THE INTER-SOCIETY FOR THE ELECTRONIC ARTS THE ISEA NEWSLETTER NUMBER 13, JANUARY 1993 __________________________________________________________________________ Editors: Wim van der Plas, Dirk Boon (Holland). Correspondents: Yoshiyuki Abe (Japan), Roger Malina (US), Ivan Pope (UK), Leslie Bishko (US), Rejane Spitz (Brazil), Jurgen Claus (Belgium). Lay-out: Rene Pare (Grafico de Poost). Text editors: Ray Archee, Seth Shostak. ISEA, POB 8656, 3009 AR Rotterdam, The Netherlands. Tel 31-10-2020850, Fax 31-75-701906, Email ISEA@RUG.NL or A430WYNA@DIAMOND.SARA.NL PLEASE TAKE NOTE OF OUR NEW ADDRESS & PHONE NUMBER! -------------------------------------------------------------------------- CONTENTS EDITORIAL FISEA93 Roman Verostko WORKING PAPERS 5 Jim Demmers KNOWBOTIC RESEARCH Christian Huebler THE RAINBOW SCORES Prof. Celso Wilmer GOLDEN PLOTTER '94 Dr. Wolfgang Schneider CALENDAR ------------------------------------------------------------------------- EDITORIAL: THE ISEA SURVEY During the Third International Symposium on Electronic Art in Sydney, a survey was conducted regarding ISEA. Results were published in the December '92 issue of this Newsletter. The following are the main points to be made from those results: 1-The membership fees are too high 2-Relatively many (30% of the respondents) are not sure they understand the aims of ISEA 3-Many (60% !) want to participate actively in ISEA. Some comments on these results: 1 The Fees Apparently, many people still don't realize that associate membership of ISEA is free of charge. One cannot call that expensive. However associate membership is limited in time. Expensive? Most members pay by cheque, in foreign currency (even though we have been trying to discourage this way of paying). Ordinary individual membership fee is US$ 50. By the time it is added to our bank account, banking costs have left no more than US$ 35. Of student fees (US $ 25), only US$ 16 remains. Membership fees still are our only source of income. Can we make them even lower? The board has not finished discussing this issue. Suggestions from our members (or from people interested in becoming members) are welcome. 2 The Aims 30% of the audience of the ISEA panel was not sure that they understood ISEA's aims. This seems to be a large number. However, half of those people hadn't heard of ISEA before the symposium. So, it may be that they hadn't really had time to carefully read the aims in the ISEA brochure we distributed at the symposium. The lesson is: ISEA will have to profilerate itself more in the announ- cements and calls for participation of the future symposia. The symposia were initiated in order to initiate ISEA, so now the symposia have to support the growth of the Inter-Society. Again, suggestions and discus- sions concerning (the clarity of) our aims are welcomed. 3 Participation Very many people indicated that they wanted to actively participate in ISEA. Apparently, this even goes for many of those that say they're not sure they understand our aims. We wondered whether everybody understood the question correctly. Perhaps some people thought the question meant whether they wanted to be involved in future symposia. We hope that the results indicate that many people are interested in playing an active role within the context of the Inter-Society. We want to promote activities by local branches. In Holland, such a branch is already active. The Dutch 'branche' has organized several lectures in Holland and is planning a Dutch Electronic Art Festival this year. The idea behind it is to have every important Dutch group in the field (art schools, festivals, etc) represented, thus emphasizing the meta-character of ISEA. The festival might prove good breeding ground for Dutch representations during future international ISEA symposia. We strongly encourage other national (local, regional, etc) groups to do the same. ISEA will help all it can. In principle, the branch can use some of the membership fees that are raised in that country to cover initial costs. Yoshi Abe has been trying to get a Japanese branch of the ground for some time now, Rejane Spitz is very active in this vain in Brasil. Please, contact us IF the idea appeals to you at all. ISEA means to stimulate communication and cooperation in the field of the electronic arts. We want to hear from you. INVITATION TO ARTISTS Anyone wishing to give his or her graphical electronic art (computer graphics, processed