#038 Feb 1995


                               THE ISEA NEWSLETTER

                               #38, FEBRUARY 1995

Editors: Dirk Boon, Wim van der Plas (Holland). Correspondents: Yoshiyuki
Abe (Japan), Ray Archee (Australia), Peter Beyls (Belgium), Leslie Bishko
(US/Canada), Paul Brown (Australia), Annick Bureaud (France), Jurgen Claus
(Germany), Roger Malina (US), 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 31-10-4778605, 
Email: ISEA@MBR.FRG.EUR.NL (Board) or ISEA@SARA.NL (Newsletter)

Wim van der Plas

As we reported earlier, ISEA-NL was formally founded as the first of the 
national branches that the Inter-Society intends to get started. During 
the first Board Meeting, Dirk Boon was appointed Director. Congratulations, 

ISEA-NL is involved in preparations for an art show and a seminar program 
during Imagination 95 in the Royal Dutch Fairs in Utrecht (May 31-June 2). 
Together with V2 (see below) ISEA-NL is also making plans for the second 
edition of DEAF, the Dutch Electronic Art Festival, in November, 1995. Other 
plans include one related to the Web (thus less national) and a spectacular
project to be part of ISEA96 (in Rotterdam). We will keep you informed.

This year, ISEA-NL is the Dutch representative for Siggraph, the large 
annual conference on computer graphics and interactive techniques in the US. 
This newsletter includes a report written by the French representative, 
Thierry Frey, as well as a proposal from Alan Chesnais. Both were meant 
for the Siggraph community, but were deemed interesting enough to our
readers for inclusion in this newsletter.

Our newsletter reaches more and more readers via E-mail and the World
Wide Web. Still half(!) of our readers are not yet on the net. In
many countries, such as Greece and Indonesia, it is still difficult or 
impossible to get a connection except for a small elite group. In other 
countries it is not easy for independent artists. Once more we would like to 
repeat what is written in every issue of this newsletter: if you are not 
connected to E-mail, but you want to get in touch with a person or 
institute that is on E-mail (and one that gave no ordinary address or 
tel/fax info), contact us (phone/fax: 31-10-4778605).


Montreal is buzzing with activity related to ISEA95. They have received some
600 proposals for the non-academic component (exhibition, performances, etc.)
alone! We hope they will send us an update of their plans for the next issue
of the newsletter. In the meantime, we can tell you that for the academic
part of ISEA95 they are looking for alternatives to the rather boring way
that sometimes is presented: a person reads aloud a paper that attendess
might just as well have been reading at home from the proceedings. 

Cynthia Rubin reports that Henry See will soon have our public listserver up
and running, so that questions such as these can be discussed by everyone.
But in the meantime feel free to pass around to other people the idea that we
are not merely presenting boring papers. This is the official line: "The
commmitee is considering alternative formats of presentations, including the
pre-conference publication of papers, followed by brief (10-15 minute)
on-site formal presentations and extended open dialogue.  Individuals and
groups submitting papers and round-table presentations should follow the
published guidelines. Should the proposal be accepted, the conference
committee will discuss preferred forms of presentation."

Thierry Frey

For those of you who didn't know, the Imagina conference was held on the
1-2-3 February in Monte-Carlo. Imagina is somewhat a down-scaled version of
Siggraph : there are conferences, workshops, panels, an exhibition and the
'Prix Pixel-INA'. The public can vote on the first two nights for CG
animations classified in various categories : fiction, ride,
simulation/visualisation, art, video clip, special effects, advertising,
schools & universities, TV credits, research, 2D animation, 3D animation. For
more infomation on Imagina, try the Web server of the Institut National de
l'Audiovisuel :


The french chapter of ACM Siggraph held a booth at the expo. We had many
visitors from all over Europe asking questions about LA95. Alain Chesnais,
who is president of ACM siggraph Paris as well as render/IPR project manager
at the Paris' office of Wavefront. Following is the proposal he submitted to
the Interactive Communities Jury.
He will eventually put up this proposal on is home page at the Wavefront Web
server : http://wavefront.wti.com/pub/alain/alain.html Meanwhile, below is a
version that I'm asking you to forward to people who would be interested in
the project.
Thierry Frey, tfrey@email.enst.fr 

Alain Chesnais


The project described herein is an extension of the chained animation concept
that was used in the "Figure to Field" project at SIGGRAPH a few years back.
There, a single editorial group assigned start and end images to
contributors, then asked them each to create an animation that would link the
start to the end image. SIGGRAPH participants viewed the resulting animation
as the linear traversal of the linked animation sequences and the final piece
was shown at the Electronic Theater.

What we are proposing here is a project to have teams of contributors create
a network of animation sequences that you could traverse in a non linear
manner. We propose to have a distributed group of editors cooperating towards
the creation of a global project involving participants from all over the
world. The project aims to continue after the conference and take advantage
of a cooperative effort with other sister organisations, such as Imagina, to
grow and expand.


The type of project that I am proposing is something that would take full
advantage of available internetworking capabilities, allow several groups
(SIGGRAPH and Imagina for starters) to cooperate in a distributed manner with
local control, and be accessible to as many participants as possible. I want
the project to have a life of it's own and go on outside of the official
conferences. I also wish for the project to offer an experience that would
evolve over time and that participants would want to come back to, again and
again, in order to discover new experiences.

What I have come up with is a proposal for a non-linear multiply ramified
chained animation where the various groups involved would propose a series of
images. These images would be the bases for creating animated sequences to
take you from one image to another. Imagine, for instance, SIGGRAPH proposing
the SIGGRAPH logo, Eurographics proposing its logo and Imagina its logo (hey,
this is just for illustration purposes! I do hope to get more interesting
images for the final project...). Each group would then entertain proposals
using its own editorial policy (commission an artist, call for participation,
etc...) to create animated sequences from the images it proposes and leading
to images anywhere else in the project. So, for instance, Imagina might
retain a morph of the Imagina logo into the Eurographics logo as a result of
a juried selection of pieces submitted as the result of a call for
participation. There can be more than one animated path from one image to
another. This is an "editorial" choice.

