell Tenhaaf) will grant three
cash awards, with a first prize of US $5,000 (2nd Prize:$3,500 - 3rd
Prize:$1,500), plus seven honorary mentions to the most innovative
electronic art projects related to a-life. Furthermore, works that are
awarded a monetary prize or selected for an honorary mention will be
included in a "Best of LIFE 2.0" video which will be aired on specialty
television programs and circulated at festivals worldwide. Assessment will
be based on video documentation submitted along with an application form.
The deadline for submission is Friday, January 15, 1999.

The Life 2.0 International Competition is sponsored by the Fundacion Arte y
Tecnologia in Madrid, Spain.

For further submission information and the application form, please see:
http://www.telefonica.es/fat/vida.html

For questions concerning eligibility of entries: Nell Tenhaaf, Artistic
Director <tenhaaf@yorku.ca>

All other inquiries:
Susie Ramsay <fat@telefonica.es>

******************************************
11. [Call for Submission]
SOUND BOX 2.0
Webcast Project

Date: November 1998

Kiasma, Museum of Contemporary Art in Helsinki Finland, is seeking works
for possible inclusion for the upcoming SOUND BOX 2.0 web project.

SOUND BOX 2.0 is a RealAudio based experimental webcast, opening on Tuesday
April 6th 1999. Webcast will be online for a period of four months at the
following address: http://www.kiasma.fng.fi/soundbox/ .

SOUND BOX 2.0 will introduce different kind of works and aesthetics
concerning electronic music. SOUND BOX 2.0 is looking for fresh ideas,
works in which sounds and electronic means are used in imaginary and
interesting ways. SOUND BOX 2.0 will give the web audience a versatile
vision about the diversity and richness of international sonic art in the
90's.

40 works will be selected for SOUND BOX 2.0 webcasting. The selected works
are broadcasted as a 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.

Each selected composer will receive a fee of 100 USD. Please be sure that
you own the copyright of the piece before submitting it. There will also be
a possibility that Kiasma, Museum of Contemporary Art will buy a few of
these works for its collection.

SOUND BOX 2.0 project is curated by composer Petri Kuljuntausta
(http://muu.autono.net/artists/kuljuntausta/), chairman of the CHARM OF
SOUND association.

Formats for submission:
- DAT, CD/CD-R, Mini-disc.

Please include:
- Written artistic statement about the submitted work and bio about
yourself and your previous work in diskette (Macintosh / PC).

DEADLINE for submissions is February 1st 1999 (postmarked).

Submit your work and diskette to:

SOUND BOX 2.0
Kiasma, Museum of Contemporary Art
Mannerheiminaukio 2
FIN-00100 Helsinki
Finland

The SOUND BOX Website at: <http://www.kiasma.fng.fi/soundbox/>

******************************************
12. [Call for Scores]
ISCM World Music Days 2000
Luxembourg
29 september - 8 october

The World Music Days 2000 will be held in Luxembourg from September 29 to
October 8.
In order to give as complete an overview as possible of the contemporary
music scene, the organizer intends that every national section and
associate member taking part in the submission process will be represented
in the festival program. Any piece composed after 1975 may be entered.
Entries must be accompanied by a recording, except for pieces composed in
1998 or 1999. Pieces written especially for the WMD 2000 should not last
more than 10 minutes, to enable the organizer to perform the largest
possible number of composers.

It is recommended that entries include works for the  usual ensembles:
symphony orchestra, chamber ensemble (sinfonietta), symphonic wind band,
string quartet, woodwind quintet, saxophone quartet, piano solo, piano +
solo instrument, etc.

During the entire duration of the World Music Days, "sound-installations",
video-art, music and film installations, electro-acoustic installations and
exhibitions will be on show and can be heard in the Forum d'Art
Contemporain in the centre of the city of Luxembourg. In all, there are 14
rooms with a total of 700 m2 for this purpose.

An International Jury will decide on the final program of the ISCM World
Music Days 2000. Beside the Orchestre Philharmonique du Luxembourg and
various Luxembourgish soloists, the performances will be assured by
established international ensembles.

Entries
1.Each National Section and Associate Member of the ISCM may submit up to
six works from at least two different categories as an official submission.

2. Composers including those from countries not affiliated with the ISCM,
may submit only one work. An entry fee of Hfl. 50,- (fifty Dutch guilders)
has to be paid by credit card, by international money order/mandat de poste
international (no bank cheques) or transferred by bank, referring to 'ISCM
World Music Days 2000'. If one wishes to pay by bank cheque, Hlf.25,- have
to be added.
If the entry is not paid to the ISCM Secretariate, Swammerdamstraat 38,
1091 RV Amsterdam, the Netherlands, the submission will be  disqualified.

3.Entries by publishers must be accompanied by a letter of consent from the
composer.

4.Only one submission per composer can be accepted, whether as a result of
national selection or individual submission. Preference will be given to
official submissions.

5.Equal attention will be given to all categories of music:
a. orchestra (with or without soloists, choir, electronic instruments)
b. chamber orchestra
c. music for ensemble with or without soloists
d. vocal music (choir and smaller vocal ensembles with or without instruments)
e. solo instruments (including organ) and/or voices
f. electroacoustic works
g. music theatre and music for dance
h. video (VHS, European format, not US), film, installation/ambient events
i. other categories

6. All submissions must be accompanied by the following materials:
a. short biography of the composer translated into english
b. proof of his/her nationality
c. contact address of the composer
d. a recording of the work (audio or video VHS; exception: pieces composed
in 1998 or 1999)
e. programme note to the work translated into english
f. year of composition and duration of the work
g. all necessary information/documentation relevant for judging by the
International Jury
h. submissions by individual composers or by publishers have to be
accompanied by a proof of payment of the entry fee.