images, etc) exposure amongst the critical and well-informed group of people who read this Newsletter, please, send us pictures! Of course, colour printing is not within our reach yet, so you should send pictures that are, or scan well in, black & white. You can either send a hard copy or a picture file, we can read almost anything. Please, include a copyright notice (that will be printed with the pic- ture), A short technical description (software, hardware used) and a brief artist's statement. We look forward to exhibiting your work! CENTRE OVEROTH Professor Jurgen Claus, our new correspondent for Belgium and Germany, sent us a copy of the Centre Overoth Newsletter. Centre Overoth is a laboratory founded by Nora and Jurgen Claus in Baelen, in the German speaking part of Belgium, just south of the Dutch border and just west of the German boarder (how European can you get?). The center is an artistic laboratory with the aim of involving art in the discussion about restoring the balance of the Earth. The work, generated here, was shown at a network of exhibitions and symposia in 1992. We hope to keep you informed about what happens at the center. For more info, contact: Centre Overoth, Overoth 5 B-4837 Baelen, Belgium, Phone 32-87-743791 & 92, fax 32-87-743796 SCOPE This new "European Magazine for Electronic Audio-Visual Creation" appeared for the first time (November 92 - January 93). It is bi-lingual: English and French, and partly in full colour. Head editor is Alan McClus- key. The first issue contains articles like "Matter & Memory" and "Another Television", interviews with Alexander Hahn and David Hall and information on publications, screenings, festivals, etc. Looks good. The address: Scope POB 98, CH-1255 Veyrier, Switzerland, phone/fax: 41-22-7841395 -------------------------------------------------------------------------- FOURTH INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART. Roman Verostko FISEA93 : The Art Factor November 3-7, 1993, Minneapolis, Minnesota, USA. Participating Institutions: Minneapolis College of Art & Design (Host) University of Minnesota School of Music Walker Art Center Minneapolis Institute of Arts. Program Chair: Roman Verostko, MCAD. Email: firstname.lastname@example.org phone: 1-612-8252720 International Endorsements: This symposium is in the series initiated in Utrecht in 1988 and endorsed by the Inter-Society for the Electronic Arts (ISEA), Leonardo, International Society for the Arts, Sciences & Tech- nology (ISAST), Australian Network of Art & Technology. Art and Electronics. The Minneapolis symposium aims to present exhibitions and current research, theory and practice related to art and electronics, with an emphasis on "the art factor". The term "art" applies broadly to forms that address sound, image, word and body either specifically or as inter- media. This includes works by visual artists, performers, musicians, and artists developing new electronic formats. Who participates? Artists, scientists, arts critics, curators, educators, and others interested in the use of electronics in the arts are encouraged to par- ticipate. Beginning in 1993 this biennial series becomes an annual event bringing together experts from the worlds of art, science and technology. Focus. This 1993 symposium will be especially interested in artistic procedures and information processing by artists. This includes technical procedures, related research, and aesthetic/critical assessment of such art. Panelists and speakers are encouraged to illustrate presentations with "works of art". Practicing artists, who use electronic technologies, will be wel- comed to address procedures and applications. The symposium also seeks to stimulate dialogue on arts criticism and foster an informed critique of "the art factor" in the artist/machine dialectic. Nov 3-4 Wed-Thu Workshops/Courses Nov 5-6 Fri-Sat Papers/Panels Nov 7 Sun Poster Sessions Nov 4 Thu Eve MCAD Gallery, Art Show opening Nov 5 Fri Eve Walker Art Center, Electronic Theater Nov 6 Sat Eve Tedd Mann Concert Hall, University of Minnesota, Sound/Performance Arts WORKSHOPS AND COURSES Experts from all related disciplines are invited to propose appropriate offerings. Workshops and courses may convene for a one or two day ses- sion. PAPERS AND PANELS The FISEA 93 program committee invites presentations on topics in art, science and technology related to the use of electronics in the arts. Subjects