#026 Feb 1994


                             THE ISEA NEWSLETTER

                             # 26, FEBRUARY 1994

Editors: Dirk Boon, Wim van der Plas (Holland). Correspondents: Yoshiyuki
Abe (Japan), Ray Archee (Australia), Peter Beyls (Belgium), Leslie Bishko
(US), Paul Brown (US), Annick Bureaud (France), Jurgen Claus (Germany),
Roger Malina (US), Ivan Pope (UK), Rejane Spitz (Brazil). 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 31-10-2668705 (c/o Heidi van der Plas).
Email: ISEA@MBR.FRG.EUR.NL (Board) or ISEA@SARA.NL (Newsletter)


The Dutch Branche of ISEA is organizing DEAF, the Dutch Electronic Art
Festival. It will take place in November of this year in Rotterdam, with
associated activities in The Hague and in Zaanstad (near Amsterdam).
As a main part of DEAF, the 'Manifestation for the Unstable Media' will be
organized by V2. V2 is moving to Rotterdam from Den Bosch, where the
(international) event took place annually since 1988. V2 and ISEA have
recently agreed on intensive cooperation, since both have their head
quarters in the same city.
The particular ISEA part of DEAF is I.D. (Inter-Discipline).
Dutch art schools and other relevant institutes, will present their
(inter-disciplinary) work during DEAF. The aim is to encourage more
communication and cooperation between the institutes off the ground. This
is the main aim of ISEA, and it is hoped that other ISEA branches will
follow this example. A third party is the artist collective (and multi
media design studio) WDS, also located in Rotterdam. They will organize an
exhibition and general events on networked multi media. One of the goals
is to create a real-time, interactive and collective artwork. The chal-
lenge is to make it aesthetically interesting.

DEAF will take place both in the well known Lantaren/Venster theater and
V2's new location in the former building of the NRC newspaper. Anyone
interested in participating in one way or another, is invited to get in
touch with ISEA, preferably including short descriptions of proposals.
We will keep you informed on this new ISEA activity. Other exciting
developments are in the air.

Wim van der Plas


Art Work can be reproduced (B&W only) in the hard copy of this Newsletter.
As an experiment, we published some GIS pictures by Alexandra Tisma in INL
#25. Please feel free to send us your work, preferably in electronic
format. Information on how to send it electronically, contact Rene Pare at
PARE@HACKTIC.NL. If you are not on Email, contact ISEA.

We didn't mention in our last Newsletters, that the prices for
ISEA Publications are special ISEA member prices. Here are the
prices for members and non-members:

(All prices are exclusive of mailing costs)

                       ISEA Members             Non Members
SISEA Proceedings       US$ 15                   US$ 20
TISEA Proceedings
(Art & Cyber Culture)   US$ 15                   US$ 20
FISEA93 Catalogue       US$ 25                   US$ 30
FISEA93 Proceedings     US$ 20                   US$ 25
FISEA93 Video (VHS PAL) US$ 20                   US$ 25

Payment in Dutch guilders (Hfl) (at this moment 1 US$ is 2 Hfl).
Credit card orders (Master, Euro or VISA) are prefered for
international orders.

(Tables of content available on request).

Also available through ISEA: IDEA, the International Directory of
Electronic Arts: US$ 43


Many of you recently received an invoice for their ISEA membership fee.
To all those that paid: thanks a lot; we feel our work is appreciated. To
reiterate: the money is used for xeroxing and (air)mailing ISEA info and
ISEA Newsletters. Since we are a world-wide operation, and many of our
members are not on Email, we need the cash.
However, as is stated in the invoice: we do not want to exclude those that
just don't have the money. It is possible to get your fee waived, by
writing to us. So there is no reason not to be part of ISEA.

Wim van der Plas

The Threat of Totalitarian Technology
Vigdor Schreibman, FINS

        It is accepted wisdom that the new world of virtual reality will
have an ecological impact that will change our civilization totally.
Nevertheless, as Neil Postman, a noted educator and authority on mass
media warns in his book "Technopoly" (1992), "there is only a dull and
even stupid awareness" of just what that ecological impact will be.
Moreover, the media is filed with the utterances of what Postman describes
as "zealous one-eyed prophets who see only what new technologies can do
and are incapable of imagining what they will undue."  Postman suggests
that we might call these people, "Technophiles":

     They gaze on technology as a lover does on his beloved, seeing it as
without blemish and entertaining no apprehension for the future. They are
therefore dangerous and are to be approached cautiously.