7. Deadline for entries is 1 March 1999

8. All material should be sent to the following address:

LGNM
Case Postale 828
L-2018 Luxembourg

9.The composers of the selected works must provide all the performance
material (including rental material and tape rental).

10.All entries will be treated with great care. The ISCM and organising
commitee however can not take responsability for the loss or damage of
scores, tapes or any other submitted material.

11.The submitted scores and material will only be returned if this is
expressly requested and the cost of postage or freight has been paid.
Delegates of the National Sections and Associate Members may collect
submitted material from their countries at the General Assembly.

12.All submissions which do not meet the conditions or deadline above will
not be considered.

Radio
Every effort will be made to record as many concerts as possible and to
make them available to the radio stations which are members of, or
affiliated to the European Broadcasting Union.

Financial conditions

The organizers of the ISCM World Music Days 2000 will bear the costs for
the performance of the works. In the case of a composer having special
requirements concerning the performance (e.g. specific performer or
conductor) the expenses must be covered by the composer, National Section
or Associate Member.

The organizer will inform composers in due time on the rehearsals of their
works and other relevant things.

ISCM World Music Days 2000
Artistic Director:  Marcel Wengler
Administrator: Luc Blasius
tel.: (+352) 22 58 21, fax: (+352) 22 58 23
email: lgnm@lgnm.lu
internet: http://www.lgnm.lu

Address
LGNM (ISCM Luxembourg Section)
Case Postale 828
L-2018 Luxembourg

Fill in the "Method of Payment' form and send this form (eventually with
money or cheque) to: the ISCM Secretariate,
Swammerdamstraat 38,
1091 RV Amsterdam,
The Netherlands

add a copy to your entry which has to be sent to the ISCM Luxembourg Section

METHOD OF PAYMENT

name:

address:

postcode / town:

country:

Title of entered work:

[   ] I enclose the amount of Hfl. 50,- in cash money
[   ] I enclose a bank cheque of Hfl. 75,-
[   ] I will tranfer an amount of Hfl. 50,- to account no. 552532088 of the
ISCM in Amsterdam, at ABN/AMRO bank in Bilthoven, the Netherlands,
swiftcode ABNA 2NLA
[   ] I will transfer an amount of  Hfl. 50,- via international money order
/ mandat de poste internationale
[   ] I will pay an amount of Hfl. 50,- by credit card.
	Please charge my
	[    ] Mastercard [     ] VISA [    ] American Express
	Card #                           Expiry date
	Signature                        Date

Send this form (eventually with money or cheque) to the ISCM Secretariate,
Swammerdamstraat 38, 1091 RV Amsterdam, the Netherlands; add a copy to your
entry which has to be sent to the ISCM Luxembourg

******************************************
13. [Call for Entries]
VRML.ART  --  CALL FOR ENTRIES

The 4th VRML Conference will take place in Paderborn, Germany (the first
time in Europe)  February 23-26, 1999.

This year, the conference, a collaboration between the VRML Consortium
(www.vrml.org), the Gesellschaft fur Informatik (www.gi-ev.de) and C-lab,
the R&D Institut of Paderborn University and Siemens AG (www.c-lab.de/)
will feature the VRML.ART expo.

DEADLINE  to submit projects:  January 15, 1999
NOTIFICATION:  January 25, 1999

Categories:
Artists and designers   -   Art and design students

Projects can be submitted as:
Stand-alone VRML  --   Web-based VRML  --  Multi-user-based VRML
Multi-media VRML Work   --   VRML Objects and Environments

The VRML.ART expo features the ideas and  independent creations in VRML
from artists, and Web VRML design from commercial designers.  It shows the
status of  VRML based visual work done private, in companies and in schools.

A growing number of Art Schools and Art departments in Universities are
teaching students VRML based visual  work, commercial companies and
institutions are starting to implement 3D objects (in their 2D Web
representation), and artists are using VRML technology to express artistic
ideas and in communication environments.

The VRML.ART expo will be presented online, and also featured in a gallery
installation at the VRML 99 conference.  Works will be juried by Karel
Dudesek, Director of VGTV Laboratories (Germany) and Kathy Rae Huffman,
Independent curator and Associate Professor of Electronic Art, Rensselaer
Polytechnic Institute, Troy, N.Y. (USA)

ENTRY RULES:

Please specify the category, and provide a URL, title of project, contact
name, address, telephone, FAX, and email address.

Online submissions:
Submission authorizes linking to your 3D site, if selected. Online works
must run on max.150 MHz.   Please specify CPU power and OS which your work
is tested on.

CD ROM submissions:
Test CD ROMS before sending.  Please specify CPU power and OS which your
work is tested on.   Works with loading problems, or ëalertí messages on
VRML dashboard  will be automatically eliminated.  Return of CD ROMs is not
guaranteed.

Student submission:
In recognition of the growing number of student sites and VRML activity,
ALL student works that load properly will be included in a special
VRML-student gallery. Class compilations are encouraged.  The name of
professor or instructor, a list of students included, school name and
course title should be included with each student entry.