As more and more paths are created linking the images together, we get a more
densely ramified network of animations that users can travel along. The act
of travelling along these paths and exploring the links creates an implicit
animated sequence that the user can play back after exploration.

Distributed Control and Editorial Policy

One of the important points in this project is the notion of distributed
editorial control. I would like to take advantage of having a network based
cooperative venture between the groups taking part in the project to attempt
to set up a distributed editorial policy.  What I propose is for each group
to define the editorial policy concerning the paths leaving from images that
it has proposed. Some groups may wish to include any animation proposed off
of the net. This an artistic or editorial choice. Other groups may wish to
choose artists to generate selected animated paths and commission them to do
the creation. Each separate group would have its own specific editorial

I've toyed with different types of control (agreement between the editor of
the source image and the editor of the destination image, control of paths
arriving at an image, agreement of ALL groups, majority consensus,...) but
none seems to offer the proper tradeoff between flexibility and editorial
control that this scheme seems to offer.

     __________________________           __________________________
     |  Editor A's images     |           |  Editor B's images     |
     |   _____        _____   |           |     _____              |
     |   |___| <----- |___| <-+-----------+---- |___|              |
     |              _         |           |                        |
     |     |        /| /|\    |           |      |  /|\            |
     |    \|/     /     |     |           |     \|/  |             |
     |   _____  /       |     |           |     ____               |
     |(1)|___|          |     |         --+---- |___|              |
     |_____|____________|_____|       /   |________________________|
           |            |           /
           |            |         /
     ______|____________|______ /
     |    \|/           |     /
     |   _____        _____|/ |
     |(2)|___| -----> |___|   |
     |                        |
     |  Editor C's images     |

   ----> represents an animation link   |___|  represents an image node

In the example above, for instance, Editor A would have the decision
as to whether to accept a proposal for an animation to link image (1)
in Editor A's space, to image (2) in Editor C's space.


I want this to be accessible to a majority of users on the net and propose to
base it on the Web. Any Web viewer could be used to explore the project. The
project would propose an index of all the groups participating and each group
would propose an index of its images as well as a Web page per image. Each
image page would have a link to all of the animations stemming from it.

I would also set up a specific interface that would give users a 3D
representation of the existing images and links. This would assume that all
participants adhere to specific guidelines so that we can readily extract the
necessary information by following the links from the Web pages. I would like
to offer users access to machines with this interface during participating
conferences in order to allow them to discover a global view of the image
network. I will write this before SIGGRAPH for SGI's and would seekvolunteers
to do the same for other platforms.

The idea with this is to view a global set of images and materialise the
links between them. Users could then point and click to navigate easily
between the image links as well as get a feeling for what the overall
structure is.


The project is inherently extensible. New links can be added by the editors
at any time. New images can also be added. These could be programmed ahead of
time by the groups participating in the project to coincide, for instance,
with the dates of an event sponsored by one of them. We could imagine every
group in the project heralding the event of Imagina'96 with the adjunct of
new images and links into the network. We could also open the project up to
new groups and add them in dynamically. Initially, when a new group would
join there would be few links to the images they propose, but these would
grow as new links are added in.

By offering a generalised Web interface the project has the potential to
attract many new contributors and new editors as time goes by.

Material Requirements
The requirements for the project consist of disk space on siggraph.org to
house the ongoing project. One or more SGI's with network access during the
conference to be able to browse the project using the 3D representation for
Other editors would provide their own disk space.

Alain Chesnais, chesnais@wti.com

An international symposium to examine art, technology and phenomena:  
June 30 - July  2  1995, Fribourg, Switzerland

The Incident is a new international event, taking place in the mediaeval city
of Fribourg, Switzerland in which major figures from the worlds of art and
technology will sit down for the first time with researchers into phenomena, 
covering areas such as UFO research, parapsychology, dreams and other
subjects that concern exploration of human consciousness.

Speakers so far are are Jacques Vallee, astrophysicist and UFO researcher,
James Turrell, light and earth artist currently creating an artwork from an
extinct volcano in the Arizona desert, Terence McKenna, ethnobotanist,
explorer and millenialist commentator on the politics of consciousness,
Ulrike Rosenbach, performance artist and former associate of Beuys who will
be discussing her work on angels, Roy Ascott, electronic networking pioneer
and philosopher, Michael Lindemann, political researcher into military
cover-ups, Kathleen Rogers, virtual reality artist who proposes a synthesis
of psi phenomena and telepresent technology, Jim Schnabel, author of 'Dark
White' and Round In Circles' which examines the sociology of the UFO research 
community and the crop circle phenomena respectively, Keiko Sei, who will
present her research on telepaths in Eastern Europe,  Kristine Stiles, art
historian, Budd Hopkins, researcher in UFO abductions, H-R Giger, sculptor
and creator of the sets and creatures in 'Alien' and the Residents, legendary

anonymous music group  who will present a live CD Rom demo of Freakshow and 
The Gingerbread Man.

The symposium will be part of a larger artistic programme which includes
exhibitions, performances, video, film and music and which takes place as
part of the Belluard-Bollwerk International 95, the arts festival of
Fribourg, Switzerland, which will be devoted to the themes of 'The Incident',
taking place from June 30-July 15 1995.

For futher enquiries about the programme please contact Rob La Frenais
(Artistic Director), for details and booking form (advance booking is
advised) please contactThe Administrator, at the Belluard-Bollwerk 
Info: The Incident, Case Postale 120, CH-1700 Fribourg 1, Switzerland.
Email: 75337.206@compuserve.com, Tel: 41-(0)-37-222285 Fax: 41-(0)-37-226185 


Starting from january 1995, the V2_Organisation will present a monthly
program every *last* Sunday of the month, named WIRETAP. this series of
programs will have an informal cafe-like character and will pay attention to
developments in non-linear media, such as InterNet (World Wide Web), CD-ROM,
CD-I and virtual reality. Special attention will be given to the connections
between these media. Free access to InterNet has been created for the public
so that image and sound archives of art and science institutions and
individual artists can be viewed. Magazines can be retrieved quickly this way
as well. Also, CD-ROMs can be viewed. The program is aimed at independent or
commisioned artists and developers of these media.