may be addressed from the perspectives of the researcher, the artist, the applications developer, the arts critic and other interested professionals. The following questions suggest ways one might explore a paper or panel topic. (1) How do we establish a basis for criticism in animation? music? virtual reality? real-time performance and networked art? (2) How do we assess "found mathematical form" as art? Why is one visualization (or sound synthesis) "scientific" while another is "art"? Are they both art? What cultural assumptions prevail? (3) Do form-generating algorithms, interfaces, synthesizers and networks introduce new dimensions to art making procedures. What challenges do these tools bring to the art critic or curator? (4) Are networks changing the shape of world consciousness. What are the moral and social issues associated with the use of networking in the arts? Papers. All subjects open. Short: 20 minutes; Long: 35 minutes. Panels. All subjects open. Persons proposing a panel should contact potential panelists in advance of a proposal. Those who propose panels are urged (but not required) to consider cross-disciplinary experts and diverse viewpoints. Panels are assigned 90 minutes. Video Papers. Topics that cannot be expressed in print. Should be accompanied with an abstract not to exceed two pages. POSTER SESSIONS The last day will be devoted to Poster Sessions, providing an exciting opportunity for individuals to present up-to-the-minute talks on recent research and/or artistic practice. Parallel Sessions; 45 minutes maximum. EXHIBITIONS PROGRAM Artists who have integrated the use of electronics in their work are invited to submit works for the FISEA 93 exhibitions. In all instances submissions must be conceived as works of art. Submissions for non-conventional formats (interactive, VR, etc) are welcomed and will be accommodated in as much as possible. Submit non-conventional formats to the category which appears most appropriate. ART SHOW A juried exhibition will be mounted in the MCAD Gallery for the month of November. Because of their special nature some works will be show cased during the symposium in alternative experimental exhibition spaces. Submissions may be 2-D, 3-D, on-line, and installations. Artist's Slide Show Works may also be submitted for the Artist's Slide show, a programmed selection of artists 35mm slides. ELECTRONIC THEATER Video, film, intermedia. This includes selected sequences which serve as a meaningful experience relative to a longer work of art. Works will be selected for a premier showing on the evening of Friday, November 5, 1993 at the Walker Art Center. Some works, because of program limits, length, and/or special features, may be show cased at alternative times and sites. SOUND/PERFORMANCE ARTS This program welcomes works which have integrated the use of electronics with the sound/performance arts. This includes traditional music, dance and theater, as well as new directions in non-traditional formats. Proposed works might use computers, lasers, MIDI controlled sound and light, digital synthesis and sampling or other electronic media. The primary performance evening will be part of the opening season for the new 1250 seat Tedd Mann Concert Hall at the University of Minnesota School of Music, Saturday, November 6, 1993. Artist performers wishing to propose works for this Ted Mann Concert Hall evening should contact Dr. Lloyd Ultan immediately. Other sound/performance proposals are invited for more limited facilities and spaces. Accepted works will be scheduled at different times in various locations suitable to their specific requirements and appropriate for an overall balanced program. Listening Chamber. Composers may also submit work for the symposium "Listening Chamber" where recorded works will be played during the symposium. ENTRY FORM For your entry form and all details, contact ISEA or: FISEA 93 MINNEAPOLIS COLLEGE OF ART & DESIGN 2501 STEVENS AV S MINNEAPOLIS, MN 55404-4343 USA Phone: 1-612-8743754 Fax: 1-612-8743732; Email: FISEA93@MCAD.EDU -------------------------------------------------------------------------- WORKING PAPERS 5 Jim Demmers This marks the fifth year that PUBLIC DOMAIN has provided an informal forum for the presentation and discussion of ideas and arts for what has been called the crises in representation (art), legitimation (politics), and communication. PUBLIC DOMAIN as an organization is devoted in