#028 Apr 1994


                             THE ISEA NEWSLETTER

                             # 28, APRIL 1994

Editors: Dirk Boon, Wim van der Plas (Holland). Correspondents: Yoshiyuki
Abe (Japan), Ray Archee (Australia), Peter Beyls (Belgium), Leslie Bishko
(US/Canada), 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 Electronic Art Festival (DEAF), announced in earlier Newslet-
ters, is taking shape. It is co-organized by ISEA Holland, V2, WDS and
theatre Lantaren/Venster, all located in Rotterdam, where the festival
will be held. The dates are 9 - 14 November 1994.
The V2 'Festival for the Unstable Media' is a substantial part of DEAF,
and begins before the 9th. 
The festival will take place in both theatre Lantaren/Venster and in the
new V2 location in Rotterdam. Other events include a symposium, a multi-
media exhibition, work by Dutch art and music schools and a project called
Collage. We will tell you more about Collage in one of the next Newslet-
ISEA Holland is also cooperating with the Jaarbeurs Royal Trade Fair on
Imagination 94 (see below) in May. It includes a real-time collective
collage work involving artists from Tokyo, Sydney and Boston. 
It looks like ISEA UK is rapidly getting active now, ISEA Brasil has
decided to publish a "Newsletter" in Portuguese and ISEA Japan will soon
start with a 24 hours BBS. In fact, we are so busy, we have no time for an
editorial for this issue.

Wim van der Plas

                         LATE CALL FOR PARTICIPATION

May 18 - 20  1994, Royal Dutch Trade Fair, Utrecht, Holland

Imagination 94 is a tradeshow devoted to the developments in electronic
visual communication, multimedia, CAD/CAM, industrial design, graphic art
& design, printing & publishing, scientific visualization, GIS, virtual
reality, the electronic highway, etc. During the event there will be an
art show in which artists and designers can participate. Both autonomous
and applied works are accepted.
Entries can include:
-Videotapes (VHS PAL, Umatic PAL or NTSC)
-Descriptions of Installations (including a list of requirements)

The Art Show and the Seminar Program of Imagination are organized in
cooperation with ISEA Holland. The Program Committee of Imagination 94 is
responsable for both the Seminar Program that accompanies Imagination and
the selection for the Art Show. The Dutch journals "Professionele
Fotografie" and "P/im Professional Imaging" will publish some of the
selected works, including credits. In consultation with the participants,
some of the works will be exhibited during the Dutch Electronic Art
Festival in November in Rotterdam, Holland.

Deadline: May 2nd 1994. Contact ISEA if you want to join, but cannot make
the exact deadline. Each entry should be accompanied by a description,
including the credits to be given when the work is exhibited. Name and
address should be included on each piece of work (for example: on the 
frame of each slide). A short artist's statement and/or a short descrip-
tion of hard and software used will be appreciated. By entering work,
participants give Imagination 94 the right to use this work for publicity
purposes (for Imagination 94 only). Imagination 94 will make sure proper
credits are given if work is used for publicity purposes.

If the participant wishes the work to be returned after Imagination 94, a
self addressed envelope must be included. Dutch entrants must include
sufficient postage, participants from outside Holland must enclose an
international money order (or cash) for the return postage.

Send entries to:
ISEA, POB 8656, 3009 AR Rotterdam, Holland
Info: Tel: 31-10-2020850, fax 2668705 (c/o Heidi), 

Some of the papers included in the Proceedings of the Second
International Symposium on Electronic Art (SISEA), are now available in
Italian. Both Stelarc's paper 'Prosthetics, Robotics and Remote Existence'
and Sally Pryor's 'Thinking of Oneself as a Computer' are included in Pier
Luigi Capucci (editor): Il Corpo Tecnologico, published by Baskerville,
Bologna (1994).
From ISEA, the followinmg publications can still be ordered:
SISEA PROCEEDINGS: US$ 15 (plus mailing costs) for ISEA members, US$ 20
(plus m.c.) for non-members.
TISEA PROCEEDINGS ('Art & Cyberculture'): US$ 15 (plus mailing costs) for
ISEA members, US$ 20 (plus m.c.) for non-members.
Lower prices for bulk orders.