Submit projects on or before January 15, 1999, to:

Karel Dudesek,  VGTV, Gl?singerstr 40c, D-21217 Seevetal (Germany)
040.7691.0542
Additional information: kdudesek@compuserve.com  or http://www.c-lab.de/vrml99/

******************************************
14. [Call for Participation]
01 ART INTERNATIONAL EVENT

We are presenting you with an opportunity to get together with a group of
people who are composing and important panel which will be part of an art
exhibition on computers that will take place in march 1999 at Rio de
Janeiro,  Brasil.

There are six computer generated images on our site:
<http://www.iis.com.br/~regvampi>http://www.iis.com.br/~regvampi

Our idea is that these images will come to suffer innumerable free
interventions from each participant. The metamorphosis that will be carried
out by this image should be sent to pobox: regvampi@iis.com.br .
If you prefer the traditional mail, you should sent your image to
caixa postal 64050,
Rio de  Janeiro  RJ,
CEP: 22012-920,
in the form of a print of A4 format, black  and white or color, signed by
you (if you wish) and it should be accompanied by a return address and the
information you want to disclose about your work, or  about computer art.
Your participation in this project automatically implies  that we have the
right to use the image you send to the  "ÔUANARTE" group.

Join us in an event that will reflect the feelings and the imaginary of
1999  so present already within us.

ÔUANARTE ARTISTS:

Guto Nóbrega e-mail: gutonobrega@pobox.com
Marcelo Frazão tel: 548 10 88 ramal 254 (SESC /  Copacabana)
Neide de S e-mail: neidsa@ibm.net
Regina Célia Pinto e-mail: regvampi@iis.com.br
Romero Cavalcanti
Rubens Ribeiro e-mail: rubensri@iis.com.br

******************************************
15. [Call for Works]
COLLAGE JUKEBOX  2.0   http://www.imaginet.fr/manca/joy/collage

Co-production ASSOCIATION ICI / BREGENZER KUNSTVEREIN / MUSEE D'ART
CONTEMPORAIN DE LYON

NOUVELLE REALISATION / NEW REALIZATION :
Musee d'art contemporain de Lyon France
11/02/1999  -> 11/04/1999
APPELS A CONTRIBUTION / CALL FOR WORKS
DEADLINE : 8/12/1998

PROCHAINE REALISATION / NEXT REALIZATION :
Bar Wagram Nice
APPELS A CONTRIBUTION / CALL FOR WORKS
DEADLINE: 30/01/1999

Venez rejoindre les quelques 170 artistes qui participent deja au projet.
Envoyez vos contributions des maintenant.
Come to join the few 170 artists who take part already in the project. Send
your contributions now.

---> Jerome Joy, BP 74, 06372 MOUANS SARTOUX Cedex, FRANCE.
---> email: jj@cnap-villa-arson.fr
---> fax: 00 33 4 92 92 26 35

INVITATION
You are invited to take part in Collage JukeBox, a project of Jerome Joy.
Here is the advertisement of the new international project Collage JukeBox.
You are cordially invited to take part in this co-operative project of an
international edition in a new form: a juke-box. This project proposes new
investigations in the field of the sound, in music, visual arts and in
other disciplines. It is a project on the " fixed sound " or the " recorded
sound ". The original proposal of the Collage Project was two years ago, to
can listen to some new sound and musical investigations in knowing that the
majority of those are not broadcasted in the traditional networks, and to
find some inedite forms of presentation which come out off the beaten
tracks and which allow to put together some sound researches in visual arts
and musical ones. How the sound invests the contemporary languages today?
and which artistic activity and musical possible today?

DESCRIPTION
The new project Collage JukeBox, after the project of the last year
CollageTV and the first version of JukeBox the last summer, uses the device
of a "true" JukeBox to become mobile and permanent. The edition consists of
evolutionary banks of  CDAUDIOs, growing progressively with new
contributions, and is representative of new sound investigations in art and
music. It is not a question of a collection carried out by collecting, but
of a project where we ask each artist to voluntarily take part and to send
what he or she desires. You can send to the postal address above your sound
and/or musical contributions (works, extracts, documents, etc.) on DAT, CD
or audio-cassette, each work must be less than 10 minutes. These
contributions are then burned on CD, are inserted in the JukeBox device and
are "playable" like tracks starting from the board of the Juke. Specific
works for this project of JukeBox are of course welcome and especially
desired. The participating artists keep the moral right and the copyright
on works sent. JukeBox is free and not-paying. The user chooses one or of
the selections on the board of the JukeBox according to the names of the
artists and titles' displayed, as on a traditional jukebox. All the
selected artists are named (quoted) into each presentation of the project
(publication, catalogs, etc). You can invite two or three other artists to
participate to the JukeBox project. The Collage title do not want to
indicate a selection and a esthetic reference according to this kind, but
this choice wanted to reveal this particular juxtaposition of different
varied processes and experiences around audio recording. The project
Collage JukeBox is permanent today and evolutionary, you can send your
contributions when you want. Each presentation of the project is a step of
this one, and contains the whole of the participations for a presentation
and it choosen date. Be inventive vis-a-vis of the jukebox!