both theory and practice to examinations of the relationships between art and ideas, and more specifically, the role that technology plays in constitu- ting modern life and thought. To facilitate these explorations we conduct a series of presentations called WORKING PAPERS several times a year, publish a limited edition of the journal PERFORATIONS, and provide on-line computer network services for PUBLIC DOMAIN members. Further information concerning WORKING PAPERS and PUBLIC DOMAIN may be had by contacting: PUBLIC DOMAIN P.O. box 8899 Atlanta, GA 30306-0899 USA Tel 1-(404) 612-7529, E-mail: email@example.com (Jim Demmers) -------------------------------------------------------------------------- KNOWBOTIC RESEARCH Christian Huebler Call for international participation in new art/science project. Simulation Room -Mosaic of Mobile Sound Data We are a group of artists and scientists at the Academy of Media Arts Cologne, and will be showing a VR installation in February at the MEDIALE93 - Festival for Media Arts and Media Future - in Hamburg, Germany. The installation, housed in the freight ship Cap San Diego in Hamburg - harbour, has three main areas. An interactive, walk-in, data base will be installed in two of the cargo holds (originally used as freezer rooms), on the freight ship Cap San Diego, in Hamburg harbour. The first cargo hold, a physical walk-in room corresponds to a self- organising, artificial data room made up of sound data, which will be called up, from around the world, in the form of short musical or verbal sound statements. Visitors will navigate through the physical room with the aid of anultrasonic room sensor and an artificial eye, (a small monitor receiving orientation information via radio waves which is placed in front of one eye). The sensor and private eye allows the visitor to be informed about, and interact, with the virtual room. As a virtual visitor you are integrated into a computer system, which rebuilds rules of a self-organising complex organism (a model by Prigogine). From the characteristics of the sound statements, these rules build an interactive system similar to a cultural community and influence the behaviour of the carriers of musical and verbal data (the agents). The visitor can make contact with these 'agents' as he navigates through the room, and can activate their sound information, producing a real-time concert in the physical room. The resulting virtual reality, with constantly changing new structures of agent groups, can be observed at all times from the control room (the second cargo hold). Information about progress in the virtual room is displayed via a large video projection. Further monitors inform the visitor about the arrival and geographic origin of the sounds in the data bank, the state and developments in the real, and artistic sound room, and describe the use of the ultrasonic sensor and the artificial eye display. How to send sound files to KR+cF: Please send your sound files in AIFF format (audio interchange file format, see Inside Macintosh, Volume VI", chapter 22: p. 22-33). We can also read next and wave formats. You may send standard audio tapes or DAT tapes with your recording as well. The sample should be a sound statement and express your personal attitude towards the world. What we need is musical material, verbal sound or noise, which can be collected in and help to create our virtual space. Your sound sample should be in mono and about 6 seconds. It might be a good idea to use your name and country as a file name, e.g. mike_mueller_germany.aiff. Let us know if anything is not clear. This is your chance to be part of a unique virtual enviroment, which will be explored by many visitors during the duration of the exhibition. We look forward receiving your statements and incorporating your contribution into the virtual room Please send it as soon as possible. Specific information on how to send us your details: Parameters (preferred: 8 bit, 32 kHz): length: max. 6 seconds resolution: 8, 12 or 16 bit sample rate: 22, 32 or 44.1 kHz sound type: mono Sending your file (e.g. mike_mueller_germany.aiff): via UNIX mail (INTERNET) type the following at the UNIX prompt: uuencode mike_mueller_germany.aiff mike_mueller_germany.aiff | \ mail firstname.lastname@example.org via anonymous ftp type the following at the UNIX prompt: ftp obelix.khm.uni-koeln.de anonymous /* enter anonymous as login name */ your_name /* enter