WIRETAP 1.2 is the second program in a series of ten. For this edition a link
has been made with a more extensive V2_Organisation program centered around
Belgian TV maker Stefaan Decostere. WIRETAP 1.2 will concentrate upon his
latest work for TV, 'Lessons in Modesty'. This hour-and-a-half production
will be shown by the BRTN on march,14 and can now be seen in a special
preview.  A fitting context has been created for this video production which
concerns itself with the relationship between body and technology in the
Nineties and which scrutinizes this relationship from different viewpoints. A
number of artists and writers have been invited for WIRETAP 1.2. They will
give lectures, demonstrations and performances in which the body will
also be the centre point.

Saturday, february 25th - entrance free - time: 1230 - 1700 hrs. A free
performance by the Konic theatre from Barcelona at 1600 hrs. The public can
view CD-ROMs and can navigate the Net free of charge to visit databases of
other art institutions, musical centres and magazines like for instance

Sunday, february 26th 
entrance fee fl 10,00 
time: 1230 - 1900 hrs. 

The emphasis of WIRETAP 1.2 lies on Sunday, february 26th. On this day the
following artists and writers will be present:

Karin Spaink (Nl)
She is the author of a.o. 'The Punishable Body', 'Falling Woman' and
'Autobiography of a Body' and translator of the 'Cyborg Manifesto' of
American science philosopher Donna Haraway will give an introduction 
to the theme (u.u.r.); 

Stefaan Decostere (B)
He will present his 1,5 hour documentary 'Lessons in Modesty', a t.v.
production on the Body in the nineties. With artists like Orlan and Stelarc
and research centres like NASA and Xerox. It all ends at Luxor in Las Vegas.

Konic theatre (E)
'Sanctus, the Profaned Body' is a performance by the Barcelona
based Konic Theatre about body, sex and representation.

Kirk Woolford (D)
Kirk Woolford from the Cologne Medienhochschule will give a lecture about two
projects centering on physical stimuli through the Net;

Erik Hobijn (Nl)
The audience has to pass a gate which ejects parfumes when passed. The gate
is called Olfactoric nervous system.

Ray Edgar (Nl)
With his `sweatstick', a midi controlled instrument which looks
like a flexible steel rod, he controls synthesisers. Bending and
moving the stick he generates sounds.

Thomas van der Putten (Nl)
'Static Mobile Mk. 1: The Sofa', a piece of virtual reality
furniture subtitled 'A Presentation of the Absent Body' 

Marc Marc (Nl)
S.I.N. is a psycho-acoustic environment in which noise moves up
and down the V2 stairs (7m high stairs) over 16 loudspeakers.

Due to the exstensive program on Sunday, february 26th, proceedings will
start at exactly 1300 hrs and continue on through to about 1830 hrs. 

Lessons in Modesty

A TV program about body and technology, shot in the Nineties in San
Francisco, at NASA at Xerox Palo Alto Research Centre (PARC) and Las Vegas. 
Us, TV makers are coincidential spectators. Artists, however, can put their
own life on the line to allow us a glimpse of the technological fate of the
human body. But also those who have a PC and a modem at home will have a
chance to play a role in the technological pageant of the future. Why on
Earth do we all dream the same dreams?  Atfer a moment of intense therapeutic
conditioning and a number of instructions by specialized builders of the
future at NASA and XEROX PARC we wonder how San Francisco will look after the
future is over. As if driven by the same dream we land in Las Vegas where a
decisive battle is fought between Good and Evil.  
During this 'program wrong' DECOSTERE will deliver the future at your
doorstep. 'Daddy', a girl asks us, 'when will I be reborn? the girl I used to
be is dead. Long live the new. I no longer recognise myself. I used to walk
as if lost, but now I can no longer believe my eyes: daddy, I can see again.'

V2 Organisation, Eendrachtsstraat 10, 3012 XL Rotterdam, Netherlands
tel: 31.10.4046427, fax: 4128562, email: V2@antenna.nl
URL: http://www.vpro.nl/www/arteria/V2onW3/V2Page.html
(for news on our programs, plans for 1995, annual festival
DEAF95, hotlinks, Freezone with art projects).

Gregory J. Sandell 
(Music-Research Digest)

An exciting new development in the area of music desktop publishing is now 
coming to fruition after months of work:  a standard file format for 
musical notation.

Computer musicians have long needed a notational equivalent to standard
MIDI files, to transfer scores between various editing/publishing
programs, and from music scanning software into notation editors. Like
standard MIDI files, such a format would allow users to move existing
files between products according to their evolving needs, without
substantial loss of data.

The new format is currently code named "NIF" (Notation Interchange
Format).  Sponsored by Passport Designs and Coda Music Technology, NIF has
had and continues to have major input from a large, diverse group of
notation software designers, as well as researchers in the areas of music
recognition, musicology and computer science, expert users and music
publishers.  NIF's exceptionally thorough design is the product of a
lengthy consensus-building process between these participants. It is a
non-proprietary format, and will be available with no licensing fees
whatsoever to anyone who wants it.

The NIF project is now moving into the testing stage.  Several companies
are scheduled to begin trial implementation shortly, to be followed by
others once the format stabilizes.

Gregory J. Sandell  
Experimental Psychology, University of Sussex, Brighton BN1 9QG England  
Tel 44-273-678058, Fax 678611, email sandell@epunix.sussex.ac.uk

Yaakov Yaari
(Music-Research Digest)

I am looking for references (articles, books, researchers, organizations, 
research programs, commercial progarms, etc.) that has to do with
computer animation of sampled music. This involves parameterization of
the sampled signal to some selected finit set of parameters and its
association with visual objects.

Yaakov Yaari, email: yaari@iil.intel.com


February 3, 1995

Assistant Professor, Digital Imaging (still and time-based)
Full-time, one year, non-tenure track appointment (full teaching 
load/Fall and Spring semesters in photography, video and computer graphics).