        Some indication of these dangers can be discerned from the fact
that broadcast television was introduced as a boon for education but,
instead, governed by the profit-centered model of business provided us
mainly with a "wasteland" predicated upon manipulative infotainment,
exploitive sex, and gratuitous violence.  Cable television was introduced
with the wisdom of similar "zealous one-eyed prophets," and governed by
the same market-centered ethic delivered a new order of the same old
"wasteland."  Now we are promised the wondrous world of virtual reality
that can --if we are not very careful-- exacerbate the decadent propen-
sities of the market system, and the same "one-eyed prophets" are telling
us that this too will be good for America.

        We can plainly see that for all its drama and promise, virtual
reality cannot replace the touch of a child, the passionate embrace of a
lover, or the comradery of family and friends gathered around the
household. Nor can it replace each person's childhood and all their dreams
of life that form the master plan for their existence.  In short, virtual
reality cannot replace the paramount reality of the everyday lives that
people live and the sacred relationships between citizens and the human,
social, and ecological environment that provides meaning in their lives.
Moreover, the most serious problems that confront this Nation--the most
inequitable distribution of wealth among developed nations, rampant
racism, crime, family breakup, homelessness, and urban disintegration
(along with many others)-- are not caused by inadequate information but by
a lack of enlightened good will of the "artificial aristocracies" who now
rule this Nation by raw power alone.

        The electronic dissemination of information may move great volumes
of information at high-speed but there can be no disputing the fact that
the primary beneficiaries of this technology are large-scale organizations
who conduct their affairs to maximize their profits at the expense of
society-at-large. Indeed, Al Gore's "information superhighways" will
establish a new reign of "knowledge monopolies" exercising a greater
degree of social control precisely in the way Aldous Huxley outlined in
"Brave New World."  Postman described the dynamics of what he has called
"technopoly" that can lead to totalitarianism.  He writes that this
totalitarian state is achieved simply by eliminating alternatives to

     It does not make them illegal.  It does not make them immoral.  It
does not even make them unpopular.  It makes them  invisible and therefore
irrelevant.  And it does so by redefining what we mean by religion, by
art, by family, by politics, by history, by truth, by privacy, by intel-
ligence, so that our definitions fit its new requirements.  Technopoly, in
other words, is totalitarian.

        The politics of technopoly is not a mere academic fantasy.  The
White House decided on Feb 4, 1994 to endorse a "back door" surveillance
system (the "Clipper chip") to be installed in the new information high-
way.  This system, which was developed in secret by the National Security
Agency, would facilitate wiretapping by government agents to provide ready
access to telephone conversations between private citizens, even from
remote sites. It would treat the whole population of the country as though
we were criminal suspects, ostensibly as a tool to combat crime and
anything that may be claimed to be a threat to national security.

        Public and private groups have expressed almost unanimous op-
position to the plan since it was first proposed in April 1993. Computer
Professionals For Social Responsibility is the  recognized national leader
in the fight against the "Clipper chip."  Marc Rotenberg, Director of the
CPSR Washington Office, has warned that the Clipper proposal is "more
compatible with the practices of telephone surveillance in the former East
Germany than it is with the narrowly limited circumstances that wire
surveillance has been allowed in the United States."  Moreover, far from
helping to combat crime, the General Services Administration warned (in an
internal memorandum) that the Clipper chip would "make it easier for
criminals, terrorists, foreign intelligence (spies) and computer hackers
to electronically penetrate the phone network and pry into areas previous-
ly not open to snooping." Nevertheless, the White House has arbitrarily
brushed aside such findings.

        These are a few of the attributes of the emerging technopoly. At
the same time, this situation presents a dramatic opportunity to demon-
strate the aspirations of networkers to sustain the democratic mission of
cyberspace by joining CPSR in opposing the "Clipper chip." For more
information about CPSR and Clipper, contact ISEA for the full document.

Electronic Petition to Oppose Clipper
To sign on to the letter, send a message to:
with the message "I oppose Clipper" (no quotes)

FINS: Communicating the Emerging Philosophy of The Information
available from ISEA).

