#033 Sep 1994


                               THE ISEA NEWSLETTER

                               #33, SEPTEMBER 1994

Editors: Dirk Boon, Wim van der Plas (Holland). Correspondents: Yoshiyuki
Abe (Japan), Ray Archee (Australia), Fernando Araujo (Colombia), Peter
Beyls (Belgium), Leslie Bishko (US/Canada), Paul Brown (Australia), Annick
Bureaud (France), Jurgen Claus (Germany), Pier Luigi Capucci (Italy),
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/fax 31-10-2020850, 
Email: ISEA@MBR.FRG.EUR.NL (Board) or ISEA@SARA.NL (Newsletter)

Annick Bureaud

I was asked to "give my impressions" on ISEA'94. So, here they are ...
Helsinki, after Groningen and Sydney was my third ISEA. 
4 points struck me:

- ISEA started as mainly an academic symposium. ISEA '94 showed clearly
the evolution of the symposium toward a bigger event including a large art
exhibition together with "associate events". If this has good aspects  
- showing the "real" works of artists - it should not go to a less
importance of the symposium itself as ISEA is the only symposium of its kind
and there are much more exhibitions around the world.

- It came to me that the electronic art community was more mature, less ready
to follow the new hype for the sake of it (namely the Net), more keen to
question its own activity and history as it was done during the interactivity
and the "media archeology" discussions. It also seems that as electronic art
HAS an history, is no longer at the side of "important contemporary art" but
represents the ACTUAL art, the community has some troube to analyse this
situation and to react to the changes which occured and the new forms
electronic art takes.

- New art forms are emerging and more than that proposing achieved works.
They are the hypermedia works either on CD Rom or on hard disk. It struck me
that 7 works of this kind were shown in the exhibition and were often the
most interesting. Among them: An Anecdoted Archive from the Cold War by
George Legrady, She Loves It, She Loves it Not : Women and Technology by
Chritine Tamblyn, Digital Rhizome by Brad Miller, All New Gen by VNS Matrix,
IDEA-ON ! by Troy Innocent (although it was presented as an installation).
These works propose a real turning point in electronic art.
On the contrary of "big" interactive installations which belong to "public
art" to be shown in public space, an "art for al"l, they propose "private
art" to be navigated at home, consumed like books, an "art for every one".
They create an intimacy with the works and demands time to be explored. They
question the whole contemporary art system :
how do you show in public spaces like museums or galleries art wors to be
"seen" in privacy ? How do you organize the space ? How do you recreate an
intimate environment for them ? Do you have to or do we have to invent other
ways to "exhibit" these works ? Would someone be taken seriously if s/he
wanted to organize an exhibition of newly published interesting books ? What
is the role of the curators so far concerning these works ? How do we bring
them to the public ?

- Computer technology has created a whole new culture and imaginary. Artists
and entertainment industry reflect it in various ways. It is time for art not
to be separated again from the popular culture. The challenge for the artists
is to create works belonging, as a lot of them do, to both cultures (high &
low) together with a deep content. When watching the "Ride" session of the
Electronic Theatre, I was struck by the poorness of the scenario and
imagination: most of these rides are based on old popular stories (mainly
american) and show an industrial aesthetic of the late 19th century (big
machines with big screws) or an urban aesthetic coming directly from the
science fiction of the 60's. The challenge is not only to propose new
stories, new imaginery and new aesthetic but also not to be eaten by the
Hollywood industry. The hypermedia works I saw in Helsinki achieved this

- My impressions are very ... impressionists as I could not follow all the
communications du to parallel sessions apart from the first day dedicated to
the pedagogical issues which I found really challenging, specially the
communications of Roy Ascott, Paul Brown and Simon Penny.

ISEA '94 made me discover Helsinki which I found a really wonderful place to
go back. I am looking forward to come back to Montreal next year and go
further in some questions which araised this year.