Responsibilities:  teaching undergraduates and assisting Department and 
School colleagues in learning and applying technical processes of 
digital imaging (digital photography, video, computer-based multimedia), 
an individual involved in and interested in extending analog media into 
the computer realm and vice versa.

This artist should have a working knowledge of PC, Mac and Amiga 
platforms and a competency in digital imaging processes using multiple 
hardware/software configurations.  Networking experience and skills a 
plus; university level teaching experience required.

Qualifications:  MFA in a media arts discipline, or equivalent 
experience; university teaching experience; established record of public 
presentations and/or exhibitions.

Application:   Application letter/statement
               Curriculum Vitae
               Names, addresses, phone numbers of 3 references
               Dcoumentation of art work: slides, photographs, video,
               disks, CD-ROM, etc.

Send to:       Digtal Imaging Faculty Search Committee
               Department of Art Media Studies
               Syracuse University
               102 Shaffer Art
               Syracuse, New York 13244-1010

Inquiries:     Professor John Orentlicher, (1)-315-443-1202

Deadline:      April 1, 1995

Syracuse University is an Affirmative Action/Equal Opportunity Employer

Niall Griffith and Peter Todd
(Music-Research Digest)

We thought people would like to know that a new collection of work on
connectionist models of musical cognition and artistic creativity has 
appeared in print this month.  The collection is a double issue of 
the journal Connection Science, volume 6, nos. 2&3, covering aspects of 
musical perception, conception, and action, and the generation of visual
art.  Some of the papers in this double issue are very interesting from
a computational point of view as well, beyond their specific application
domain.  We hope you enjoy the issue and find it useful, and we welcome
your comments and updates about further work in this area for future
collections such as this.
(Please note: Single copies of this double issue are available, at a cost 
of $93.50. A book version of this double issue is also planned for the
near future.)

Niall Griffith, 
Department of Computer Science, University of Exeter,
Prince of Wales Road, Exeter, EX4 4PT  UK
Email: ngr@dcs.exeter.ac.uk

Peter Todd
Department of Psychology, University of Denver
2155 S. Race Street, Denver, CO  80208  USA
Email: ptodd@edu.du.psy

Digital Art Critique, a new art & technology newspaper

Mute is a new London based newspaper (designed employing the format of a 
broad sheet newspaper) produced by artists to develop a wider 
understanding of the impact of recent technological advances on art and 
visual representation. It brings a criticism of developments in the so 
called techno-culture under the umbrella of art criticism. Mute also 
exists as Metamute, a WWW site on the Internet (although we couldn't find 
a W3 address in the info we received from Mute). The 'Pilot Issue' is out. 
To get it, or to receive information on subscribing, contributing (next 
issue's theme: 'Homo Ludens') or advertizing, contact:
2 Avondale Mansions, Rostrevor Rd, London SW6 5AH, UK.
Tel: 44-171-73-15577, Fax: 69864, Email: mute@skyscr.demon.co.uk


February 15 - March 31, 1995

@art will exhibit the "LOTproject: Artistic Field Work". LOT is an Austrian
collaborative art group founded by Sabine Bitter and Helmut Weber. Living and
working in Vienna both artists are influenced by the dynamics of geographic
and political mobility. The LOTproject focuses on dislocation, geographic
disintegration, and vanishing territories that exist in tandem with the
phenomenon of global networking. Bitter and Weber direct and create art for

public places as a way of commenting on these cultural phenomenon and their
impact on the importance of "site".

@art gallery, a virtual internet gallery, is committed to exhibiting the best
in contemporary electronic art. Artists are showcased on a revolving basis,
with each exhibition lasting six to eight weeks. At the end of each
exhibition, the artists' work is archived and will remain retrievable. @art
gallery is housed in Gertrude, an IBM RS6000 that has been configured as a
WWW server. It's physical location is the School of Art & Design, University
of Illinois at Urbana-Champaign,USA. The gallery is designed to be viewed on
a Macintosh, utilizing Mosaic software.  Although the gallery can be viewed
with other WWW clients, and on other platforms, viewing on a Mac with Mosaic
will most closely approximate the original design. 

@art was developed by ad319, an interdisciplinary collaborative group
comprised of Kathleen Chmelewski, Nan Goggin, and Joseph Squier. All three
are practicing artists, designers and faculty members at the School of Art  &
Design, University of Illinois at Urbana-Champaign, USA. Andrea Shaker is our
graduate research assistant. ad319 was formed to address issues we face
working with new imaging and com-munication technologies.

@art gallery is based on the premise that, today, computer art doesn't
necessarily require physical form. Increasingly, digital artists are taking
advantage of the inherent characteristics of the technology.  Of particular
interest to us is the ability to electronically distribute still images,
video, text, and sound. This dramatically alters our understanding of art as

The gallery will evolve with time, due in part to your feedback. We 
invite you to share your ideas with us. Feel free to forward this 

@art gallery:  http://gertrude.art.uiuc.edu/@art/gallery.html
ad319 is:
Kathleen Chmelewski, Nan Goggin, Joseph Squier, Andrea Shaker, 
School of Art & Design, 408 E. Peabody Dr., University of Illinois
Champaign, IL  61820, USA.
Tel: 1-217-3332977, Fax: 1-217-2447688, Email: ad319@ux1.cso.uiuc.edu

                             CALLS FOR PARTICIPATION

                            WIN 110.000,-- US$ CASH  
                                  Participate in
                               PRIX ARS ELECTRONICA
                    the worlds most reknown and highest prized
                   competition for Computer and Multimedia Art.

The Categories are:
- World Wide Web Sites
- Computeranimation
- Interactive Art
- Computer Music

First cash price for the best designed & structured World Wide Web Site.      

You can get the regulations of competition and the entry forms at the
following address:
           password: infomaterial
Print out the entry forms - fill them in - send it to us together with the
piece(s) you would like to enter!

Deadline for entries end of February/middle of March !