your name as password */ bin /* switch to binary transfer mode */ send mike_mueller_germany.aiff via COMPUSERVE (e.g. on Apple Macintosh): use the program BinHex or STUFFIT to translate the binary sound file into ASCII code. Your file must be less than 560 KByte which can be achieved by using the preferred parameters of 8 bit resolution and 32 kHz sample rate. In COMPUSERVE enter the following commands: go mail 3 (upload a message) 2 (select a protocol) 1 (e.g. XMODEM/protocol) 1 (ASCII transfer type) mike_mueller_germany.aiff.ascii (file name) 1 (send) >INTERNET:email@example.com aiff file (subject) aiff file (subject) your_name (your name) If you send us a standard audio tape or dat, please post it to: Knowbotic Research Weyerstrasse 49 5000 Cologne 1, Germany We will send your material back. -------------------------------------------------------------------------- THE RAINBOW SCORES Video-Scores Prof. Celso Wilmer A new system of musical notation was necessary to bring on the possibility of a VIDEO-SCORE. That is, a music score in the shape of a videotape, running metronomically at real time and showing through a self-evident notation precisely what must be played at each moment. Some could ask, "Couldn't we have done it with our traditional musical notation?". We couldn't. First because those usual symbols for duration depend on a convention. And so they don't show - in a self-evident way to the eyes - how much time, real time, the musician must attribute to each of them. As a solution to that, Descartes would have suggested us to use a symbology in which each time-span could be visualized in terms of the space occupied by its related symbol. And this is what we did: the new duration symbols are shaped like drops of different sizes. Each drop exhibits explicitly its duration and its relation to the others, and will "fall" in the monitor screen for a time corresponding to the drop's length. And second because the traditional notation is commonly displayed in black & white. If we just add the resource of colors to the musical notes, we have a much faster way to their identification by the score reader. So, we have built a chromatic model which is able to express musical consonance in terms of color consonance, or color closeness. This music score of colored drops "teaches" Chords Theory through its colors. This new system of musical notation is called RAINBOW SCORES. It was developed in the crossroads of my work as a Mathematics educator, visual communicator and music teacher - in the service of music pedagogy. The Project's Book and the First Songbook have been accepted for publication by Editora UnB, Brasilia, Brazil. The FIRST VIDEO-SCORE is at a prototype stage, via computer animation and sonorization. Our aims now are to find an international co-editor for the publications, and to raise finnancial means to produce the FIRST VIDEO-SCORE. So, foreign editors, literary agents, sponsoring agencies, as well as curious people are warmly welcomed to contact me: Prof. Celso Wilmer Departamento de Artes PUC-Rio Rua Marques de Sao Vicente 225 CEP 22451 - Rio de Janeiro - RJ - BRASIL fax: (55-21) 246-2890 -------------------------------------------------------------------------- GOLDEN PLOTTER '94 Computer Art Competition Dr. Wolfgang Schneider In '94, this competition will be held for the fifth time in Germany. Organizers are the Municipal Museum of Gladbeck and the Municipal Gallery in the Rathauspark in cooperation with the Gesellschaft fur Elektronische Kunst, Koln. The competition is supported by the Inter-Society for the Electronic Arts and the Kommunalverband Ruhrgebiet. A selection from the entries will be exhibited in Gladbeck, Ibbenburen, Cologne, England and other places. Winners until now: '86: Quido Sen (Switzerland) & Petr Vrana (Germany) '87: Mark Wilson (USA) & Eugen Brochier (Austria) '88: Georg Muhleck (Germany) '90: Shahin Charmi (Germany) '92: Kammerer-Luka & Kempf (France) For an entry form, contact: Dr. Wolfgang Schneider Museum der Stadt Gladbeck Wasserschloss Wittringen Burgstrasse 64, D-4390 Gladbeck, Germany Phone 49-2043-23029, fax 49-2043-65240 __________________________________________________________________________ Selected items from Fineart Forum, Volume 7 #1 and Leonardo Electronic News, January 15, 1992. The Inter-Society for the Electronic Arts contributes to Fineart Forum and republishes the items on electronic art on behalf of its