COLLAGE
Past events:
- 1996 "Collage Musiques d'Appartement", non-stop hi-fi dispositive in an
apartment open to the public .
- 1996 "Collage Musiques de Plein Air", non-stop sound-system dispositive
in a public place.
- 1997 "Collage TV", 38 TV-programs of 15 minutes each, white screen + sounds.
- 1997 "Collage Auditorium", automatic website.
- since 1998 "Collage JukeBox", jukebox. (version 1.0, Bregenz Austria,
http://thing.at/orfkunstradio/BREGENZ/KIDS/collage.html
http://thing.at/orfkunstradio/BREGENZ/IS/RADIO/RA/is-21_7a.ram
http://thing.at/orfkunstradio/BREGENZ/RA/jukebox.ram

COLLAGE JUKEBOX : CONTEMPORARY ART MUSEUM OF LYON, FRANCE
11/02/1999  -> 11/04/1999
!!!!!!!! DEADLINE : 8/12/1998
Collage JukeBox will be presented during the event "Musiques en scenes"
with other projects of Janet Cardiff, Ian Car Harris, Philip Corner, Paul
Demarinis, Raymond Gervais, John Giorno, Joe Jones, Collage JukeBox un
projet de Jerome Joy, Alvin Lucier, Christian Marclay, La Monte Young,
Charlotte Moorman, Charlemagne Palestine, Peter Sinclair & GH Hovagimyan,
Michael Snow, Wolfgang Staehle, Doug & Mike Starn, Stephen Vitiello et Bill
Vorn.
I am sorry for the very short time for the reception of the new
contributions and the "montage" of the project, but I was informed myself
very late. All the artists will be quoted in the catalog. The JukeBox will
be presented in a user-friendly space especially arranged for this purpose
(with a bar), and not laid out into exhibition spaces.

COLLAGE JUKEBOX : BAR LE WAGRAM NICE, FRANCE
Mars 1999
!!!!!!!! DEADLINE : 30/01/1999
Collage JukeBox will be presented into a traditional bar near the Nice 's
harbour.

PARTICIPANTS
The number of participants have not ceased to increase since two years,
creating truly an experimental space in which meet as much the artists in
contemporary art, composers, musicians, etc. Since the Collage JukeBox
Version 1.0, you can find into the JukeBox pieces of these following
artists:

Annie Abrahams, Anna Adahl, Guenther Albrecht, Dominique Angel,
Pierre-Andre Arcand, Eric Arlix, Scot Art, Kenneth Atchley, Christophe
Ballange, Christian Banasik, Robert Barry, Frederic Beaumes, Vicki Bennett,
John Bischoff, Olivia Block, Blood on the Honky Tonk Floor, Lynn Book,
Xavier Boussiron, Steve Bradley, Pascal Broccolichi, Nicolas-Jaufre Bullot,
Warren Burt, Rosalie Calabrese, Rhys Chatham,Jeff Chippewa, Henri Chopin,
Michel Cloup, Philip Corner, Pierre Couprie, Courtis, Andy Cowton, Kurt
Dahlke, Lance Dann, D'Arcy Philip Gray, Sophie Decoret, Paul Demarinis,
Ernesto Diaz Infante, Dickyoucantrust, Kristie Drew, Chantal Dumas, Jean
Dupuy, Dust Breeders, Karlheinz Essl, David Fenech, Evelyn Ficarra, Rajmil
Fischman, Mike Frengel, Bernhard Fruehwirth, William Furlong, Rainer
Ganahl, Diego Garro, Marcus Geiger, Thomas Gerwin, Bob Gluck, Fred Gobin,
The Golden Gate Fils de Pute, G.R.A.M., Gilles Grand, Alex Grillo, Bruno
Guiganti, Martin Guttman, Claudia Hart, Hanna Hartman, Andrew Hauschild,
Christophe Havel, Nigel Helyer, Axel Huber, Sung Ho Hwang, Joseph Hyde,
Jalouxdemonsucces, Philip Jeck, Thorsten Jordan, Pierre Joseph, Jerome Joy,
Luc Kerleo, Martin Kippenberger, KlangKrieg, Imi Knoebel,
Koch-Schuetz-Studer, Thomas Koener, Jan Kopp, Charles Kriel, Peter
Kristiansen, Christina Kubisch, Petri Kuljuntausta, Eric La Casa, Diane
Landry, Heimo Lattner, Richard Lerman, Philippe Legoff, Thomas Lehn, Claude
Leveque, John Lever, Ludovic Lignon, Henry Lowengard, Marco Lulic, Erik M.,
Kenny Mac Alpine, Danny Mac Carthy, Andrew McKenzie / The Hafler Trio,
Arnaud Maguet, Eric Maillet, Don Malone, Jose Augusto Mannis, Maxime
Matray, Kaffe Matthews, Martin Meilleur, David Michaud, Micromega, Christof
Migone, Joachim Montessuis, Michael Morley, Antoine Moreau, Gianni Motti,
David Moufang - Move D, Florian Mutschler, Helene Myara, Maurizio Nannucci,
Yuko Nexus6 Kitamura, Jerome Noetinger, Ed Osborn, John Oswald, Frank
Edward Pahl, Jean-Louis Paquelin, Para-Noise Terminal, Gianantonio Patella,
Stacy Pershall, Christophe Petchanaz, Dominique Petitgand, Emanuel dm
Pimenta, Jean-Louis Poliart, Andrea Polli / Doorika, RadioActivists, Lee
Ranaldo, Maja S. Kjelstrup Ratkje, John Richey, Jocelyn Robert, Jean
Routhier, Jean-Philippe Roux, Sabdam, Philip Samartzis, Sam Samore, Claude
Schryer, Segovia/Vialard/Guiganti/Myara, Jarmo Sermila, Gemma Shedden,
Peter Sinclair / GH Hovagymian, Franck Slama, Isabelle Sordage, Ghislave
Sosnowski, Stephane Steiner, Axel Stockburger, Pete Stollery, Allen
Strange, Takahiko Suzuki, Taro Suzuki, Gauthier Tassart, Asmus Tietchens,
Pascale Tiraboschi, Kasper Toeplitz, Mark Trayle, Trio Erratum, Hans
Tutschku, Francoise Valery, Annette Vande Gorne, Jean-Luc Verna, Yann Vero,
Christian Vialard, John Voigt, Hans Weigand, Gregory Whitehead, Richard
Windeyer, Komminos Zervos, Heimo Zobernig