Wim van der Plas

As can be noted in this newsletter, Email has become the common way of 
communicating among people interested in electronic art. When we started 
publishing, we announced plans to find ways to give people that were not 
connected to universities, access to the net. Soon it appeared others were 
already doing just that, like the Hacktic group here in Holland. Two years 
ago people wondered what you were talking about when you asked them for their 
Email address. Now, without winking an eye, they answer with their 
namedothackticdotnl, or something similar.
Here are some telephone numbers in Holland, for info on access to the 
Internet. We are curious about the situation in other countries. 
NLnet: 31-20-6639366
Xs4ALL (Hacktic): 31-20-6620094
Knoware: 31-30-896775 (better suited for Mac users)
Internet Access: 31-40-438330
GDS: 31-15-624493
(source: NRC Handelsblad)

Still available: 
-FISEA Proceedings (First ISEA Symposium, 1988, Leonardo Special, collectors 
-SISEA Proceedings (2nd ISEA Symposium, 1990)
-TISEA Proceedings (3rd Symposium, 'Art & Cyberculture, MIA Special)
The beautiful FISEA '93 Catalogue is sold out. If there is enough interest we 
will produce xeroxed copies of the '93 Proceedings.
Soon we hope to be able to sell the ISEA'94 Catalogue and Proceedings. We 
will keep you informed. Contact ISEA for details

                  BECOME AN ISEA MEMBER NOW AND EARN US$ 149.00
This offer does not apply to Student Membership.

LANGUAGES OF DESIGN commenced publication in 1993.  Each issue is over 100 
pages. There are four issues per year. PUBLISHER: Elsevier Science 
Publishers, EDITORS: R. G. Lauzzana & D.E.M. Penrose.
LANGUAGES OF DESIGN is an international, interdisciplinary journal, devoted 
to research in formal languages and their use for the synthesis of words, 
images and sounds. LANGUAGES OF DESIGN features articles employing linguistic 
techniques to generate literary and non-literary texts, music, and visual 
works including art, dance, theater, architecture, and all types of design.
This multidisciplinary focus is reflected by the journal's editorial board, 
which includes literary theorists, music theorists and composers, researchers 
in artificial intelligence, artists and art critics. Formal design theory, 
generative grammars, shape grammars, and computational musicology are central 
to the subjects covered by the journal. More general subject areas, such as 
formal languages, finite state automata, grammatical inference, pattern 
recognition, cellular automata, semantic networks, connectionism, and 
syntictical analysis are discussed in the context of their application to 
productive systems. Specific analytic perspectives, such as syntactics, 
semiotics, deconstruction, hermeneutics, stylistics, narratology, filology, 
morphology, prosody, harmony theory, formal musicology, and performance 
analysis will be presented.
These subjects are presented in terms of their impact and influence on a 
theoretical foundation for productive systems. Research results from visual, 
audio and textual analysis that may have an impact on the arts are also 
featured. Of particular interest is research utilizing computational methods 
to verify theoretical formal analysis. Articles critisizing the assumptions 
and results of this work are also included.

September 17 - 24  1995, Montreal, Quebec, Canada

The International Symposium on Electronic Art will take place in Montreal
september 17 - 24 1995. It will be the sixth edition of ISEA, which has been
presented previously at Utrecht (1988), Groningen (1990), Sydney (1992),
Minneapolis (1993) and in Helsinki in August, 1994.

Artists, scientists, scholars and educators from throughout the world will
come to ISEA95 in Montreal to report on and demonstrate the latest
developments in the field of electronic art, focussing on the conference
theme 'Emergent Senses'. 

The theme 'Emergent Senses' captures several of the deepest currents
now flowing through electronic culture. Through one eye, it points to te
emergence of the new 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. Through another eye, 'Emergent Senses' highlights the unfolding
of meaning - the emergence of sense - from the characteristics of software
based art. Finally, 'Emergent Senses' refers to the powerful attraction of
biological and evolutionary metaphors in many fields today.

A conference including invited speakers, panel discussions, and artist'
presentations. Exhibitions of new visual and media art works in various
museums and galleries. Workshops, on a variety of topics, including robot
sculpture, virtual reality, copy-art, multimedia and hypermedia, network-art,
etc. Music and performance art. An electronic cafe. An evening of electronic
cinema and on-demand screenings. A market for new media art productions, 
offering publications, artist books, tapes, cd-roms, etc.

December 31, 1994  deadline for proposals: exhibitions, performances, network
projects, workshops.
March 1, 1995  deadline for papers, panels and poster sessions.
April 24, 1995 deadline for electronic cinema
June 1, 1995 deadline for the 'New Media Market'.