Ray Archee

EVENT: 9-27 March, 1994 - LINDEN, 26 Acland St, St Kilda, Melbourne
(Opening 6-8pm 8 March) "The Talking Chair", an interactive 3-D sound
environment was created by composer, Iain Mott and designer, Marc Ras-
Integrating sculpture, electronics and industrial design the
listener/onlooker is immersed in a 3-D sound space which encourages
active participation. The person sits in an anthropomorphic chair.
Music played is an amalgam of specially chosen sampled and synthesised
sounds which are able to be controlled and manipulated via a hand-held
wand. A computer calculates the position of the wand in 3-D space and
generates acoustic effects such as pitch and reverb promoting the
sensation of distance. The sounds confront the participant with
unpredictable spatial feedback developing a two-way relationship between
the sonic space and the person.

NEWS: The University of Western Sydney, Nepean has agreed to establish a
combined academic and community electronic bulletin board system, one of
the first, if not *the* first public access Internet information/
communication systems in Australia. Among the organisations represented
will be those concerning arts, library, cultural, health and welfare
organisations. The BBS will in fact use the World Wide Web hypertext
browser, Lynx which incorporates both local and international access
to a wide range of Internet services such as ftp, telnet, http, mail,
the Usenet and gopher. More about this as the system progresses.
(For information contact rarchee@extro.ucc.su.oz.au)

Robert Cheatham

PERFORATIONS issue number 5, Bodies/Dreams/Technologies, is nearing
completion and will consist of electronic media and text.
It will include:

1) an hour long video compilation featuring a section of video artists
   compiled by Alan Sondheim, plus other work from Germany and Australia;
2) a hyper-text computer disc from Richard Smyth in Florida.  The
   hyper-text is called GENETIS:  A Rhizography;

3) an audio cassette featuring the computer music compositions of Atlanta
   musician Dick Robinson and the music of Canadian composer Michael
4) 70-100 pages of text material. A partial title listing:
The Martian Spring of Dr. Woodard (Don Webb), Shoere(a)lity (Marc
LaFountain), Brain Dead Dog (Tom Zummer), The Hidden World of the Visual
Analogue (Stevens Seaberg), Two False Studies (E.K. Huckaby), Dream Food /
Doll Fuel (Fehta Murghana), Attempting to Replace Intrigue With Reason
(August Minz), Interview: The Doll Universe (Robert Cheatham, Chea Prince)
Meta-technology: An Analytical Sketch (Henry Flynt), The Transcending
Luminosity of the Ghost in the Machine (Eric Weiss) and more....

This issue will sell for $40 + shipping (probably around $3 for local
shipment).  Perforations is generated by Public Domain, Inc., a 501 (c) 3
non-profit organization whose stated mission is the exploration of the
intersection between art, theory, and technology.  All monies received go
back into supporting PERFORATIONS as well as such events as Working
Papers, a series of presentations/performances by artists, writers,
theorists, etc., which will be starting up again in March, as well as the
internet node on which you are currently reading this.

Unfortuantely, economics dictates that we are only able to produce a
limited series of PERFORATIONS.  If you would like to reserve a copy
please drop an e-mail message to  info@pd.org.  Our mailbox address is:

Public Domain, Inc. P.O. Box 8899, Atlanta, Ga.  31106-0899, USA

We also welcome your contributions to PERFORATIONS as writers, artists,

Menno Rubens

Third message, 8-2-1994

Sculpture City International (SCI) is organized as part of the
manifestation Sculpture City Rotterdam (SCR) which will take place in
september/october 1994. At SCR, invited artists and architects will
participate in a workshop in Rotterdam. The results of the SCR-workshop
will be exhibited in 'Galery RAM' in Rotterdam, together with the incoming
files of the SCI-participants (you). During the manifestation there will
be an exchange of files between  SCI and SCR-participants.

Since the exchange of files will take place during the actual manifes-
tation the deadline is September/October 1994.

Submissible works?
Models of your own electronic designs; designed in electronic space.

Data formats?
The data format of the SCI models depends on the programs used by the
participants. At least the following data formats will be supported:
.DXF, .DWG (Autocad), .3DS (3D-studio).
If it is not possible for you to submit your models in one of these
formats, please let me know.

The exchange of data will primarily take place via normal telephone
connections (binary-files) or via E-mail (ascii-files).
If there will be an FTP-site available is to be announced later.
If you have any more questions please let me know.
Send reactions, questions and ideas to:  menno@dutiq50.tudelft.nl

Sculpture City is an initiative of Kas Oosterhuis, Architect in Rotterdam
and Ilona Lenard, sculptor in Rotterdam.