******************************************
16. [Call for Works]
3.INTERNATIONAL FESTIVAL OF YOUNG INDEPENDENT ARTISTS
Ljubljana/SI, 3. - 9. 5. 1999

Selection process will take place between 25th November 1998 and 8th
February 1999.
The selection will be completed by 22nd February 1999 any material sent to
the below listed address will automatically become a candidate for festival
selection.
Any application that is not completed in full, or that arrives after the
final deadline will not be considered those candidates that have been
successful will be notified by 5th March 1999 all artists who have been
invited to join the festival will receive travel expenses, expenses for
lodging, food and a daily allowance for the time (three days) they are to
spend in Ljubljana artists will receive no monetary awards materials from
unsuccessful candidates will be returned to senders by 10th March 1999

application the application form consists of two parts
part one: general information
part two (different media): Relevant material

part one: general information
1. the media for which you are applying
2. surname and name of the applicant
3. address (street, town, country)
4. phone, fax, e-mail
5. date of birth
6. CV (education, grants, projects, awards, etc.)
7. information about the the creative personnel and contributors to the project
8. state where you have received information about the festival
All the information in answer to points 1 to 5 (including CV) should be on
a single A4 page.

For further information contact:
äOU KULTURA
VDOR 21/ BREAK 21
KERSNIKOVA 4
1000 LJUBLJANA
SLOVENIA
tel: ++ 386 61 1317010/ext. 266 (Cultural Department)
fax: ++ 386 61 319448 (addressed to Vdor21/Break 21)
Contact: Karla éeleznik
e - mail: karla.zeleznik@kiss.uni-lj.si

T   H   E      V   I   S   U   A   L      A   R   T   S

THEME: THE CLINIC OF IDEAS
It is still the idea that matters most not the fact to whom or where it is
launched. Therefore the clinic of ideas could and could not be interpreted
as Klinieni center (The medical Centre) of Ljubljana.
It could be so because the exhibitions will be held at and around the
premises of KliniËni center. But we are not interested in health, health
service and its politics exclusively. The raid of creativity therefore
remains open for numerous themes related to the area of KliniËni center, of
which self-sufficiency stands as an allegory for a closed system.

We had in mind an exhibition space which is able to attract an audience of
all profiles and spur various associations such as masses, energy, drugs,
techno, life, death, birth, technology, science, fun and a wide range of
others, that haven't crossed our minds yet.

SELECTION
the selection will be made by Boötjan Hvala, Dunja Kukovec, Maja äkerbotTHE
SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST
CONTAIN: a description of the project intended for the festival (a sketch
of the work, measurements and a summary of the message the project is
intended to carry)

SEND THE APPLICATION FORM TO:

chosen location (interior or exterior) all media are welcome (paintings,
sculptures, installations, performances, video, internet, photographs...)
technical requirements (description of the materials inevitably employed),
in case the project is more demanding in technical terms state the
approximate duration necessary for  its setSOU CULTURA, vdor 21 / break
21,(THE VISUAL ARTS), Kersnikova 4, 1000 Ljubljana

F  A  S  H  I  O  N    D  E  S  I  G  N

THEME: CHAOS=COOL

SELECTION
priorities are innovative use of materials, patterns and forms, originality
of presentations (models) and basic concept we intend to select between 20
and 25 from all submitted the selected collections will be presented by
means of a collective fashion show at the end of which the three most
outstanding collections will be proclaimed the organiser of the collective
show will take full responsibility for the stage  presentation (light,
music, choreography, make-up, hairstyle) of the collection the selection
will be made by Mateja Benedetti, Monika Lorber, Vanja MeökoTHE SECOND PART
OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST CONTAIN: a colour
sketch of each complete outfit from your collection (not more than two will
be accepted) and each collection is understood to comprise 1 to 6 outfits,
each on A4, or photographs of already realised outfits. a technical sketch
of each model a description of the materials and the techniques employed to
make the outfits themselves, and all the decorative items (jewellery,
handbags...) a short description of the collection (4-10 sentences)

SEND THE APPLICATION FORM TO:
SOU CULTURA, vdor 21 / break 21, (FASHION DESIGN), Kersnikova 4, 1000 Ljubljana

L   I   V   E        P   E   R   F   O   R   M   A   N   C   E

The intention is to present the creative work of young theatrical artists,
provided that they don't work under the auspices of any state-funded
artistic institution or art school, but allowing students to present their
own autonomous projects.