October 8 - 14  1995, Montreal, Canada

"Emergent Senses" captures several of the deepest currents now flowing
through electronic culture:

Through one eye, it points to the emergence of the expanded and mutated
sensorium under construction by today's experimenters in media arts and
science: new ways of combining seeing, hearing, and feeling in virtual
environments, and new ways of extending our senses through electronic
technology. It points further to the philosophical and social challenges
to individual identity and community which these new experiences pose, as
well as to a profound transformation of "being" implied by the shifting
ratio of the senses created by these changes.

Through another eye, "Emergent Senses" highlights the unfolding of meaning
- the emergence of sense - from the characteristics of software-based art.
Interactive forms in creation, performance, and education suggest a new
kind of "experimental humanism", which recalibrates the roles of artist
and audience, creator and critic, teacher and student. Or does it?

Finally, "Emergent Senses" acknowledges and invites investigation of the
powerful attraction of biological and evolutionary metaphors in many
fields today, from artificial life to machine understanding, from com-
position and design to editing and refining artistic materials.


-    Changing roles in creating, transmitting, and receiving art: from
     designer, programmer, user to creator, tool-maker, interactor;
-    Authorial fluidity and the paradox of distributed control;
-    Collaborative environments for the creation of interactive and
     adaptive content;
-    The aptness of genetic and biological metaphors: artworks as
     phenotypes, evolutionary form, artistic understanding as adaptive
-    Ownership of creative work: intellectual property conventions from
     a cross-cultural perspective.

-    Global art networks in a post-national age: who designs them? how do
     they look and feel? who gets them? what are their effects?;
-    The presence of place: local, regional, and supra-national identity
     within hypernetworked arts communities;
-    Amateur creativity and shared experience: access, tools, and systems
     for those out of the loop;
-    Public policy objectives and agendas: what role should governments
     play in developing legal, funding, and technological frameworks for
     electronic arts;
-    The politics of access: the interaction of social and professional
     roles, artistic genres and political power.

-    The "metrics" of multi-modal perception;
-    Extensions and mutations of the five traditional senses;
-    Digital synaesthesia: the art-science of programming sensory presence
     and absence, effects of information/digital overload;
-    Physics of new media: devices for machine capture and modelling of
     artistic virtuosity
-    Hybridization of personal identity:  gender, personality, ethnicity
-    Porous body boundaries, cyborg theory, and experimental practice

-       Critical languages/vocabularies for new subgenres of "elastic" media
-    Constructing meaning in open-structure artworks
-    Machine understanding of artistic processes, and the general
     applicability of research to human-machine interaction
-    Theories of techno-culture and historical analogies from previous
     media paradigm shifts
-    Media literacy and attendent issues in aesthetic education and
-    Philosophical understanding of "time irrereversibility"
-    The "post-aesthetics" of digital art: oscillation between
     "disorientation" and "stability" (Vattimo)

ISEA95; Emergent Senses invites submissions by scholars, artists,
scientists, critics, and educators, in the following categories:
Papers, Panels,  Exhibitable Artworks (2,3D art, media-installations,
virtual environments), Performance, Telematic Projects, and Workshops.

A Detailed REQUEST FOR SUBMISSIONS will be issued shortly.
To request further information and join the distribution list,
contact: ISEA95@er.uqam.ca

Ray Archee

Australia has the beginnings of a free-net (note the small "f") in the
shape of the UWS3net. This electronic bulletin board system was designed
by myself in 1993 and exhibited at the University of Western Sydney,
Nepean Open Day. It used the hypertext browser, Lynx to display the
University's courses, student assignments, academic articles and a host of
collected resources. A number of community organisations who saw the BBS,
lobbied the CEO of the university for access, and were welcomed. Since the
public announcement of this project, several other organisations have
requested access. These groups include a disabilities organisation, the
Jewish and Buddhist community, emergency services, and schools. The system
should establish unique links between the university and the community it
serves. Users will not only have access to each other's information, but
will also be given electronic mailboxes and access to Internet gopher and
world wide web databases.