VRST' 94, the Conference on Virtual Reality Software and Technology,
is a high-quality forum for presenting innovative virtual reality (VR)
research and development. This conference, sponsored by ACM SIGCHI and the
Institute of Systems Science, Singapore, will be held August 23-26, 1994
in Singapore.

VRST '94 has two major aims. First, it will bring together researchers,
developers, and users of VR, and provide them with opportunities for the
interchange of the latest research and development ideas.
The second aim of VRST '94 is to foster greater international cooperation
and understanding in VR.

The VRST '94 program includes papers, panels, tutorials, demonstrations,
an opening plenary and invited talks, and a conference reception and
banquet. The opening plenary and invited talks will be delivered by
pioneers of VR, who will share their vision of the field with the

For further information on VRST '94 and a registration package, please
Ms. Vicky Toh, Institute of Systems Science, National University of
Singapore, Kent Ridge, Singapore 0511, Republic of Singapore.
Tel:  65-772-2003, Fax: 65-778-2571, Email: vrst94@iss.nus.sg

compiled by Leslie Bishko

The following is a partial listing of animation resources and film/video
festivals with animation categories.  Some addresses may not be current.
Most festivals accept VHS videotape submissions, but several will only
screen film.  The missions of these festivals are varied.  My hope is that
providing addresses for these resources to digital artists can influence
greater acceptance of computer animation within the animation community.

Directory of International Film and Video Festivals
British Film Institute, in association with The British Council
21 Stephen St., London W1P 1PL, UK. (bi-annual publication)

The Independent
AIVF/FIVF, 625 Broadway, 9th Fl., New York, NY 10012, USA
(monthly publication including festival listing and funding opportunities,
included with membership to AIVF - the Association for Independent Video
and Filmmakers)

Telefilm Festival Directory
Telefilm Montreal: 514-283-6366 (for general info)
To order: 819-956-4802 publication #CC 370-1 1993

ASIFA - Association Internationale du Film d'Animation
(International Animated Film Association)
Sponsors several major animation festivals, publishes international
newsletter. Local chapters in Austria, Bulgaria, Canada, Catalunia, China,
Cuba, Czech Republic, Great Britain, Hungary, Iran, Ireland, Isreal,
Italy, Japan, the Nordic region, Mongolia, Poland, Romania, Russia,
Slovakia, Slovenia, Switzerland, 6 local chapters in USA, and Yugoslavia.

For international membership and general information:
Gunnar Strom, Secretary General
MROH, N-6100 Volda, Norway. Fax: 47-70-77331
       - or -
David Ehrlich, Vice President
RR1, Box 50, Randolph, Vermont 05060, USA

ASIFA Employment Databank
Free to ASIFA members, 10.00 US to non-members.
Open to both studios and individuals.
Jiri Kubicek
ASIFA Employment Databank, Strekovska 1342, 182 00 Praha 8, Czech Republic
Fax/Tel: 42-2-858 3203

ASIFA List of Animation Schools (Vol. No. 2)
Gunnar Strom
More and Romsdaal College, P.O.B. 188, N-6101 Volda, Norway

Society for Animation Studies (SAS)
This international organization holds an annual conference for animation
studies: history, criticism, aesthetics.  The Society hopes to locate the
conference on Eastern and Western continents every other year.  Publishes
a newsletter 5 times a year, listing resources in animation literature,
book reviews, etc.
For membership:
4729 Lankershim Blvd., North Hollywood, CA 91602-1864.
Fax: (818) 506-4805

Contact the SAS for back issues of the newsletter, containing extensive
bibliographies of animation literature.

Animation Journal
Edited by Maureen Furniss, University of Southern California
Published twice a year, Animation Journal is committed to research that
reflects the diversity of animation in terms of its production techniques
and national origins.  Because the editor receives many papers that deal
with American classical animated features, she encourages research that
deals with other topics.  Experimental approaches are welcome and, if an
author finds it useful to offer readers examples on video cassette or
computer disk, such arrangements will be considered.  Editorials, reviews,
discussions of works in progress and other non-refereed submissions are
welcome.  Of particular interest are graphic essays (drawn panels with
Contact: Maureen Furniss
AJ Press, 2011 Kingsboro Circle, Tustin, CA 92680-6733, USA
Tel: 1-714-544-6255, Email: maureenf@aol.com

Animatrix (Published annually by the UCLA Animation Workshop)
UCLA Dept. of Film and TV, 405 Hilgard, Los Angeles, CA 90024, USA.