SELECTION
projects which will be taken into consideration by the Festival must cover
the fields of either theatre, dance or performance art. (verbal dimension
of the project should not be put forward - an international aspect of the
festival is hoped to be achieved) the duration of individual project is not
limited strictly, dance performances can consist of several shorter
choreographies) the organisers of the festival will enable those selected
to perform in Ljubljana as well as in other areas such as Celje, Ptuj,
Maribor, Nova Gorica, Koper, Novo mesto, Izola) those selected will have
the opportunity to follow and take part in conferences which will take
place during the festival, and which will simultaneously serve as points of
exchange between Slovene and foreign artists as well as with the young
generation of theoreticians and critics. The selection will be made by
Primoû Jesenko, Nina Meöko, Karla éeleznik

THE SECOND PART OF THE APPLICATION (
IN ADDITION TO THE FIRST PART) MUST CONTAIN:
a rough(i.e. uncut, unedited) video of the whole show + a notice of its
duration
promotional material (reviews, theatre photos, press photos etc.)
technical requirements
audio visual requirements
stage dimensions and the preferred location of the performance
the number of the creative personnel with the functions of the individuals
clearly defined

SEND THE APPLICATION FORM TO:
SOU cultura, vdor 21 / break 21, (LIVE PERFORMANCE), Kersnikova 4, 1000
Ljubljana

c   a   r   t   o   o   n       a   r   t
theme: peace
Peace as a state of mind, a tendency of mankind, peace to all people,
eternal peace, Nobel Prize for peace, absence of peace, the Russian space
station Peace.

SELECTION
the cartoons will be exhibited during the festival and published in a
special cartoon album the selection will be made by Matjaû Bertoncelj and
Martin Bricelj

THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST
CONTAIN:
an A4 copy of the original cartoon which can be up to 4 pages long, in
black and white and in English
SEND THE APPLICATION FORM TO:
SOU CULTURA, vdor 21/break 21,(CARTOON ART),KERSNIKOVA 4, 1000 LJUBLJANA

M             U              S              I             C

The intention of the festival is to present creative, unconventional and
experimental work of the young musicians within a varied spectre of genres
and traditions. We wish to present artists whose music is different from
conventional aesthetic norms of the musical market and institutions.

SELECTION
we are open to all musical genres, which radiate with a fresh and
innovative feeling
projects that connect music with other media (film, video, theatre,
musicals...) are also welcome the selection will be made by Peter Kus,
Andrej Skaza, Ana Vipotnik
THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST
CONTAIN: studio or demo recording (as recent as possible and at least 15
minutes long)

VHS recording where applicable
exact technical requirements (description of instruments, staging, light,
amplification, other)
description of the setting, suitable for the performance promotional
material ( group projects, logo, media reviews, etc.

SEND THE APPLICATION FORM TO:
SOU CULTURA, vdor 21 / break 21, (MUSIC), Kersnikova 4, 1000 Ljubljana,
SLOVENIA

F                   I                   L                   M

We will try to find out how deep into the eye of the viewer can the film
images of the artists under the thirties penetrate. It will happen less
then one year before the arrival of the great 21 century. The intention is
to present both feature length and short films, either fiction,
experimental or documentary. Video art, music spots and TV programmes will
not be considered. Three films will be awarded, the winner will receive a
colour film reel Kodak (duration:60 minutes).

SELECTION
the selectors will pay special attention to films with an individual note
selection will be made by Boris PetkoviË-Oli and Nejc Pohar
THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST
CONTAIN: a VHS copy of the film: if the film is selected you will be
required to submit a copy on 35mm, 16 mm, or Beta.

information about the director and creative personnel technical information
pertaining to the production and specification of the original format in
which the film was made
synopsis photograph(s) from the shooting of the film any special
information relating to its projectionSEND THE APPLICATION FORM TO: SOU
CULTURA, vdor 21 / break 21, (FILM), Kersnikova 4, 1000 L

******************************************
17. [Call for Works]

AVAILABLE LIGHT

Available Light, an Ottawa-based collective which organizes screenings and
installations of experimental films, videos and other new media, is seeking
works to be part of upcoming screenings. They are especially interested in
projects done on or about obsolete technologies such as pixelvision,
regular and Super-8, 1" video, audio tape and 8-track tape, as well asworks
making use of found footage.

Other potential screening topics include: "Skin, Scars and Tattoos",
"Virtual Life", and works incorporating toys and domestic implements. They
are also seeking proposals for installations and performances; these
proposals must (if applicable) include a budget. Contact them by phone or
e-mail for info on the exhibition space. The installation will be on
exhibit from mid-March to mid-April.

Submission Deadline: ***January 15, 1999***

Include a SASE for return of materials, as well as how you can be contacted.
Submissions should be sent on video or audio cassette.
Rental fees will be paid as part of screenings.