Peter Beyls

1. The KAAITHEATER in Brussels organizes a two-day mini conference on the
subject of fiction in electronic media, virtual reality and science-
fiction. The lectures are held on April 11th and 12th at the Lunatheater
in Brussels. Participants include Geert Lovink (member of the Dutch 
BILWET group), writers Eric De Kuyper and Stefan Hertmans, and composer
Victor Wentinck who  will explain his neo-nature vision of the future. 
Herman Asselberghs, editor of AS (Andere Sinema) will present an audio-vi-
sual presentation that stresses the confusion between documentary and
fiction. Audience interaction is strongly encouraged.

2. St Lukas Art Institute, Brussels, is in the process of organizing an 8
part lecture series on new media and the arts. The series aims to expose 
the different approaches being explored by artists, researchers and
theoreticians dealing with digital media for artistic expression. Feel 
free to enter a proposal if you work in any aspect of computer graphics,
animation, interactive works of art (including VR), communication oriented
work or multi-media type of work (integration of sound and image). The
series is planned for the academic year 1994-1995. 
Expect a mixed audience of art students and interested individuals from
outside the institute. 
In particular, we are interested in interdisciplinary explorations. We
provide a modest fee as well as hotel accomodation. Feel free to submit a
paper or abstract and/or slides or video.

All proposals and materials should be sent to:

Peter Beyls
St Lukas Art Institute, Electronic Imaging Department
Paleizenstraat  70, 1210 Brussels, Belgium.
Tel: 32-2-2176042, Fax: 32-2-219-0241, Email: PETER@ARTI.VUB.AC.BE


The Viking Eggeling Society is deeply concerned with creating oppor-
tunities and providing a platform to today's creative arts. The staging,
marketing, communication and exposure of multiart forms which describe the
present; through images, music, movement, light, sound, multimedia and
other forms or structures, this is the primary concern of the Society.

Viking Eggeling (1880, Lund - 1925, Berlin) was an internationally ac-
claimed innovator in the field of abstract filmmaking and has claimed a
place both in the modern arts world and in film history by pioneering the
introduction of time in a physical sense into western visual art - as a
counterpart to music's extension in time.

The Viking Eggeling Society was founded in 1988 in Lund, an expansive
university city in southern Sweden. The intention is to create symposia, 
in which ideas surrounding topical artistic issues can be freely exchanged
to safeguard and utilize to advantage the local and international cultural 
heritage represented by Eggeling's artistry; and in this way also to
clarify a currently important part of European modernism's history.

Info: POB 2139, S-22020 Lund, Sweden. Tel/fax: 46-46-144710

                       (Source Music Research Digest) 
Introducing the Alternate Tuning Internet Mailing List

This (electronic) mailing list is intended for exchanging ideas relevant 
to alternate tunings: just intonation; paratactical tunings; experimental  
musical instrument design; non-standard equal temperaments; MIDI tuning 
system exclusive specs; concert postings; gamelan tunings and other 
non-western tunings; historical tunings; the experimental tunings of Harry
Partch, Lou Harrison, Martin Bartlett, James Tenney, and so on; software 
reports; recordings; books; research sources, etc. etc. etc.    
To subscribe to the list, send email to LISTPROC@VARESE.MILLS.EDU        
The  first line of the message should be blank, and the second should read
"SUBSCRIBE TUNING (Your Name)". Questions   about  the  list  can  be 
sent to Greg Higgs at HIGGS@MILLS.EDU. Happy retuning!                     

in Electronic and Computer Music
TIMARA Program
July 17-24 & July 25-30, Conservatory of Music, Oberlin College, USA.