Women and Animation
Jayne Pilling of the British Film Institue edited this broad overview of
women working in independent animation. Includes essays on early animation
pioneers such as Lotte Reiniger, Mary Ellen Bute and Evelyn Lambart.
Covers Canada, USA, Europe, UK, India, USSR/Russia and Australia, as well
as an international A-Z of women animators - past and present, and
bibliography.  Jayne is the director of the International Animation
Festival held in Cardiff, Wales this coming May, which will include
screening of computer animated works.
The British Film Institute
21 Stephen Street, London W1P 1PL, UK.
Translations in French and Italian available, as well as a three-volume
BFI/Connoisseur Video complilation of animation films made by women,
titled "Wayward Girls and Wicked Women."

To be continued in the next newsletter.

                           CALLS FOR PARTICIPATION

February 17 - May 20  1994, Holland, 14 locations
Every Thursday for 13 weeks
Concluding manifestation: Imagination 94, Jaarbeurs Congress Center,
Utrecht, May 18-20.
Educational series of seminars for graphic designers, photographers and
others interested in electronic imaging. Seminars cover basic principles
of digital imaging, scanning, manipulation, colour management, printing
etc. etc. Each seminar is held at a different company's location, but the
speakers have no link to that particular company.
Hfl 95 per seminar (including materials and lunch).
Info: PF Publishing, POB 318, 2286 LH Rijswijk, The Netherlands
Tel: 31-70-3941007, Fax: 3938382, Email: ISEA@MBR.FRG.EUR.NL


During March '94 Cafe Lena will display work by Portland, Oregon poet,
artist, & publisher Bob Phillips. COMPOS(t), the title of the instal-
lation, is also the title of Phillips' Internet work-in-progress, which
includes text, performance, sound including voice, images, & control
structures which respond to participants' choices.

A Performance Saturday, March 12 at Cafe Lena will include readings from
Phillips' poetry and elements drawn from the COMPOS(t). The performance,
beginning at 9:30 PM, will follow an afternoon 'COMPOS(t) internet Dump',
through Phillips modem connection at Cafe Lena from 2-6PM and the internet
host teleport.com.

In the COMPOS(t) images & songs, poems & puns, quotes & flames are avail-
able in variations. The Internet, embedded in the COMPOS(t), reverberates
& steams when turned. During the installation Internet response to COM-
POS(t) deliveries will be displayed  at Cafe Lena.

Phillips' Internet address, rawdirt@teleport.com, will include GOPHER
space access to images & samples'audio from and in the COMPOS(t) acces-
sible via Internet Gopher and ftp. Selected materials will be added to a
COMPOS(t) mailing list currently in preparation.

The installation includes images taken from video, from scanned
flat-art & photograph, from Internet alt.binaries.pictures, and from
graphics generated using the computer. Color images reproduced on HP1200C
color ink-jet, dye-sublimation printer, Cactus inkjet, and Iris inkjet
will be displayed during the March installation. Prints from the COMPOS(t)
will be assembled in an event chapbook which may be purchased at Cafe
Lena, along with individual copies of the prints.

During the installation components will be gathered for insertion into the
COMPOS(t). In previous installations at Portland's Club Satyricon annual
Birthday Party and at the Artquake '92 Unjuried Art Tent event 'Midden
Erd', collected samples from the event audience and videance were fed back
using B&W laser printer and audio amplifier. Selected images & samples
from these events are currently in the COMPOS(t), including the infamous
shill sample 'Chimpanzee Orgasm Imitation' and 'You Need an Enema' spoken
Collage & Artwork, poetry & voice from other artists will be added to the
COMPOS(t) during the course of the installation. The COMPOS(t) will change
during the course of the installation.

Bob Phillips, Local Earth Design, 2009 NE Brazee, Portland, Oregon 97201,
USA. Tel: 1-503-281-9676, Email: rawdirt@teleport.com

GOPHER to teleport.com
select  ...Portland info
then    ...Museums and art Galleries

GOPHER access to teleport's local gopher installation, for those not on
the internet, can be had by dialing {1-503-220-0636 for 2400 baud modems}
{1-503-220-1016 for 14.4 modems} and answering GOPHER at the login prompt.