Contact address:
Austrian Broadcasting Corporation/Radio and Television
c/o Peter Schoeber, Europaplatz 3, A-4010 Linz, Austria
Tel: 43-732-6900-367, Fax: 43-732-6900-270, Email: schoeber@jk.uni-linz.ac.at

Sent via pLANet mail delivery service.
For infos contact support.pLANet@planet.co.at  


Call for art participation: Computer art exhibition in frames of computer
show COFAX'95, conference on Telecommunications and Symposium Computer
Graphics and Image Processing in Bratislava, Slovakia.
Exhibition will be opened on May 30, 1995. 
Images transmitted by the Internet will be printed on color ink jet and
dye sublimation printers. Images GIF, TIF, TGA, JPEG, Corel Draw  CDR
Autodesk 3DStudio computer sculptures 3DS and animated flics FLI, FLC up to
1MByte will be accepted. Separate file should include the name and address
of author, names of images, short biography, description how the image
was created and brief statement. Works done with own software are
preferred. There are two ways how to transmit images under UNIX OS:
1. uuencodeSPACE< name1 >SPACE< name2 >|< address >
where < name1 > is the name of source file
< name2 > in name of destination (can be the same as file name)
2. I will get files from your anonymous ftp address and directory.
Deadline for transmitting files is May 1st, 1995.

Martin Sperka
Academy of Fine Arts and Design
Hviezdoslavovo nam. 18, 814 37 Bratislava, Slovakia
email address: sperka@cvt.stuba.sk

Second International Conference on Graphics Education

Fourth International Conference on Computational Graphics 
and Visualization Techniques
11-15 December 1995
Hotel Alvor Praia, Alvor, Algarve, Portugal                           

International Conference and Exhibition on Computer Aided Design
December 4 - 8   1995, Seville, Spain.

Submissions (sent to the chairman)
papers (4 copies of extended abstract)
panels (one-page summary),
videos (VHS)                  :  May 31
Notification of acceptance    :  July 15
Final Manuscripts             :  September 30

Contact/Further Information :
Harold P. Santo, Chairman
Dpt Civil Engng - IST, Av. Rovisco Pais, 1, 1096 Lisboa Codex, Portugal 
Tel:+ Fax: 351-1-848-2425, Tel: (direct line) : +351-1-841-8351 (also fax on
request), Email: chpsanto@beta.ist.utl.pt

University of Edinburgh, Department of AI and Faculty of Music
3 - 5 September 1995

 The International Congress in Music and AI will be held in Edinburgh, 
Scotland, just after the Edinburgh International Festival. The conference 
is organised by the Faculty of Music and the Department of AI at Edinburgh

Its main objective is to foster investigation of theories of music and
musical thought, and their relation to computation and AI systems. The 
link between these two approaches - which has not received great attention
until now - is the main topic to be addressed. The aim is to stimulate the
exchange of ideas on the possibilities of extending or formulating new
(computational) theories of musical knowledge and cognition that may be
used to represent and manipulate musical structures and processes. Such
theories may provide useful insights into compositional, analytic and
educational aspects of musical practice.

Researchers from any relevant discipline are invited to submit papers 
relating to one of the three areas presented below. The presentations of
papers will be followed by extended discussions.

MAIN AREAS OF INTEREST:  Musical Formalisms, Cognitive Models of Music, 
Intelligent Musical Tools

KEYNOTE SPEAKERS:  Stephen McAdams, Robert Rowe

PROGRAM COMMITTEE: Emilios Cambouropoulos, Antonio Camurri, Eric Clarke, 
Marc Leman, Alan Marsden, Peter Nelson, Alan Smaill, Geraint Wiggins

Papers of up to 7000 words should be sent by post (3 copies) or preferably
by e-mail (self-contained LaTex or PostScript files) to the address below
by 30th April, 1995. No abstracts will be accepted. Notifications of 
acceptance and reviews will be returned by 30th June. Final versions are
expected by 30th July. All selected papers will be included in the 
conference proceedings. It is expected that authors will be invited to
submit their papers for a post-conference publication.

Emilios Cambouropoulos
Faculty of Music, Univ. of Edinburgh, 12 Nicolson Sq., EH8 9DF Edinburgh 
U.K. e-mail: emilios@music.ed.ac.uk

Organized by the Westdeurscher Rundfunk (WDR) and the Geselllschaft fur 
Mathematik und Datenverarbeitung (GMD)
Monetary awards totalling 35.000 DM.

The Competition should challenge artists, designers and computer scientists
to answer the question if and in what way forms of television can be
developed which go further than the traditional perception of the images of
media and make television a more lively space for adventure and activity.

Entries will consist of a free-form video which presents concept, dramatic 
technique and visual translation of the project. Submit one copy of 3-5 
minutes in Beta SP plus filled in entry form.

Possible scenarios are interactive, artistic environments for artists, actors
and dancers, interactive TV Shows, connections between the Internet and TV
broadcast stations etc. GMD is one of the best equipped sites for virtual
reality development world-wide. Experimental works will be realized with the
technical potential of the GMD equipment in case of prize winning.
Further info and entry forms:
WDR, 'Cyberstar', 50600 Cologne, Germany
Tel 49-221-220-2192, fax: 6252, email: cyberstar@gmd.de.

Fifth Sound Basis Visual Art Festival
May 3-7, 1995, Wroclaw, Poland.

International competition for video art and computer animation works in 
which image and sound equally create an artistic form. 
WRO furthermore includes presentations by invited artists and curators, 
international exhibition of media installations and CD-Roms, a broadcast 
and lectures/seminars. 
Deadline for entries: March 8th (arrival date).
Entry forms:
Open Studio/WRO, POB 1385, 54-137 Wroclaw 16, Poland.
Tel/fax: 48-71-448369

was founded during the first Meeting for Electroacoustic Music, last Fall.
A report on the Meeting (in Portugese) is available. Furthermore there is 
a 'Call for Electroacoustic Music' for the weekly open air concerts, 
organized by the Dept of Music of the University of Brasilia. Composers 
are invited to send tapes (DAT 48 kHz, 44.1 kHz or 32 kHz, or analog 7.5 
ips or 15 ips). Good cassette tapes and CDs are also accepted.
Prof.Dr. Jorge Antunes, Laboratorio de Myusica Eletroacustica,
Universidade de Brasilia, Departemento de Musica - Sala 21,
70.910-000 Brasilia DF, Brasil.