members. FAF is published by the Mississippi State University/NSF Engineering Research Centre. LEN is published by the Inter- national Society for Art, Science and Technology on behalf of The Art, Science and Technology Network. __________________________________________________________________________ ELECTRONIC JOURNAL ON VIRTUAL CULTURE Ermel Step Call for Articles The Electronic Journal on Virtual Culture has been created and will be published by Arachnet. Virtual culture is computer-mediated human ex- perience/behavior /action/interaction, such as electronic mail, conferen- ces, and journals; information distribution/retrieval; the construction and visualization of images/representations/models of reality and/or worlds; and global connectivity. The purpose of the refereed journal is to foster, encourage, advance, and communicate scholarly thought, (including analysis, evaluation, and research) in multiple disciplines about virtual culture. Send manuscripts by electronic mail to: Ermel Stepp Editor-in-Chief The Arachnet Electronic Journal on Virtual Culture BITNET M034050@Marshall, Internet M034050@Marshall.wvnet.edu Call For Editors Editors are sought for The Arachnet Electronic Journal on Virtual Culture. General qualifications include an academic degree, expertise in computer networking and/or electronic journals, nominations and suitable referen- ces, and verifiability. Subscription Details The Journal will be available via listserv@uottawa through the electronic conference Arachnet. To subscribe to Arachnet send an e-mail message to listserv@uottawa with a one-line message in the text: subscribe Arachnet Your-first-name Your-last-name Of course, use your own real first and last name. _________________________________________________________________ SIGGRAPH '92 Visual Proceedings available Steve Cunningham SIGGRAPH has recently received the SIGGRAPH '92 Visual Proceedings from the conference, and we got more than we expected -- we're overstocked. This is a wonderful publication with well over 100 color plates in its 112 pages. Our normal member price is $25.00, but through January 15, 1993, we are pricing it at $20.00 for all orders to trim our stocks and to make it available to everyone in the graphics community. For this same time, we are also reducing the price on the 1989 through 1991 SIGGRAPH art show catalogs from $20 to $15, and since we expect people to want to order several years' catalogs at once, we are making the entire four-year set available as a bundle for $60. SIGGRAPH publications may be ordered from Publications Marketing Manager ACM Press 1515 Broadway, New York, NY 10036, USA 1-800-342-6626, 1-410-528-8596 fax single-copy orders +1 410-528-4261 customer service, or orders outside the USA or in MD or AK (8:15 - 4:15 M-F US Eastern Time.) e-mail inquiries: ACMPUBS@ACMVM.BITNET To expedite your order, the order numbers are: SIGGRAPH '92 Visual Proceedings: 428922 SIGGRAPH '91 Computers in Art and Design: 428912 SIGGRAPH '90 Digital Image -- Digital Cinema: 429904 SIGGRAPH '89 Computer Art in Context: 428891 _________________________________________________________________ THE EXPERIMENTAL GALLERY OF THE SMITHSONIAN INSTITUTION Call for Participation Subject: The general subject of the exhibition should focus on the visual arts. Preference will be given to those proposals which address subjects generally seen in traditional art museums. Content: The exhibition should not primarily address the history of art, but rather should deal with one or more of the following areas: a. issues of connoisseurship b. issues of aesthetics c. social, collecting or other histories of art d. looking at or seeing art e. the role of the artist f. the materials of art and art making g. interpretation of art in museums Goal: The goal of this exhibition experiment is to develop models which might be used in creating more effective, more meaningful exhibitions in art museums. Proposals should be mailed to: The Experimental Gallery Smithsonian Institution, AI 1240-MRC 0441 Washington, DC 20560, USA. Tel 1-(202) 633-9006 Fax, Internet address: asmem117@SIVM.SI.EDU For additional information, please call: Kimberly Camp, Director, The Experimental Gallery, Tel: 1-(202) 786-2850 -------------------------------------------------------------------------- CALENDAR -------------------------------------------------------------------------- REVUE VIRTUELLE Hoping this Newsletter reaches you in time we forward this announcement: The Virtual Environment 'Menagerie' is on show in the Centre Pompidou in Paris. It is part of a series of exhibitions on the theme of virtuallity. 