Gary Lee Nelson, Director

The Conservatory of Music at Oberlin College invites you to participate in
the 1994 workshops in electronic and computer music. We started these
workshops in 1986 so this will be our ninth year. Our students have ranged
from high school age to retirees. We welcome people from other colleges. 
We also invite professionals, teachers, and hobbyists . These workshops
are for anyone who wants to enrich their understanding of new music media.

Daily lectures and demonstrations will introduce you to each topic.  
Supervised laboratories will guide you through hands-on experience with
new technology.  Listening and discussion sessions will expand your
familiarity with the literature of electronic music. We will give special
attention to the esthetic issues raised by this new way of making music.

The workshops are progressive and focused on original composition. The
program provides continuity with minimal overlap or repetition in the two
weeks.  Former students have benefited most by attending both weeks.  If
you enroll for only one week it must be the first week. In the second
workshop we build on the skills you acquire in the first.

The workshops are Macintosh based and the topics we cover include:
sequencing (Vision, MusicShop, Performer), music printing (Finale), 
synthesizer programming (Galaxy), sampling (Sound Designer, Alchemy,
TurboSynth), alternate MIDI controllers, algorithmic composition (M, MAX).
If you want a more detailed description via email, send a message to:
FNELSON@OCVAXA.CC.OBERLIN.EDU. If you want a brochure and registration 
forms, include your snail mail address or write directly to:
Office of Outreach Programs
Conservatory of Music, Oberlin College, Oberlin, OH 44074, USA
Tel: 1-216-7758044


The Board of Governors of the IEEE CS has approved during its session
on March 4th the elevation of the Task Force (TF) on Computer Generated
Music (CGM) to the rank of Technical Committee (TC). 

Our TF started in October 1992 and has devoted its energies to the service
of its members. It has published three newsletters, has contributed a
panel at the 10th Colloquium on Musical Informatics in Milan, Italy on
Dec.2, 1993, lectures at the  First International  Conference on Cognitive
Musicology (ICCM), which took place in in  Jyvaskyla, Finland, on August
26-29, 1993, lectures at the Klangart, Osnabrueck, Germany, on May 27th,
1993, and at the conference on The Culture of the Artificial on May 14,
1993. It has produced the CD-ROM "An Intelligent Musical Workstation",
sponsored by the Italian National Science Foundation (CNR) and is cur-
rently preparing a CD-ROM on Standards for Computer Generated Music.
Further publications, conferences, workshops, newsletters and activities
such as textbooks and CD-ROMs are currently being prepared. Contacts with
leading industries and participation in standards committees are also

Denis L. Baggi
Chair, IEEE CS Technical Committee on Computer Generated Music

The catalogue of the musical library common to Ircam and the CNRS is
accessible through Internet. It comprizes scores and books on music,
musicology, digital signal processing and related areas of interest.
To connect:     telnet ftp.ircam.fr  login: libquery
An online help is available.
Suggestions and remarks are welcome. Michael Fingerhut (MF@IRCAM.FR).

Volume 9 (1993-94: ISBN 0-936943-08-4; ISSN 1057-9478) is now available 
from the Center for Computer Assisted Research in the Humanities.
This 256-page issue is the largest ever. Information on COMPUTING IN
Nancy Solomon, CCARH, 525 Middlefield Road, Suite 120, Menlo Park, CA
94025-3443, USA. Tel: 1-415-322-3307, fax 1-415-329-8365,