Trade Show, Art Show and Seminar Program
May 19-21, 1994, Jaarbeurs, Utrecht, Netherlands
Electronic Media and Studios.
Electronic Media and Studios.
For the Art Show submissions can be send to ISEA. Video (VHS or Umatic),
Electronic Media and Studios.
For the Art Show submissions can be send to ISEA. Video (VHS or Umatic),
slides, prints, descriptions of installations, etc. The Call for Par-
Electronic Media and Studios.
For the Art Show submissions can be send to ISEA. Video (VHS or Umatic),
slides, prints, descriptions of installations, etc. The Call for Par-
ticipation is available from ISEA.

Centre Copie Art, Montreal, Canada

Visual section: Mail Art objects will be exhibited from July 13th to
September 3rd. Sound Section: Sound-works will be played at specific times
in concert with live musicians, electro-acoustic and others. A copy
of the recorded concert will be forwarded to the original composer.
Galeries Arts Technologiques, 813 rue Ontario est, Montreal, Quebec,
Canada H2L 1P1. Tel: 1-514-5238011, Fax: 5210226


Music has been a part of SIGGRAPH for over 20 years.
From background music, to the spectacular works shown in the Electronic
Theater, to commercial works heard on the exhibition floor, to the subtle
and intriguing sounds that are part of the latest interactive pieces,
music and sound invigorate the spirit of technology at SIGGRAPH.

For SIGGRAPH 94, we'd like to try an experiment.  We'd like to request
submissions of short musical pieces of any type for presentation during
SIGGRAPH 1994.  Not only are we asking for musical works, we are also
asking for suggestions on how and where the work might be used.
Contact: music.s94@siggraph.org or contact ISEA.


     You are invited to participate in the Workshop for the Invention and
Research of Electronic Discourse's first Surprise Party, March 22-26, 1994
at the University of Florida, Gainesville.  We'll provide the site, the
chips and dip, and the punch.  Join us for an informal and exploratory
exchange on the experiments, activities and adventures of all those
investigating the possibilities of electronic media for:
               creative and theoretical production
               social and cultural criticism
               pedagogy and performance
               buying and selling/espionage
               spreading nasty rumors/gossiping
               sorcery....and the list goes on

     Your work/play, positioned as it is at the intersection of art,
theory, technology and politics holds considerable interest for our
project.  You would be free to contribute in whatever manner you desired.
Come as you are! Bring your own concept!

     The potluck format provides a model for organizing a conference in
the age of electronic discourse. We do not wish to uncritically and
unimaginatively reproduce the structure of the panel discussion , the
gallery space, the journal, or passively repeat the authoritative pronoun-
cements of specialists and experts. Let's exploit the in-between, the
interstices and crossings of the network!


     We will be hosting a series of workshops, exhibitions, installations,
video and film screenings, discussions, lectures/performances and all
night jam sessions at our headquarters at the University of Florida. Par-
ticipants include:
               Artist-in-Residence: Nancy Paterson
               Consultant (Theory/Method): Gregory L. Ulmer
               Performance/Workshops: Public Domain
               and a cast of tens of thousands via WWW

      Our WWW address will also be open for presentation of images, text,
sounds etc. for your perusal.
Tune into http://www.clas.ufl.edu/CLAS/Departments/wired.html for the
latest developments.

     We need your text, HTML, MPEG, Quicktime, JPEG, GIF or AIFF files for
exhibition on our web server.  Plus, we want other kinds of files, such as
interactive artspaces, artificial life, hypermedia, animations, MIDI,
raytraced images, etc., for display at the exhibition.
Please send your files on 3.5" disk to Alan Wright, 302 NE 8th Ave.,
Gainesville, FL 32601, USA. Small files (<1 MB) can be uuencoded and
mailed to SEEKER1@ UFCC.UFL.EDU.
(Alternatively, you can send TRUE@NERVM.NERDC.UFL.EDU directions for 'get'
ftp, so we can 'fetch' it. If your file is really big (>5 MB), send us a
Web address, so we can establish remote links to it.) Sorry, but no 'put'
FTP is available at this time.  We will post more information should
direct FTP be possible in the near future. With all files, please include
descriptions of the platform (IBM, Mac, workstation, etc.), system, and
program (if needed) that the files run on, plus any other requirements
(peripherals, cards, etc.) for their proper execution.