ISEA 95 Montreal
307, Rue Sainte-Catherine Ouest
Bureau 515b
Montreal, Quebec, Canada H21 2A3 
Tel: 1-514-990-0229, Fax: 1-514-842-7459, Email: ISEA95@ER.UQAM.CA


Co-organized by ISEA, V2, WDS & Lantaren/Venster

DEAF 1994 is a unique international art event, presenting a wide spectrum
of art products created by, with or thanks to the use of new technology.
This festival will consist of concerts, performances, demonstrations, a
symposium, exhibitions and a film night. The central theme of the festival
is "Digital Nature".

Artists and scientists will visualize and theorize our changing vision of
nature, often using new technology such as VR (virtual reality), robotics, 
laser discs and electronic networks.

DEAF 1994 will give the general public a chance to get to know the
achievements and products of the electronic arts. DEAF will also provide a
platform where artists, researchers, scientists and the more enlightened
members of the public can meet each other and exchange ideas.

DEAF 1994 is an festival which will link art (film, video, music, design,
architecture) and science and take advantage of current technological
developments in relation to art and society.

DEAF 1994

The DEAF festival is being organized by V2 (Institute for Unstable Media)
which was recently set up in Rotterdam, ISEA (Inter-Society for the
Electronic Arts), WDS (multi-media bureau specialising in the design of
dynamic media with the emphasis on image and sound) and the Lantaren/Venster
theatre (film and theatre centre). All of the organizations are located in


The festival will take place at different locations in Rotterdam, including
the Lantaren/Venster theatre and film house, the new V2 exhibition facility
and several special locations in Rotterdam.

DEAF 1994
L/V  (all day)   Symposium 'Digital Nature'/ Exhibition
V2   (all day)   Exhibition
L/V  (mo.)       Symposium 'MultiMedia'/ Exhibition
L/V  (af.)       Symposium 'Art Education'/ Exhibition
V2   (all day)   Exhibition
L/V  (all day)   Exhibition
V2   (all day)   Exhibition
L/V  (all day)   Exhibition
V2   (all day)   Exhibition
L/V  (all day)   Exhibition
V2   (all day)   Exhibition
L/V  (ev.)       Concerts/Performances
l/V  (ni.)       Film Night    
L/V  (all day)   Exhibition
V2   (all day)   Exhibition

An extensive programme survey will be available in October from the
programmepaper and the World Wide Web.



The exhibition will be distributed between different locations in Rotterdam
and will consist of three elements:

-In the new exhibition facility of V2, work can be seen by KnowBotic
Research, Ulrike Gabriel (D), Simone Simons and Peter Bosch (NL), Woody
Vasulka (US), Christa Sommerer (A) and Laurent Mignonneau (F). This
exhibition will show interactive works of art in which use is made of
robot-guidance techniques, VR and laser disc operation by voice. Nature 
changes here into a construction of our dreams and fears.
At specific locations (to be decided later), more project-
oriented work can be seen, partly by the same group of artists. 

-A Dutch 'State of the Art' will be shown at Lantaren/Venster. In addition
to individual work by Dutch artists, work will also be shown from different
institutes of art education and institutes and art organizations concerned 
with the application of electronics in their specific field. Computer 
graphics, computer animation, video, electronic music and interactive work 
will play a central role in this exhibition.
This part of the festival will be organized by ISEA together with WDS with
cooperation and contributions by the Royal Academy of Art and the Royal
Academy of Music in The Hague, The Rotterdam Academy of Art, the Dutch Film
and Television Academy, the Kampen Academy of Art, the Eindhoven Academy of
Industrial Design (European Design Centre department), the Open Ateliers
foundation, the Rietveld Academy, Eindhoven University of Technology and


The exhibition at Lantaren/Venster will also provide an overview of different 
(consumer) systems for interactive applications. In relation to the theme 
'Digital Nature', they will give people the opportunity of learning about 
(the backgrounds of) and gaining experience with the possible applications 
(CD-I, CD-ROM, 3DO and other computer programmes and systems). The emphasis 
will lie on the possibilities and not on the technology.

Using a network the participating academies of art and music will be linked 
in order to jointly create an interactive collage. 

Saturday night: A Performance  by Arthur Elsenaar and Remco Scha, and 
concerts by Konrad Boehmer and Jaap Derksen with the Montevideo 'Image Key 
There will also be a live radio project with musicians and robots. This 
project - open to the public - will be carried out in cooperation with the 
ORF (Austrian broadcasting company) and X-space (Austria) and others.