                           CALLS FOR PARTICIPATION

The Digital Art Museum is a synergy of cutting-edge art and technology.
Presented in both CD-ROM and book form it is our intention to showcase an
array of artistic images while delving into the inner workings and crea-
tive philosophies of renowned "hypermedia" artists.
To this end, we invite you to submit examples of your work, or entirely
new interactive ideas that fit with our "visions of the virtual world"
concept. These can be sensual visions, exotic mysteries, puzzles, personal
memories, or other voyages in the virtual realm.  The selected works will
be incorporated into our multi-media endeavor.  Utilizing CD-ROM tech-
nology, we will create a computer graphics art museum with interactive
capabilities, 2-D as well as 3-D computer graphics, and user activated
interview segments.  
Submit VHS tapes, or slides to Visions of Virtual World.  Production will
require output to SyQuest drives.
Contacts: Eric Ayzenberg, or Marva Marrow
39 C. Walnut St., Pasadena, CA 91103, USA
Tel: 1-818-584-4070, Fax: 1-818-584-4022


Submit visual art work for possible inclusion in Art as Signal: Inside the
Loop, an international, multimedia exhibition of visual computer and
electronic art. The exhibition will be shown at Krannert Art Museum,
University of Illinois at Urbana-Champaign November-December 1995. A
portion of the exhibit will travel to I-Space Gallery in Chicago during
the Spring of 1996. A CD-ROM catalog will accompany the exhibition.
We are looking for examples of: two dimensional work and three-dimensional
installations that use digital technology in any form, and computer
animation or hypermedia in NTSC video, or Mac compatible format. The
prospectus idenifies supported media.
Deadline for submisions: June 15, 1994.

For prospectus email: ArtLoop@ux1.cso.uiuc.edu or send SASE (US only) to
Art as Signal: Inside the Loop, Krannert Art Museum, University of Il-
linois at Urbana-Champaign, Champaign, IL 61820, USA.


Global Bridge is an art project spanning the entire globe. Artists and
creative people from diverse cultural backrounds are collaborating to
further an awareness of how to forge links and across continents - to
"build bridges" beetween them.

Global Bridge was initiated in 1991 by the sculptor Markus Heinsdorff. His
previous/former art works and projects - cinetic sculptures and
installations already create conjunctions between different aspects and
spheres of life - art and technology, nature and architecture, socio-
cultural thinking and joyful creativity. 

The bridge project extends this attitude to creative dialogue and exchange
on a global level - exploring and investigating ditches and bridges,
differences and commom ground, contradictions and similarities beewtween
widely varied fields and cultural circles through the playgrounds of art
and experiment.

In dialogue and collaboration between open minds from all over the world -
interested and engaged in the project's theme and claim, many clues and
viewponts may emerge - providing a wide assembly of individual attitudes
in thinking, living and dealing with todays and tomorrow's global options
and requirements. 

These will become apparent through art works in the widest variety of
traditional and investigative media, to be experienced in a new context
which uses the symbiotic power of diversity within one, common world.

The works involved will be shown in different compositions/ under dif-
ferent frameworks in publications, exhibitions, installations in different
countries and continents inititated by Global Bridge throughout the whole
duration of the project.

For their final presentation specific art space/site will be created
within the supporting structure of the bridge installations of Markus
Heinsdorff - accessible sculptures giving form to the project's idea of
forging links as functional art works.

Washington, Berlin and Tokyo have been chosen as locations for the bridge
installations. As capitals on three continents they symbolize a bridge
which spans the world.

In order to reflect the project's theme in all its diversity and complex-
ity, artists and scientists are experimenting with the entire known
spectrum of media and communications technology to find the most ap-
propriate formats of presentation within the "bridge art space" for all
works involved.

The bridge building will be completed in the year 2000 - a date signifying
the finishing millenium and on the same time pointing to the forthcoming -
a hint to include future requirements in today`s thinking and acting -
like the open bridge arch, pointing to the future and starting today in
our minds to be still valid tomorrow. 

Aritists and creative people involved up to now with contributions on the
Global Bridge theme from the following countries: Denmark, France, Ger-
many, Great Britain, Greece, Hungary, Japan, Netherlands, Togo and USA.