     Videos (art or otherwise), electronic presentations of theory and
criticism, xerographic posters, mail art or other detritus to be exhibited
at University of Florida should be sent to Anthony Rue, 1110 NE 5th Place,
Gainesville, Fl 32601, USA.

     Send your work by March 11, 1994.  All submissions should include
return postage. For further information and inquiries contact:

Digital CD-ROM Magazine for the Macintosh
$25.00 plus $2.50 p/h = $27.50
Necro Enema Amalgamated, P.O. Box 208, Village Station, New York, NY
10014, USA. Tel: 1-212-979-2445, Fax: 1-212-979-6052,

March 3 1994, University of Bern, Switzerland.
Contact: SEV, Sekretariat der ITG, Postfach, CH-8034 Zurich, Switzerland.
Tel: 41-1-3849111, Fax: 41-1-4221425

March 22 - 24  1994, Oxford, UK
12th Annual Eurographics UK Conference
Contact: Malcolm Austen, Fax: 44-865-273275, Email: conference@eg-uk.co.uk

May 4 - 8  1994, Glasgow, Scotland, UK
Deadline for submissions: February 1st 1994.
Info: New Visions, P.O. Box 1269, Glasgow G3 6QA, Scotland, UK.
Tel: 44-41-3320744

May 20 - 24  1994, Banff, Alberta, Canada.
4th International Conference on Cyberspace (May 20 - 22) and Tha Art and
Virtual Environments Symposium. Media Arts, The Banff Centre for the Arts,
Box 1020-8, Banff, Alberta, T0L 0C0, Canada. Tel: 1-403-7626652, Fax: 1-
403-7626665, Email: 4cyber@acs.ucalgary.ca

May 25 - 27  1994, Geneva, Switzerland.
6th International Confrence on Computer Animation.
Contact: Prof. Nadia Magnenat Thalman, MIRALab CUI,
24 Rue du General-Dufour, Geneva, Switzerland.

June 21 - 25  1994, Linz, Australia.
Info: ORF Landesstudio Oberosterreich, Europaplatz 3a, Linz, Australia.
Tel: 43-732-6900-238, 267, also Fax: 43-732-7612350 or 783745

July 23 - 27  1994,  Campus Sart Tilman, B-4000 Liege, Belgium.
Info: ESCOM Secretariat, Centre de Recherches Musicales de Wallonie
16 place du 20 Aout, B-4000 Liege, Belgium.
Tel: 32-41-223362, Fax: 32-41-220668, Email: URPM@BLIULG11.BITNET

July 24 - 29  1994, Orlando, Florida, USA
Dino Schweitzer, Tel: 1-719-4723590, Email: siggraph94ideas@siggraph.org

August 3 - 4  1994, Caxambu, Brazil
The 1st Brazilian Symposium on Computer Music, promoted by NUCOM
Mauricio Alvares Loureiro
Departamento de Ciencia da Computacao, Universidade Federal de Minas
Gerais - UFMG, Belo Horizonte, MG, Brazil
E-mail: mauricio@dcc.ufmg.br

August 23 - 28  1994, Helsinki, Finland.
The 5th International Symposium on Electronic Art will take place in
Helsinki, Finland. ISEA'94 will be a lively forum for artists, scientists,
educators, critics and scholars, all those who share a professional
interest in the electronic media.
Info: ISEA'94, University of Arts and Design UIAH, Hameentie 135c, 00560
Helsinki, Finland. Tel: 358-0-7563344, Fax: 7563537, Email: ISEA@UIAH.FI

September 12 - 17 1994, Aarhus, Denmark
Info: ICMC 1994, Musikhuset Aarhus, Thomas Jensens All, DK-8000 Aarhus C,
Denmark. Tel: 45-8931-8171, Fax: 45-8931-8166, Email: ICMC94@daimi.aau.dk

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

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

Support: Erasmus University Rotterdam (Law Dept), Amsterdam University,
V2  Organisation,  Tell Productions,  YLEM,  ISAST,  Renderstar Tech-
nology, Media Research,  Museum der Stad Gladbeck, Corel Corporation.
End of Newsletter

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