A film night (10 hours of films) based on the theme 'Digital Nature'. It
will take a look at our changing attitude to nature as depicted in films
(feature films, scientific films and computer animations). From the beginning 
of this century films have been made showing how we want to reconstruct and 
analyse life. Films such as 'Der Golem, wie Er in die Welt kam' (Paul 
Wegener), 'Metropolis' (Fritz Lang) and more recently 'The Lawnmower Man' 
(Brett Leonard) are examples.
Computer animations on 'artificial life' where life is synthesized by means 
of computers. Work by: S. Amkraut and Michael Girard (US), Karl Sims (US) and 
John McCormack (Aus), Yoichiro Kawaguchi, William Latham, and others. Also a 
program of state of the art scientific visualization.

An important element of DEAF will be a two-day symposium to be organized on
Tuesday 8th and Wednesday 9th November. The three main aspects of the DEAF
festival will be dealt with in detail during this symposium:

a.Papers and discussions concerning the reconstruction of life and nature.
Scientists and artists speak on the basis of their research about the theme
'Digital Nature' and about what they anticipate in the future.
b.Papers aimed at a wider cross-section of the general public and a forum
on Multimedia.
c.'Computers in Art Education': presentations in the field of  - and
discussions on - computers in art education, aimed at teachers and students
from academies of music and art, (art) policy-makers and art managers.

Ad a. An international symposium dealing with the more theoretical part of
the DEAF programme, setting a context for and establishing relationships
with the performance elements of the programme. The symposium will be
organized in collaboration with Dr. F. Rotzer. Florian Rotzer is an essayist
(including in KunstForum, an art magazine in Germany), curator of exhibitions
in the field of new media (incl. 'Digitale Schein', Munich 1991) and curator
of symposiums in the field of art and technology.
Planned experts (subject to change): Detlef Linke (Germany, brain surgeon
in Bonn, concerning linkage of brain-cells with microchips); Gernot Bohme, a 
philosophical approach to nature and mankind; Martin Pawley on nature and 
urbanization; Lev Manovich (US, University of Maryland, on artificial 
intelligence and observation); Robert Jacobson, director of WorldDesign;
Helmut Ruis from the Biocentrum in Vienna on genetic manipulation;
Elisabeth Bronfen from the University of Zurich on the changing attitude to
the body in relation to the new media.
After the papers have been given, the speakers will take part in the forum,
led by Dr Rotzer.
Ad b. This part of the symposium is intended to provide a wider
cross-section of the public with information concerning future developments
in the field of communication. Speakers include (subject to change): Arie
Bos (BIDC Rotterdam, engineering consultants specialising in interactive 
media), Kees Dorst (lecturer at Delft University, industrial design 
department), Chris Wigant (WIM, CD-I producer) and Thijs Chanowski (BSO, 

Ad c. 'Computers in Art Education'. Where academies of music and art are
concerned, the introduction of the computer has been tumultuous. This part
of the symposium provides the opportunity for the exchange of experiences
and the development of future perspectives. The opening paper will be given
by John Lansdown, founder and since 1968 honorary secretary of the Computer 
Arts Society and head of the department of electronic art of Middlesex 
University in London. Other speakers include Rene Swetter of the Dutch Film & 
Television Academy and, hopefully, someone representing the Ministry of 

There will be four seminars in the Lantaren/Venster building as an
introduction to electronic art.
03 October: Electronic and Computer Music, by Alcedo Coenen & Maarten Visser
10 October: Computer Graphics and Computer Animation, by Wim van der Plas 
17 October: High Tech Performance Art (speaker not yet confirmed)
24 October: Interactive Media and Interactive Art, by Dick Rijken & Ton Damen

Call for more information:

31-10-4362722 fax 4365655.

Roger Malina

Following the discussion about art within SIGGRAPH during the SIGGRAPH
conference last August (see ISEA Newsletter #32), SIGGRAPH is setting up a
task force to help identify and address issues of the art community involved
in SIGGRAPH. I attach some email from SIGGRAPH Executive Committee member
Bonnie Mitchell (who agreed to chair the task force). Interested persons
should contact her directly.

(email edited for conciseness)

Thank you for your note outlining some of the issues that the task force will
have to address.  My plan is to enter the hundreds of names I have received
and create an alias.  Then, uncover the email addresses of other individuals
involved with SIGGRAPH and the arts and include them on the list.  
These individuals will be invited to be a part of the task force if they
choose.  If anyone at any time wants to become active we will also add them
to the list. We will then begin discussion and identify tasks to work on.