CALL FOR ENTRIES: Catalog Essays, Computer Animations, Gallery Artworks
Internet Events. The Third Annual New York Digital Salon will take place in
New York City and on the Internet November 13 - 27, 1995.  This international
juried competition will include the following events:

A Gallery Exhibition of Computer Artworks Visual Arts Museum,
New York City ,November 13 - 27, 1995,  Opening Monday, November 13, 1995,

A Theater Screening of Computer Animations, Visual Arts Amphitheater, New
York City,Nov 17& 18, 1995, 8pm

Net Works Network Art Events on the Internet, World Wide Web site at sva.edu,
November 13 - 27, 1995 and beyond

Salon Catalog of Works with Critical Essays, Special Issue of Leonardo,
Journal of the International Society for Arts, Sciences and Technology.
Published by MIT Press

To enter:
Artwork:  Send a description of your work and an artist's statement, along
with slides, videotape and/or CR-ROM to: Timothy Binkley, Chair, New York
Digital Salon, School of Visual Arts 209 E. 23rd St., New York, NY 10010. 
Entry labeling must include artist's name & address, title of work, date,
dimensions or space requirements, medium or hardware, and price.  If you wish
to have your material returned, be sure to include a SASE.  There is no entry
fee.  Deadline for artwork submissions is May 1, 1995.

Essays:  Send the text of your essay on paper and disk.  The essay may be 
1500 to 5000 words, and can include illustrations.  It should address 
issues concerning the digital transformation of art.  Essays will be 
published by MIT Press in a special issue of the journal LEONARDO.  Send 
your submissions to Timothy Binkley at the address listed above, or email
them to binkley@sva.edu.  Deadline for submissions is May 1, 1995.

Jury: Regina Cornwell, DeLanda, Ken Feingold, Annette Weintraub,Wong Wo Bik
Timothy Binkley, Chair. Bruce Wands, Curator. Valerie Castleman, Coordinator.
Kirsten Solberg, Coordinator

Sponsors: Institute for Computers in the Arts, Leonardo, MIT Press School of
Visual Arts ,Visual Arts Foundation (others to follow)                        

Digital Salon reserves the right to use all accepted entries for 
publicity and promotional purposes.

22nd International Conference on Computer Graphics and Interactive Techniques
Conference and exhibition.
August  6 - 11  1995, Los Angeles Convention Center, Los Angeles, USA

Call for Participation

31 May 1995 6 pm Pacific Daylight Time

Artists and designers are experimenting with computer technology in many
imaginative ways. In short presentations followed by questions and answers,
Artist/Designer Sketches will focus on stimulating and interesting uses of
computer technology. These sessions will explore the challenge of applying
digital technology to artistic, entertainment, and communication processes.

Works in progress, special creative and production problems, unique
challenges encountered in developing unusual applications -- all of these
and other related topics are encouraged in Artist/Designer Sketches

Proposals will be reviewed by members of the Art Gallery, Interactive
Entertainment, and Interactive Communities committees. Submissions will be
judged primarily on their potential to contribute new ideas and experiments
by artists and designers. Presentations will be limited to 20 minutes.
Audio/visual equipment will be available for those who need 35 mm slide
projectors, video displays, and overhead projectors.

1.  Your submission must include a cover page, six copies of the proposal,
and a signed SIGGRAPH 95 Permission to Use Form. The cover page must
contain the title of the Artist/Designer Sketch, author name(s) and
affiliation(s), and a summary of the proposal (no more than 30 words).
Proposals may not be submitted by email or fax.
2. Maximum proposal length is two letter-size (8.5-inch by 11-inch) or A4
pages of double-spaced type no smaller than 12 point.
3.  The proposal may also include examples of visual material. Recommended:
one sheet of 35 mm slides.
4. Proposals must be received by 6 pm Pacific Daylight Time, Wednesday, 31
May 1995.

Important note to authors outside the United States:
Plan your submission carefully to ensure that it will arrive on time.
Customs delays of two weeks can occur. When time is short, consider using a
private courier. Customs labels should bear the words: "Educational
material with no commercial value." SIGGRAPH 95 will not pay any customs
fees, duties, or tariffs incurred by your submission.

The Artist/Designer Sketches venue is a place to share new ideas and works
in progress. To ensure that participation here does not prevent any future
publications, SIGGRAPH will not publish the presentations from this event
beyond a schedule published in the SIGGRAPH 95 Program and Buyer's Guide,
giving the time, location, title, and the 30-word summary for each
presentation. Artists are welcome to bring handout material of any kind.

Artists and designers will be notified of the committee's decision by
Wednesday, 14 June 1995.

Authors of accepted Artist/Designer Sketches receive Exhibits Plus
registrations, which include admission to Artist/Designer Sketches, Art
Gallery, Interactive Entertainment, Interactive Communities, Screening
Rooms of the Computer Animation Festival, and the Exhibition.

Send to:
SIGGRAPH 95 Artist/Designer Sketches Coordinator
Fine and Applied Art Department
5232 University of Oregon, Eugene Oregon  97403-5232  USA
Tel: 1-503-346-427, Fax: 1-503-346-3626, Email: arts.s95@siggraph.org


June 9 - 11  1995, Univ. of Melbourne, Victoria, Australia
The Australian Computer Music Association (ACMA) is holding its 1995
conference in Melbourne.  The conference will include concerts, paper
sessions, workshops and an open forum on the composition and aesthetics of
electroacoustic music.  Within this framework, papers and compositions are
being called for presentation at the conference.  Details for submissions and
the conference are outlined below.

Submission of papers
Submissions of abstracts (maximum 300 words) are invited for the paper
sessions. Abstracts will be anonymously refereed. The focus of the conference
will be toward the composition and aesthetics of electroacoustic music.  
Applicants are invited to submit papers within the following broadly defined
- the relationship between research and development in software and/or
hardware and composition;  
- composition and performance environments; this may include software
environments or multimedia and other cross art form environments, composing
for theatre, radio, sound installations, animation or film. Papers discussing
specific compositions are especially invited;
- the pedagogy of electroacoustic music. A consideration of the techniques
and concepts that adequately equip the musician with the interdisciplinary
skills required for electroacoustic music.