'Menagerie' is an installation by Scott Fisher. The interactive animations for this installation were made by Susan Amkraut & Michael Girard, the 3-D sound is by Mark Trayle. The interface is a so-called BOOM (Binocular Omni Orientation Monitor) connected to a Silicion Graphics Indigo Elan. January 11-24, 1993 14.30 - 19.30 hours Galeries Contemporaines Centre Georges Pompidou, Mezzanine Sud 75191 Paris, France, Phone: 33-1-42771233 NETWORKED VIRTUAL REALITY During the month of February, Carl Eugene Loeffler will conduct presen- tations on the subject of NETWORKED VIRTUAL REALITY at the following: Computer Science Laboratory, SONY Corporation, Tokyo. College Art Association, Seattle. Simulated Presence: Critical Response to Electronic Imaging, Arizona State University, Tempe. The Project investigates the basis for multiple users located in distant geographical locations, to be conjoined in the same virtual, immersion environment. The project employs telecommunication hardware, as well as the hardware associated with virtual reality: head mounted display (HMD) and multi-directional navigation devices., and utilizes WorldToolKit, a virtual world development program, available from Sense8 Corporation. Information: Carl Eugene Loeffler Project Director Telecommunications and Virtual Reality STUDIO for Creative Inquiry, Carnegie Mellon University Email: firstname.lastname@example.org APPLICATION DEADLINE FOR MONITOR 93: The Second Coming of the Cryptics-Video as Art Festival 1 February 1993 Contact: Monitor 93, Bbox 63 S-421 21 V Frolunda, Sweden, phone + (0)31 85 16 65, fax + (0)31 85 16 67 THE MUSIC LIBRARY ASSOCIATION'S 62nd ANNUAL MEETING The Westin St. Francis Hotel, San Francisco, CA, USA 3-5 February Contact: Christine Hoffman, Rodgers and Hammerstein Archives of Recorded Sound, The New York Public Library for the Performing Arts, 40 Lincoln Center Plaza, New York, NY, 10023-7498, USA, tel: 212-870-1662, fax: 212-787-3852, E-mail: 4642927@MCIMAIL.COM IMAGINA 12th Monte Carlo International Forum on New Images 17-19 February 1993 Contact: M. Philippe Queau, INA, 4, avenue de l'Europe, F-94366 Bry-sur-Marne Cedex, France, Tel 33-1-49832714, fax: 33-1-49832582 INTERCHI 93 Conference on Human Factors in Computing Systems, ACM conference April 24-29, 1993 RAI Conference Center, Amsterdam, Holland Advance Program available from: Interchi 93 European Office: Soerenseweg 32, 7314 CE Apeldoorn, Holland Phone: 31-20-5485591, fax: 31-20-6441746 North-American Office: POB 1279, Pacifica, CA94044, USA phone: 1-415-7381200, fax: 1-415-7381280, Email: IC93-OFFICE.CHI@XEROX.COM COMPUGRAFIC ' 93 28-30 April 1993 SOBRACON (Brazilian Society for Numerical Control, Industrial Automation and Computer Graphics) will be carrying out - together with WCGA (World Computer Graphics Association) and FENASOFT - the COMPUGRAFIC ' 93, which will be constituted by the following events: - EXPOCAD/CAM (International Exhibition of Equipments, Products and Services on Computer Graphics) - CICOMGRAF (International Congress on Computer Graphics) - ENSIGRAF (Meeting on Computer Graphics Teaching). The events will be held at the Convention Center of ANHEMBI PARK, in Sao Paulo, SP, Brazil. For further information contact: SOBRACON, Rua General Jardim 645 - 7o. andar, cjto. 72 CEP 01223-011, Sao Paulo - SP - Brazil Phone: (55-11) 256-1192, Fax: (55-11) 256-9496 ________________________________________________________________________ ISEA distributes a hard copy version of this Newsletter in order to keep its members, who have no access to Electronic Mail, informed. Those members can, if they desire, get in touch with the Email addresses men- tioned in this Newsletter by contacting ISEA. The Inter-Society aims at joining a world-wide network of artists, scien- tists and their institutes, making it easier for the institutes and individual members to share expertise with each other. The aims of the Inter-Society are to promote a structured approach to electronic art and to help finance worthy electronic art projects. For membership information contact ISEA at the address on the front page. Support: Groningen University, Amsterdam University, De Fabriek/Hollandia. End of Newsletter
Leave a Reply
You must be logged in to post a comment.