Bonnie Mitchell, bonniem@mailbox.syr.edu

The 2nd Annual Exhibition of SCCA Bucharest keeps the focus on the new media

An international jury selected 19 projects, according to the theme 'The
Artistic Discourse as a Reflection of the Community' and to its consequent
-To research the capacaties of the artists to assume a social identity beyond
the limits of their status
-To debate the potential crisis developing in critical areas of the society
-To explore the interactive potential of communities living outside of the

July-October: the artists will work in villages, factories, mental
institutions, slums, hospitals etc., in order to develop a strategy of
assimilation which may or may not become a substantial site specific art
event. The whole process will be documented and compiled in order to be
transmitted via e-mail, facsimile, telephone.

November 2-4: A dialogue will be established through electronic media between
the artists and the communities they explored - on one side - and the public
assembled in a central location in Bucharest on the other. Performances,
slides projections, films, videos, music etc. will be included in this multi-
media event.

An international jury of specialists will judge - via Internet - all the
projects, and award a prize to the one fulfilling the best expectations
concerning the social inter-reaction and the communicational effectiveness.
An international conference/debate on the related issues will take place
simultaneously, in real space and time.
The event will be accesible by Internet and Transpac. All persons interested
in discussing political correctness in Central-Eastern Europe/media-scape/art
limitations in the electronic era are invited to log in.
For details, contact the SCCA staff: Calin Dan, Artistic Director,
Tel: 40-1-3112192, Tel/fax: 40-1-3112193, Email: anex@csac.buc.soros.ro

Art, Culture and the National Information Infrastructure
American Academy of Arts and Sciences
October 14 - 16  1994, Cambridge, Massachusetts, USA

Organized by the Center for Art Research, in cooperation with The New Art 
Center and the MIT Artificial Intelligence Laboratory.

A critical time is at hand for the institutions that hold our artistic and 
cultural heritage, the individuals who create it, and everyone who would 
benefit from those resources.
We are on the threshold of a leap in communications similar in scope to 
the advent of electricity and the introduction of the telephone. 
In a just-over-the-horizon information landscape of almost unlimited 
potential, policies and legislation that are being debated today, will 
determine, quite possibly for decades to come, just how much territory one 
has access to, how easily, how often, and at what cost.
But the rate at which these decisions are being made may leave the arts 
and humanities at the periphery, just at the moment when the stresses on our 
society beg for them to be returned to the center.

On October 14-16, 1994, the Center for Art Research, in cooperation with 
The New Art Center and the MIT Artificial Intelligence Laboratory, is 
organizing a professionally-facilitated three-day conference at the 
American Academy of Arts and Sciences in Cambridge, Massachusetts, on the 
subject of "Arts and Humanities Policy Agendas for the National Information 

The format of the conference will be that of an open, ongoing, managed 
conversation. A highly-skilled issue-neutral facilitator will foster a 
collaborative process and insure that all ideas that surface in the open 
forum are woven into the ongoing conversation. A conference of this type 
encourages participation, communication, and results.
"Convergence" will offer an unprecedented opportunity for focusing and 
advocacy, and a chance to help forge enlightened telecommunications-policy 
in cooperation with major cultural, political and technological 
The next eighteen months will see crucial telecommunications-policy 
decisions being made. We hope you will be able to attend the conference 
and participate in the process. 

The World Wide Web URL for the Convergence conference is: 
An anonymous ftp site is currently under construction.

CONVERGENCE Conference Office, The New Art Center, Box 300 / 61 Washington
Park, Newtonville, MA 02160 USA.
Tel: 1-617-9643424, Fax: 6300081, Email: conf@nac.tiac.net

Jay Lee Jaroslav, Director 
Center for Art Research Information Infrastructure Project
MIT Artificial Intelligence Laboratory     
545 Technology Sqare, Room NE43-795, Cambridge, MA 02139-4301
Tel: 1-617-2535814, Email: jaroslav@ai.mit.edu 

November 4 - 6 1994, Rai Congress Centre, Amsterdam, Holland

The first Doors of Perception conference, in Amsterdam, in November 1993,
immediately established itself as the definitive meeting point for those
interested in the design challenge of interactivity. Last year's speakers
included David Little, Joy Mountford, Michael Heim, Derrick de Kerckhove and
Bob Stein.
As a reflection of the life enhancing potential of new communication
networks, the second DoP conference will feature a variety of international
speakers, gathered around the 'Home' theme: what is the impact of technology
on our experience and conception of the home? and what are the practical,
cultural and psychological influences of 'home' on interaction design?