1. Globe Work

The installation, from 1994 on, is planned to be located in Kuala Lumpur,
Malaysia. A globe constructed of bamboo, with a diameter of 50 m, in its
interior accessible to visitors. Traditional materials and building
methods are used to form the art work reflecting our single, common world
as a composite of organic elements. Artists from all over the world will
be invited to participate in the project. Their art works - thousands of
cloth banners with image and text - will be shown in the interior of the
globe. These image and text banners will be shown in further documentary
exhibitions on Globe Work in different countries of Asia and Europe as
well as under the framework of the entire Global Bridge project.

2. Stones and Voices 

The exhibiton, from 1995 on, is planned to open in Vienna, with its final
showing in Beijing. 196 rice bowls filled with water, each containing a
rain flower pebble - stones of beauty collected from the beds of the
Yangtze, Quinhuai and Chuhe rivers, traditionally exhibited in China -
counterpointed by 49 video monitors showing contributions of artists from
around the globe - reflections and visions on future global options and
requirements. Silent witnesses of time in antithesis to statements of
today. Further exhibitions and installations with international artists
are prepared and organized by Global Bridge in 1994/1995.

For further information please contact FineMedia online n_e_w_s:
Georg C. Puluj, Widenmayer Strasse 49, 80538 Munich, Germany.
Tel: 49-89-290-15692, Fax: 49-89-220.629, Email: FINEMEDIA@LINK-M.MUC.DE

Telecommunication project by Barbara Aselmeier, Joachim Blank, Armin
Haase, Karl Heinz Jeron as members of the artist group LUX LOGIS, Berlin

HANDSHAKE is a communication project including the electronic network
Internet. Realized as an interactive room installation, it intends to be a
communication interface between electronic net and life-world. 
The set of intersection between electronic and real space forms the 
space of communication, where HANDSHAKE takes place. 
Interested visitors, artists, media theorists and practical workers, are 
invited to enhance the growing space of information: The emerging process
of interplay with the underlying information-pool will be called up over
the global network connections as well as, in their current forms, from
the installation. Prepared communications and perceptual experiments, on a
word or image basis, will refer to the cultural characteristics of the
FTP-Server: UPLOAD: ftp uropax.contrib.de /pub/incoming
DOWNLOAD: ftp uropax.contrib.de /pub
WWW : http://www.contrib.de/Art/LuxLogis/

FAX NO: +44 21 693 6655
Jurgis Lugas & Peter Fletcher

A global installation exploring the creative potential of the fax machine
Friday 6th - Saturday 14th May 1994.
(021) 693 6655 will take the form of an 'exhibition' of faxes sent to a
machine installed at The Custard Factory as part of the Birmingham Readers
and Writers Festival. Whilst a small number of invitations are being sent
to potential faxeurs, everyone is invited to send a fax, and the work of
scientists, housewives, corporate executives and critics will all take an
equal place in the exhibition. Visitors to the site will therefore ex-
perience an Information Market of global transmission on an unprecedented
scale and have a unique opportunity to comment on and participate in the
exhibition as it unfolds. The theme of the event is New Technology and
Creative Expression, but the precise content of each fax is left to the
individual contributor. 
As they arrive faxes will be exhibited - without regard to out-moded
judgements as to their 'artistic' merit - in an exciting fusion of cul-
tural involvement. Woven into its structure will be a series of interac-
tive 'games' wherein contributors will be faxed with additional material,
setting up a dynamic two-way process. At the end of the festival, a 
representative sample of the contributions will be bound together, along
with supporting material, to form a catalogue of the exhibition.

Cultural discrimination and physical constraints are being destroyed by 
contemporary technology, as applications such as fax machines have made
instant global transmission of text and images a reality. (021) 693 6655
is designed to break free of the elitist boundaries that encircle aes-
thetic production, and allow everyone to give vent to their creative
urges. The exhibition is therefore less about 'Art' than a democratization
of culture and the adoption of technology for positive human interaction,
demonstrating that the fax machine can be used to establish new forms of
communication, and not simply the transmission of mundane data. 