Available Light c/o SAW Video Co-op
67 Nicholas Street
Ottawa, ON  K1N 7B9

Questions: please call (613) 238-7648 or e-mail
ashowalt@chat.carleton.ca

******************************************
18. [Call for Works]
INDEPENDENT EXPOSURE 1999
Seattle, WA, USA

Blackchair Productions' "Independent Exposure 1999" Program

Seattle video and film artist, Joel S. Bachar founded Blackchair
Productions in 1992.  Due to the overwhelming lack of independent-oriented
screening venues, Blackchair Productions began
the "Independent Exposure" microcinema screening program in 1996.  This
program, held every month at the Speakeasy Cafe has presented the works of
over 200 artists from 30 states, 65 cities and 11 countries and has gained
an enviable reputation in the network of microcinemas around the country as
well as around the world. 1999,  the fourth season of the program, will be
partially funded by the King County Cultural Arts Commission which means
the artists whose works are shown will be paid an honorarium, a gesture
that is practically unheard of in the independent film and video arts.
"Independent Exposure" is fast reaching a wider audience by being hosted at
other microcinemas throughout the world and has been seen hundreds of times
in 35 cities, 15 states and 13 countries!
Some of the hosting venues have been:
CinemaTexas (Austin, TX); The Knitting Factory (New York City);  The
Mansion Theatre (Baltimore, MD);  Arizona International Film Festival
(Tucson, AZ); Blue Sky International Film Festival (Las Vegas, NV);
Artistís Television Access (San Francisco, CA); Project304 (Bangkok,
Thailand); The Terminal Bar (Prague, Czech Republic); Prague Indies Fest
(Czech Republic); Volcano Film and Video Festival (London, UK); the Vrij
Media Cafe (The Netherlands) and The Soros Center for Contemporary Art
(Republic of Macedonia); Videomedeja Festival (Novi Sad, Croatia).
Arrangements are currently being made for screenings in Los Angeles,
Melbourne (Australia), France, Germany and Northern Ireland.  Additionally,
the program is netcast every month on The Sync (www.thesync.com).
Ultimately, Blackchair Productions, through their "Independent Exposure"
screening program and other advocacy efforts, hope to expose, promote and
distribute the independent video and film arts to the widest audience
possible.

For those interested, here is our 1999 Call for Works (which differs from
previous years):

Blackchair Productions is accepting video, film and computer-art
submissions on an ongoing basis for their monthly screening program called
"Independent Exposure."  1999 begins the program's fourth year and we want
to include you in the show!  Artists will be paid an Honorarium!  We are
looking for experimental, narrative, humorous, dramatic, erotic,
subversive, animation and underground works, but will review anything for a
possible screening.
Works selected will, in most cases, continue on to national and
international venues for additional screenings. Submit a VHS (or S-VHS)
clearly labeled with name, title, length, phone-number along with any
support materials including photos!
Also include a US$5.00 entry fee which will be returned to you if your work
is not selected! Include an SASE if you wish the work(s) returned. We will
get back to you!

Send submissions to: Blackchair Productions, 2318 Second Ave., #313-A,
Seattle, WA, 98121, USA.
Info/details: 206-568-6051, joel@speakeasy.org, www.speakeasy.org/blackchair

******************************************
19. [Event]
THE SCHOOL OF SOUND
NOW BOOKING

The second SCHOOL OF SOUND, a four-day symposium exploring the use of sound
with moving images, will be held at the French Institute, London from 15-18
April 1999.

The unique symposium will take a comprehensive look at the structure and
evolution of the modern soundtrack, investigating the creative processes
which result in the synthesis of sound and the moving image in film, video
and multi-media.  Aimed at producers, directors, writers, editors,
composers, animators, multi-media artists and all those who suspect that
the soundtrack can be infinitely more than merely a tedious post-production
necessity, the School will present a rare amalgam of intellectual debate
directly linked to the audio-visual and entertainment industries.

In a programme of special presentations devoted to post-production, music
composition, multimedia and the business side of sound production, the most
influential and inventive practitioners and educators in the business will
explain their concepts for creating soundtracks.

Professionals, £385 + VAT; students, £160 + VAT; a limited number of
student bursaries available for UK residents.

LONDON FREELANCE REBATE
Freelancers who live or work in Central London may qualify for a 50% rebate
of their fee from Focus Central London TEC. Call the School of Sound for
details.

For information & application details,
tel/fax +44 (0)171 586 3056;
Epesound@aol.com
or visit www.audioarts.com/schoolofsound

Proposed speakers (subject to confirmation)

Laurie Anderson
An exclusive videotaped interview with the American composer/multimedia artist

Mike Figgis
Composer, musician and director of Leaving Las Vegas, One Night Stand and
the forthcoming The Loss of Sexual Innocence

Simon Fisher Turner
Noise and music composer whose credits include Blue by Derek Jarman

Michel Chion
Composer, theorist, filmmaker and author of Audio Vision: Sound on Screen

Roberto Perpignani
Italian film editor who trained with Orson Welles and worked with the
Taviani Brothers, Bertolucci, Zanussi and Mike Radford (Il Postino)

Randy Thom
Sound Designer who created the soundtracks for Contact, Wild at Heart, Mars
Attacks, Forest Gump, Return of the Jedi and The Right Stuff (Academy Award
for Best Sound)

Jocelyn Pook
Composer for drama, dance, documentary and theatre. Currently scoring
Kubrick's Eyes Wide Shut.

Peter Kubelka
Experimental film-maker, archivist and chef

Mani Kaul
Seminal Indian film-maker and cultural theorist

Paul Webster
Chief Executive of Film Four Ltd.

Piers Plowright
Former Producer of drama and documentary features, BBC Radio

Simon McBurney
Artistic Director, Theatre de Complicite

John Broomhall
Producer and Head of Audio, MicroProse UK, publisher of computer
entertainment software

Owe Svensson
Sound Mixer with Andrei Tarkovsky, analyses the soundtrack forThe Sacrifice

Christopher Frayling
Rector at the Royal College of Art in London; biographer of Sergio Leone

Andre Ktori
Digital artist, AudioRom

Nick Laviers
Head of Audio for video game producer Electronic Arts Ltd UK

Adele Kellett
Sound Designer, Electronic Arts Ltd UK

Mark Hall
Director of Cosgrove Hall Films animation studios

Christian Wangler
Sound recordist, producer

Keith Griffiths
Independent producer of fiction, documentary and animation,
Illuminations/Koninck (Institute Benjamenta, London, The Falconer and Radio
On-remix)