This conference will not only be about the application of information
technology in the home but especially about applying home to IT.
For further information contact: Sybrand Zijlstra or Josephine Grieve,
Netherlands Design Institute. Tel: 31-20-5516500, Fax: 31-20-206201031,
Email: doors@nvi.mediamatic.hacktic.nl
To subscribe to the Doors2 electronic newsletter send mail to:
listserv@mediamatic.hacktic.nl with subject 'subscribe home'


I am writing an article on gesture recognition by computer. The article will
include gesture and movement analysis by computer, especially as it may be
used in the arts, theatre, dance, and musical performance.  Any sources of
info would be much appreciated.  David Voss -  dvoss@aaas.org

Fall 1994 Speakers for "Art & Technology Speaker Series"
produced by ART & SCIENCE COLLABORATIONS for Cooper Union
September 1994 - May 1995, thr Great Hall at Cooper Union, NYC, USA

All speakers begin 7PM, $5 public admission
(Great poster available free by calling 1-718-8169796)

We are very pleased to have been invited by Cooper Union to continue
producing our "Art & Technology Speaker Series" in 1994-1995.  This monthly
series is unique in its presentation of the eclectic breadth of what's
currently happening in this rapidly growing field.  Its public setting
extends ASCI's mandate of creating programs that increase public awareness,
understanding and appreciation for this type of art.

Last year, the series began with James Seawright, one of the first artists
to use electronics in sculpture and also included architect Deborah Natsios,
whose work is inspired by insects; glass artist James Carpenter, whose
designs transform space through natural light interacting with dichroic
glass; and Agnes Denes, pioneer in the ecological/ environmental art

This fall, our series begins with another pioneer who continues to examine
and use leading-edge technologies to express her artistic vision.
Lillian Schwartz (September 21st) is probably best known for her work in
establishing the computer as a medium for artistic expression, and for
being first in this medium to have a work acquired by The Museum of Modern
Art.  Her work has been characterized as being more experimental and
versatile in the use of technology to create new art forms than that of any
other artist in this century.  Her paintings, graphics, sculptures and
films are included in the permanent collections of most of the world's
major museums.  She is now working in the area of virtual reality and
through her research and use of computer technology, she has made several
important contributions to the field of art history.  Ms. Schwartz will
show videos documenting her work and her book, The Computer Artist's
HandBook, will be available for signing and sale that evening.

11/8: "INTERACTIVE ARCHITECTURE," Christopher Janney
12/14:  "CRAVE NEW WORLD," Kyong Park

All l-hour presentations are highly visual (slides/videos/computer),
in-depth looks at the career and/or projects of speakers and allow for
questions and  answers at end.

Roger Malina

Leonardo Journal and Leonardo Digital Reviews are issuing a call for
information about artist created or art related World Wide Web sites. 

Leonardo Journal will be publishing documentation consisting of 500 words
describing the purposes and contents of a site, plus one illustration.
Submissions will be reviewed before acceptance for publication.

This information will also be made available to members of the Leonardo
Digital Reviews review panel. Reviews of selected  WWW sites will be
published in Leonardo Digital Reviews, a regular section of the Leonardo
Electronic Almanac. 
Information will also be posted on the Leonardo WWW site :

Send information or request additional information from

                                  COMPUTER MUSIC
                       Source: Music-Research Digest       

FINALE discussion list
I am pleased to announce the FINALE discussion list. While FINALE (a powerful
and complicated music notation program for Macintosh and Windows platforms)
will be our chief discussion, other CODA products as well as other notation
programs are suitable topics. An ftp site for files and other such tidbits
will be in place eventually. Suggestions and uploads will be welcome.

To subscribe to the FINALE list, send an e-mail message to
LISTSERV@SHSU.edu consisting of SUBSCRIBE Finale. 

IRCAM DSP and musical software on its WWW server

The list and (brief) description of IRCAM software (digital signal
processing, voice and sound synthesis, music composition, wind instrument
making, etc) on our WWW server (http://www.ircam.fr) is now available in
english. The calendars of the IRCAM-EIC concerts and tours are now readable
by PC Mosaic as well.
Links to interesting (to me...) music WWW servers has been added.