The Custard Factory
Gibb Street, Digbeth, Birmingham B9 4AA, ENGLAND.

9th Festival of Video Art, Clermont-Ferrand, France
Exhibition April 6-23. International meeting April 19-23
Info: PB 71, 63003 Clermont-Ferrand Cedex 1, France
Tel: 33-73-906758, fax 924418

April 13 - 24 1994, Carre Seita, 10, rue Surcouf, 75007 Paris, France
Best of of the creations in computer graphics and animation from Imagina
and exhibition of the installation INTERACTIVE PLANT GROWING from Laurent
Mignonneau and Christa Sommerer

April 21st: Fanfare, by Jonathan Impett & Ben Neill. April 28th: Guitars
1, by Wiel Conen, Wim van Sijl, Frank Balde & Kato Hideki
Series shall be continued.
STEIM, Utrechtsedwarsstraat 134, Amsterdam, Holland. Tel 31-20-6228690

April 30 - June 1  1994, Gladbeck, Germany
International Computer Art Competition VI. Participants (among others):
Yoshiyuki Abe, Beck & Jung, Leslie Bishko, Paul Czerny, Hans Dehlinger,
H.W. Franke, Kammerer-Luka & Kempf, K.H. Mauermann, Georg Muhleck, Georg
Nees, Gerd Struwe, Roman Verostko, Mark Wilson.
Stadtische Galerie in the Rathauspark and Wandering Show.

May 4 - 6  1994,  Los Angeles, USA
3945 Freedom Circle - 9th Floor, Santa Clara CA 95054, USA

May 5 - 14  1994, Vooruit Geluid Festival, Gent, Belgium
Donar's Chariot, by Mario van Horrik: Sounds create small electric cur-
rents that trigger movements in objects that trigger sounds. Opening May
5th, 19.00 hrs.
Info: Vooruit Geluid Festival, St. Pietesnieuwstraat 23, B-9000 Gent,
Belgium. Tel. 32-9-2255643, fax 2243898

May 19 - 21  1994, Jaarbeurs, Utrecht, The Netherlands.
Trade show, Art Show and Seminar Program.
Electronic media and Studios. Art Show submissions can be send to ISEA.
Video (VHS or Umatic), slides, prints, descriptions of installations etc.
For the Call for Participation see elsewhere in this Newsletter.

TOSHIO IWAI Exhibition
May 20 - July 3 1994, Karlsruhe, Germany
ZKM, Postfach 6919, 76049 Karlsruhe, Germany

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 6 - 12  1994,  Montreux, Switzerland
Festival of films in HDTV
Rue du Theatre 5, 1820 Montreux - 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
Emphasis: Personal Technology, Digital Media, Virtual Reality & Scientific
New: VROOM (the Virtual Reality Room), the Edge, Technical Sketches,
Expanded SIGkids & Site Specific Artworks.
Discounts offered if registrations are postmarked by 17 June 1994
Orange County Convention Center, Orlando, Florida, USA.
Info: Smith, Bucklin & Associates, Siggraph 94 Conference Management
401 N. Michigan Ave., Chicago, IL 60611, USA.
Tel: 1-312-3216830, fax 3216876, Email: SIGGRAPH94@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

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

October 20 - 22  1994, Ghent, Belgium.
Composition, Perception and Performance.
Contact: Marc Leman, University of Ghent, Institute for Psychoacoustics
and Electronic Music, Blandijnberg 2, B-9000 Ghent, Belgium.
Tel: 32-9-2644125, Fax: 32-9-2644196, Email: Marc.Leman@rug.ac.be.

October 21 - 22  1994, Videotheque de Paris, Forum des Halles, Paris
Festival of the Young Creators in Computer Graphics
Competition and Festival organized by INA

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 Technology,
Media Research,  Museum der Stad Gladbeck,  Corel Corporation, The Council
for the Int. Bienale in Nagoya,  CSL Computers.
End of Newsletter

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