Richard Holmes
Producer of Shooting Fish and Waking Ned; Vice-Chair of Film at the
Producers' Alliance for Cinema and Television

Jake Milton
Musician/composer, speaking on the use of music technology in screen
productions

Phil Parker
Screenwriter and Course Director, MA Screenwriting at the London Institute

Shoma A. Chatterji
Indian film critic highlights the use of sound in arthouse and mainstream
Indian cinema

Michael Chanan
Senior Lecturer at the London College of Printing analyses the work of
Latin American documentarist Santiago Alvarez

Chris Watson
Sound recordist specialising in wildlife sound for film; M.I.B.S., with
Jon Wozencroft Editor, Touch (A-V publisher); Tutor in Sound and Graphics,
Royal College of Art

******************************************
20. [Event]
W3LAB announcement :: BETA-TEST

http://gsa.rutgers.edu/maldoror/techne/w3lab-entry.html

The [techne]W3LAB is an online installation of work devoted to the web
(web-based projects, networking experiments, performance, software design,
VRML, etc.), and will include a range of projects by an international group
of digital artists, as well as a "hyper.theory" section of texts by
contemporary theorists of electronic culture.

This exhibit is being presented through an organization affiliated with the
Program in Comparative Literature at Rutgers University called [techne].
Established in 1997, [techne] has held multimedia events, performances, and
lectures (including Mark Amerika, The Poool, and Floating Point Unit) on
the Rutgers University campus. The purpose of this online show is to foster
awareness of the variety and complexity of selected works on the web.

The show will run in two phases:

Phase I (fall 1998) will be a beta-test preview, and will be communicated
to the digital community via mailing lists and other information services.
It will focus primarily on web-based works.

Phase II (winter 1999) will be communicated to academic and art-based
networks and institutions, and will coincide with the annual Program in
Comparative Literature conference at Rutgers University, at which time the
show will be "installed" during the conference, along with multimedia and
networking performances. The conference, whose theme this year is "New
World (dis)Orders: Globalization, Culture, Identity," will take place in
late February, and will attract a multidisciplinary group of theorists from
around the globe. This phase will place equal focus on web-based works and
performance/performative works which make use of the Web.

Both phases will include ongoing discussions and distributions of issues
through the [techne] website [gsa.rutgers.edu/maldoror/techne/techne.html],
as well as other online nodes such as Rhizome [www.rhizome.org], Alt-X
[www.altx.com], and the show "The Shock of the View"
[http://www.walkerart.org/salons/shockoftheview/sv_front.html], presented
by the Walker Arts Center.

W3LAB participants include ::

net.art :: Mark Amerika & Jay Dillemuth, Diane Bertolo, Sawad Brooks & Beth
Stryker, Heath Bunting, Contempt Productions (to be confirmed), Vuk Cosic,
Critical Art Ensemble, DhalgrenMOO, Disinformation, Ricardo Dominquez &
Zhanga, Fakeshop, Floating Point Unit, i/o 360, I/O/D, Oz Lubling,
--meta--, Robbin Murphy, Nikolas, Thomas Noller, plumb design, Post-Tool,
Erwin Redl, James Roven, Alexi Shulgin, Yoshi Sodeoka, Eugene Thacker,
Helen Thorington & Marianne Petit & John Neilson, Annette Weintraub,
Arianne Wortzel.

hyper.theory :: Mark Amerika, Sawad Brooks, Steve Dietz, Kathy Rae Huffman,
I/O/D, Douglas Kellner, Arthur & Marilouise Kroker, Geert Lovink, Lev
Manovich, David Porush, Mark Poster, Rhizome, Steve Shaviro, VNS Matrix.

For more info see the [techne] website at
http://gsa.rutgers.edu/maldoror/techne/techne.html
or contact Eugene Thacker at maldoror@eden.rutgers.edu

For info on the "Globalization" conference
http://complit.rutgers.edu/conferences/new_world_disorders

[techne]W3LAB: works-in-progress/works-in-process

______________________________________________________
Editor: Isabelle Painchaud / Translation: Michel Lefebvre
Collaborators: Eva Quintas, Claude Schryer, Mike Stubbs, Nils Aziosmanoff.
______________________________________________________

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The ISEA International Headquarters (HQ) is hosted at the University of Brighton in the UK.

ISEA International Headquarters Director

Sue Gollifer is the main contact as the Executive Director of the ISEA International Headquarters.

She is an artist, a Principal Lecturer in Digital Media Arts and the Course Leader for Digital Media Arts MA and a researcher at the University of Brighton, UK. Her art work is held in both national and international public and private collections.

She is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (DAM) the ACM SIGGRAPH Digital Arts Community (DAC), the ACM SIGGRAPH External Relations Committee and on the Advisory Board for the New Media Caucus (NMC).

She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 – 2007 and the SIGGRAPH Art Gallery Exhibition’04: Synaesthesia and the “Intuition and Ingenuity” art exhibition to celebrate the Alan Turing Centenary 2012 and the William Latham Exhibition Mutator 1 & 2 at Phoenix as part of Brighton Digital Festival 2013 and currently a curator for the 50 years of Computer Art Society (CAS) touring Exhibition 2018.

In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her ‘Exceptional Services to the International New Media Community’. She is currently the ACM Chair of ‘The Distinguished Artist Award for Lifetime Achievement in Digital Art’.