Michel Fingerhut
WWW:    http://www.ircam.fr             tel:    +33 1 44 78 48 53
ftp:    ftp.ircam.fr                    fax:    +33 1 42 77 29 47
Music Instruction Software WWW Page

I have assembled a World Wide Web server page with several programs of
interest to music teachers and beginning to advanced music students.
The page has several shareware and freeware programs that help students
learn the basics of music (note learning, ear training, music theory,
and so on).  I am interested in collecting programs that might be
helpful for all instrumentalists and singers, but so far most programs
seem to be aimed at pianists.
The URL for the page is:  http://www.cstp.umkc.edu/users/bhugh/musici.html

You are welcome to browse the page with your WWW server (it already has
several entries), but I am particularly interested in suggestions for
programs that could be included on the page.  The programs should be
available on the net and should be designed to help students master the
basics of music (notation, ear training, theory, and history).  I am also
interested in other information of interest to instrumental music teachers,
such as email lists, usenet newsgroups, and other WWW pages.  Please email me
with your suggestions.

Brent Hugh, bhugh@aurora.cstp.umkc.edu

                             CALLS FOR PARTICIPATION

October 17 - 18  1994, Washington, DC, USA


The Volume Visualization Symposium, sponsored by ACM-SIGGRAPH and the IEEE
Computer Society Technical Committee on Computer Graphics, seeks entries to
its Video Session and tape.  In the Video Session authors will present recent
results shown in the video. Presented contributions will be collected in a
tape and distributed to all the participants of the symposium.
Submissions to the video session and tape should include a VHS tape (NTSC or
PAL) accompanied by a short abstract with explanatory text or narration.
Please submit, on or before September 20, 1994 to:

Holly Rushmeier
Rm. B-146, Bldg. 225, NIST, Gaithersburg, MD 20899, USA.
Tel: 1-301-9753918, Fax: 9639137, Email: holly@cam.nist.gov

Please label both the videotape and its container with the contact person's
name, affiliation, address, telephone number, title of piece, and runtime.

Although we prefer reviewing the video clip itself, due to the short notice
we will also consider abstracts accompanied by snapshots taken from the 
video clip to be presented. Accepted contribution of the latter type will
be presented in the symposium but not included in the distributed tape.

Suggested topics include, but are not limited to:

* Volume visualization of unstructured and irregular grids.
* Discipline-specific application of volume visualization.
* Parallel and distributed volume visualization.
* Hardware and software systems.
* Analysis and control of rendering quality. 
* Volume segmentation and analysis. 
* Rendering of large datasets.
* User interfacing for volume visualization systems.
* Acceleration algorithms for volume rendering.
* Fusion and visualization of multimodal and multidimensional datasets.
* Visualization of non-scalar volumetric information.
* Modeling and realistic rendering with volumes.

For more information on Visualization'94, The 1994 Symposium on Volume 
Visualization, hotel, travel and registration, contact:
Roni Yagel, Dept. of Computer Science
The Ohio State University, 2036 Neil Av. Columbus, OH 43210, USA.
Tel: 1-614-2920060, Fax: 2922911, Email: yagel@cis.ohio-state.edu


The Journal of Aesthetics and Art Criticism announces a call for papers for a
special issue of the Journal on "Perspectives on the Arts and Technology."

This issue will be devoted to theoretical explorations of interrelationships
of the arts and aesthetics with technologies and sciences.  We invite papers
that will provide, for a nontechnical audience, meaningful perspectives on
the fine arts or on aesthetic experience in terms of technologies and
sciences- -or bases for better appreciating the aesthetic dimensions of
technological and scientific developments.

Authors might consider how standard issues and positions in aesthetics can be
improved through better understanding of such interrelationships. Submitted
papers may interpret current and projected developments in art, technology,
and science, but may also be historical. Treatments of traditional or
nonscientific technologies in connection with the fine arts and aesthetic
experiences are welcome.

Suggested topics include: technological families and art media, issues of
interactivity and telematic connectivity, immaterial versus materials
technologies and arts, digital technologies and art, technologies of
imagining and participation, technologies of art reproduction, modern art and
high technology, keyboards, aesthetic coherence of technoscientific arts,

Submissions should be in triplicate and accompanied by brief abstracts.

Deadline: 1 September 1995.

Inquiries:  Patrick Maynard (Guest Editor)
Department of Philosophy, University of Western Ontario
London, Ontario, Ca

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