Submission deadline
Submissions for papers in abstract, pieces and performance proposals are to
be postmarked no later than Friday 10 March, 1995.

Notification of selection for both papers and compositions  will be sent to
successful applicants on or before Friday 7 April, 1995.

Submissions to: ACMA 1995 Conference 
(see Contact Details for address.)

Friday 9 June Registration, official opening, concert
Saturday 10 June Papers and evening concert
Sunday 11 June Papers and lunchtime concert  

Early registration  
By May 12, 1995, is A$70.  A cheque or money order made payable to ACMA
Conference, 1995  may be sent to ACMA. (see Contact Details for address.)

Full Registration   
Registration at the conference is A$90.  Only cash, cheques or money orders
made payable to ACMA Conference, 1995, will be accepted. Please note that
credit cards cannot be accepted for early or full registration.

Guidelines for DAT and performance submissions
- Tapes are to be recorded at a sample rate of 44.1 kHz.
- Leave 30 secs at head of tape.
- Ensure there are no clicks on the tape from the transfer.
- Label the tape and case with the composition title, composer name, duration
of piece.
- Record in absolute time.
- Include a  programme note for the piece.
- For a live performance submission,  supply a recording of a previous live
or studio performance.  Or else some other excerpts of previous work and a
description of the proposed performance for this conference.
- Applicants are asked to clearly outline the performance set-up they
require.  Where possible, applicants are requested to supply there own
equipment, a list of equipment that will be available from the Faculty Studio
is listed below.  
- The Studios of the Faculty are Macintosh based.  Available for use in
performance will be 2 * SE 30s and a IIFX.  If other hardware is required,
please make enquiries to the Conference Coordinators.
- Hardware: Korg Wavestation, Proteus Procussion/2XR, Proteus /3World, 2 *
Akai S1100 samplers, Yamaha TG 77, Disklavier upright piano, Disklavier grand
piano, Yamaha SPX 1000, Yamaha SPX 900, Lexicon 300, MIDI wind controller, 2
* JLCooper continuous controllers, Tascam DA30, Sony D-10 Pro (44.1 kHz & 48
kHz available as playback), 16 channel Alesis ADAT.
- Software: (For performance and papers and demonstration)  MAX, Patchwork,
"M", SVP, Cubase, ProTools and SoundDesigner.


Submissions  and early registrations    
ACMA 1995 Conference, PO BOX 186, Post Office Agency, 
La Trobe University, Bundoora  3083, Victoria,  Australia

Conference  Coordinators
Lawrence Harvey  harvey@music.unimelb.edu.au
Alistair Riddell  amr@farben.latrobe.edu.au 

Accommodation & travel information 
Ms Jane Harris, Faculty of Music, University of Melbourne   
Royal Pdre, Parkville  3052, Victoria, Australia.
Tel:  61-3-3447508, Fax: 61-3-3445346, email: harris@music.unimelb.edu.au

May  26 - 28  1995, University of Warwick, Coventry, England, UK.

Virtual Futures 1995 is an interdisciplinary event that examines the role of
cybernetic and specifically dissipative or non-linear models in the arts, 
sciences, and philosophy. The conference explores the relationship between
postmodern philosophy and chaos theory, with topics ranging from: information 
technology, hypertext and multimedia applications, virtual reality and
cyberspace, C3, complexity theory, cyberfeminism, artificial life and
intelligence, neural nets, and nanotechnology. Literary themes such as
apocalypse, narcotics, cyberpunk science fiction, and annihilation are all
If you would like to present a paper at Virtual Futures'95, please send a
250 word abstract before March 1st to :
VIRTUAL FUTURES '95, The Centre for Research in Philosophy and Literature,
University of Warwick, Coventry, CV4 7AL, England, UK. 
Tel: 44-203-523523, Fax: 44-203-523019, Email: virtual-futures@warwick.ac.uk


February 20 - 23  1995,  Cologne, Germany
Seminars ('Interactive workshops') by Prof. Jurgen Claus.
Feb 20: Evolutionary Computer Art, Feb 21:  'Synergetik', Feb 22: The 
plant as a metaphor, Feb 23: Art & Artificial Life.
Kunsthochschule fur Medien
Peter-Welter-Platz 2, 50676 Koln, Germany.
Tel 49-221-201891-15, fax 24

                             (Music-Research Digest)

With emphasis on the audio and haptic components of virtual reality 
June 26 - July 8, 1995 
Fee: $800, Two weeks instruction and laboratory. Limited to 15 
participants. Instructors:  Brent Gillespie, Craig Sapp.
This course will introduce concepts and apply tools from cognitive  
psychology to the composition of virtual audio and haptic  
environments.  In particular, the salience of various auditory and  
haptic phenomena to the perception and performance of music will be  

July 10 - July 21, 1995 
Fee: $800. Two weeks hands-on instruction.  Limited to 20 participants.
Instructors:  Heinrich Taube, Fernando Lopez Lezcano, Tobias Kunze, Nicky 
This course introduces basic principles and techniques of algorithmic   
composition and  covers topics such as data representation,  
techniques employing random selection, enveloping, algorithmic  
editing, pattern generation and scheduling.   Sound synthesis as used  
in course examples will include MIDI, the (realtime) Music Kit and  
(non-realtime) Common Lisp Music and Common Music  Notation. 

July 24 - August 4, 1995
Fee:  $800.               

July 24 - August 4, 1995
Fee: $1200. Two weeks instruction. Limited to 15 participants. 
Instructors: Xavier Serra, Perry R. Cook.
This course will cover analysis and synthesis of musical signals  
based on spectral and physical models. The course will be organized  
into morning lectures covering theoretical aspects of the models, and  
afternoon labs. 

July 10 - July 21, 1995
Fee: $700. Two weeks instruction. Limited to 8 participants. Instructor:  
Leland Smith.
This course will cover the details of the use of the SCORE software  
program for the creation of publication-quality music typography on  
PC compatible computers.  

The annual concert of new music by CCRMA composers will take place  
during the Summer Workshops. It will be held in Frost Outdoor  
Amphitheater at Stanford on July 20, 1995.
For additional info and applications, contact
CCRMA Summer Workshops, Department of Music, Stanford University
Stanford, CA 94305-8180, USA.
Tel 1-415-723-4971, fax 8468. E-mail: aledin@ccrma.Stanford.EDU


Musical Theater
February 2-25, 1995 (Tue-Sat, 8.30 pm), The Hague, Holland
Hollandia plays this piece while LOOS takes care of live electronic 
sounds. Downbeat critic John Corbett wrote of an earlier piece by LOOS: 
"It was riveting, frightening and totally unlike anything else I know".
Lacation: A30 Hangar, Ypenburg Airport, The Hague.
Reservations tel: 31-75-310231, 70-3465272, 10-4118110.

The Dutch foundation for electro-acoustic music STEIM organizes a new 
series of concerts, starting March 4, 9 p.m. The series is called 'Between 
the Ears'. The first concert is on the theme 'Multimedia of the Stone 
STEIM, Utrechtsedwarsstraat 134, Amsterdam, Holland. Tel 31-20-6228690

Visions of Art and Science
March 1 - April 2  1995, Tufts University Art Gallery, Medford MA, USA
Exhibition ("an interactive exploration") by, a.o.: Sheldon Brown, Lowry 
Burgess, Agnes Denes, Paul Laffoley and Karl Sims. 
Opening reception: March 1, 6-9 pm. Presentation by Dr. Farouk El-Baz, 
Performance by Noah Riskin.
Panel/Workshop: March 5, 10 am - 1 pm. The meaning of light as it functions
both as medium and message in recent developments in art and science.
Tufts University Art Gallery, Medford, MA 02155, USA. 
Tel 1-617-62-73518, fax 73121

February 11 - April 16  1995, Thiers, France
Exhibition by  Leo Copers, Jacques Halbert, Claude Leveque, Francoise 
Quardon and Annemie Van Kerckhoven.
Le Creux de l'Enfer, Vallee des Usines, 63300 Thiers, France
Tel 33-73-802656, fax 802808

Amsterdam, Holland
February 4 - March 5  1995, Amsterdam, Holland.
International exhibition at 9 art galleries. Mostly photographic work, but 
video installations and CD-Roms are included. De Melkweg (Lijnbaansgracht 
234) exhibits (a.o.) videos by Shelly Silver and Wim Liebrand and an 
installation by Lydia Schouten, in the S. Biederberg Gallery (OZ 
Voorburgwal 223) a video installation by Sam Schoenbaum and in the W139 
gallery (Warmoestraat 139) videos by Erszebet Baerveldt, a CD-Rom by Lewis 
Baltz and video installations by Willie Doherty.

March 13 - 16, 1995, Chicago, USA
Info: Tel: 1-203-8405878, Fax:  8409878

NAB 1995
April 10 - 13  Las Vegas, USA
Info: National Association of Broadcasters.
Tel: 1-202-4295350, Fax: 4295406

April 22 - 26  1995, Santa Clara, CA, USA
Info: Tel: 1-415-9482432, Fax: 9482744

April 1995 , Bogota, Colombia.
Directed by Cecilia Casas.
Inquiries can be made to : Cra 9 74-99 Bogota, Colombia.
Tel: 57-1-2484969, Fax : 571-2484969

May 31 - June 3  1995, Toronto, Canada
Conference May 31- June 3, Trade show June 1 - 3.
Keynote addresses (free to all visitors) will be given by James Clark
(founder of Silicon Graphics and now with Netscape Communications, the
programmers of the Internet tool, Mosaic), Fred Klinkhammer of MediaLinx and
Satjiv Chahil of Apple Computer.
Info: Multimedia Trade Shows Inc., 7-70 Villarboit Crescent, Concord, 
ON, Canada, L4K 4C7. Tel 1-905-660249-1, fax -2

June 7 - 10  1995, Osnabrueck, Germany.
This unique cultural event covers all aspects of "music and electronics"
including a scientific congress, the Musitec and the "Festival" with a series
of concerts and performances.
For a complete programme contact:
KlangArt, P.O.Box 4460, 49034 Osnabrueck, Germany.
Tel: 49-541-24960, Fax: 49-541-24913, 
Email: kschwirz@rzserv.rz.Uni-Osnabrueck.de

June 18 - 21  1995, Graz, Austria
World Conference on Educational Multimedia and Hypermedia
Papers, short papers, panels, tutorials, workshops, demonstration, posters
Info: ED-MEDIA 95/AACE, P.O. Box 2966, Charlottesville, VA 22901, USA.
Tel: 1-804-973-3987, Fax: 1-804-9787449, E-mail: AACE@Virginia.Edu

June 20 - 24  1995, Linz, Austria
Theme: Mythos Information; Welcome to the Net Worlds.
"Ars Electronica 95 will ask critical questions to dogmas and myths of
postmodern information society".
Info: Brucknerhaus, Untere Donaulande 7, A-4010 Linz, Austria
Tel: 43-732-7612244, Fax: 7612350

September 17 - 24  1995, Montreal, Canada.
Sixth International Symposium on Electronic Art
Info: ISEA 95, 307 Rue Sainte-Catherine Ouest, Bureau 515B, Montreal, Quebec,
Canada. Tel: 1-514-990-0229, Fax: 1-514-842-7459, Email: ISEA95@ER.UQAM.CA

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 mentioned in this
Newsletter by contacting ISEA.

Support: Erasmus University Rotterdam (Law Dept),   Amsterdam University,
V2 Organisation,  YLEM,  ISAST,  Renderstar Technology, Media Research, 
Museum der Stad Gladbeck,  Corel Corporation,  The Council for the Int.
Bienale in Nagoya,  CSL Computers,  Viking Eggeling-Salskapet,  Bratislava
Academy of Fine Arts & Design,  Softimage Inc,  Lokman Productions, 
ARTCOM in Deutschland e.V., Tampere School of Art & Communications, Nordiska
Konstskolan, Painatuskeskus Oy.

End of Newsletter

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