#046 Oct 1995


                               THE ISEA NEWSLETTER

                                 #46 OCTOBER 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. Honorary Member: Herbert W. Franke
               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)
                        WWW URL http://www.xs4all.nl/~isea

Wim van der Plas

The Sixth International Symposium on Electronic Art, ISEA95 (Montreal, 
September 17-24), turned out to be a milestone in the development of 
the ISEA Symposium series. The earlier five symposia (1988 Utrecht, 
Holland; 1990 Groningen, Holland; 1992 Sydney, Australia; 1993 
Minneapolis, USA; and 1994 Helsinki, Finland) all were successful. But 
attendance was never more than 500 people. Montreal, however, welcomed
over 1,000 participants! 

Of course, the preceding five symposia were instrumental to this success. 
They helped establish the ISEA Symposia with an excellent, world-wide 
reputation. Furthermore, the Canadian and Quebec governments, as well 
as the City of Montreal, supported ISEA95 on a large scale. But it 
could not have been done without the tireless work of a large team 
of people, most of whom were unpaid.

During the final session of the symposium, the so-called ISEA Plenary, 
an evaluation was solicited from the participants. The most frequent
responses were compliments to the organizing team, from the directors 
to the people behind the counter. It is not possible to mention 
everybody, but here is a list of some of the people that made ISEA95 

Louise Poissant, Henry See, Luc Courchesne, Denis Martineau, Alain 
Mongeau, Michael Century, Greg Garvey, Eric Mattson, Bruce Pennycook, 
Don Ritter, Cynthia Beth Rubin, Claude Schryer, Monique Savoie, 
Lisette Bordeleau, Nancy Tobin, Jean-Sebastien Cote, Marie-Josee de 
Grace, Lyne Barnabe, and Louis Veillette.

The symposium was the largest to date in another sense too. Never have 
there been so many activities to choose from. Three different 
exhibits, a four(!)-day symposium, workshops, more concerts and 
performances than a single person could possibly attend, an 
electronic nightclub (the Electronic Cabaret, again hosting lots of 
live performances), the electronic theater, a well-equipped 
Internet/Web room (the Cyberport), satelite events, etc., etc.

The ground was covered from exciting live Techno in the Cabaret to a 
great 'electronic version' of Shakespeare's Hamlet by actor/director 
Robert Lepage in the Museum of Modern Art. There was an 'interactive 
media' dance performance by the Institute for Studies in the Arts 
(Arizona State University). The main exhibition (of juried entries) 
was held in a former school. Over 60 works were exhibited, many of 
them in a single classroom each. Everything worked, everything was 
well documented. There were several impressive highlights, like Jon 
McCormack's 'Turbulence', Maurice-Georges Dyens' 'Vertigo Terrace' and 
'The Frenchman Lake' by Bill Vorn and Louis-Philippe Demers.

The new setup of the kernel symposium (less papers - more panels)
seemed to work, although there often was a lack of time for deep
discussion. The 'papers' all had the status of 'keynote speeches'
this time. I don't know whether this 'status' has anything to do with
it, but most of these 'keynotes' tended to be rather heavy. In the
evaluation somebody complained about "the in-crowd feeling of post-
modern cynism". Personally, I can sympathize with that view. The
'artist's presentations', formerly known as 'poster sessions' were
successful too, although they were not held at the exhibition
location (which would perhaps have encouraged a less formal
atmosphere and more spontaneous discussion). 

During the ISEA Plenary, the only really critical note was heard on 
the fact that ISEA95 was too much of a 'Western' affair. In the 
written evaluations, this point came back repeatedly. 'Third World' 
countries were hardly represented. This has been a complaint throughout
the series. It also is very difficult to do something about. 
Very few proposals are received from these countries. All participants 
and practically all presenters have to raise their own funds to 
come. This works out rather well for westerners, but in the Third 
World, there are no funds available. The third ISEA (TISEA, Sydney, 
1992) had 'Cultural Divergence' as a principal theme. It didn't make much 
difference to the composition of the participating crowd.

However, this is a real point of concern. We are looking into 
possibilities to actively change this situation for the good. Anyone 
with suggestions is welcome to write or e-mail us. What created some 
hope for a change was a verbal proposal during the ISEA Plenary for 
ISEA99 in India.

ISEA96 and 97 (Rotterdam, Holland and Chicago, USA, respectively) 
announced their plans. For ISEA98 there were proposals from Bonn/Koln 
(Germany), Liverpool/Manchester (UK), and Bratislava (Slowak 
Republic). For ISEA2000, there is a proposal from Paris, France (the 
Centre Pompidou in cooperation with several universities).

We hope the series will be able to maintain the standards set in 
Canada. Thanks and merci beaucoup Montreal!


Through Paul Brown, we received the following message from Larry Cuba.

Dear Friends,
I'm sorry to be the bearer of bad news, but I just learned that John Whitney,
Sr. died on Friday [September 22] and I knew you would want to know.
The impact he had on my life is immeasurable. I will miss him deeply 
and remember him always with great respect and affection.
If any of you have a recollection of a personal interaction with John 
or an expression of what he meant to you, his sons, John, Jr., Mark 
and Michael would appreciate your sending them a note so that they may 
collect these thoughts for a memorial tribute. 

The e-mail address is:  jwhit@earthlink.com

Sadly and with regards to all,
Larry Cuba

John Whitney Sr. was the keynote speaker at the Second International 
Symposium on Electronic Art, Groningen, Netherlands, 1990.

He is known as the first artistic computer-animator, using computing 
machinery used in WWII, which he acquired right after the war. Instead 
of steering an anti-aircraft weapon, he used it as a plotting device. 
This was in line with the experimental animation work Whitney did 
before the war. One of his experiments involved oil, floating on 
water, in which he made drawings with a stick.
Animation is, by its lovers, considered to be the queen of arts, 
involving all artistic disciplines. Like ballet, good animation is a 
visualization of music. That is the way the old cartoon animators saw 
it, and thus they created Silly Symphonies, Loony Tunes, Merry 
Melodies, etc. Great animation artists like Norman McLaren made 
abstract animations of music by Oscar Peterson and others. John 
Whitney worked in this tradition and carried it further, using 

He developed programs that generated animated visuals in real time on 
the basis of live computer music. The patterns were abstract, derived
from native American Indian art. One of the highlights of his work, 
'Arabesque', was shown during the electronic theater of the second 
ISEA symposium.

We remember him as a very gifted multi-disciplinary artist and a true 
pioneer as well as a very kind person.

Wim van der Plas

Christine Schoepf

Let me give you a few amendments to the Ars Electronica article in the
July edition of the Newsletter. As you will know meanwhile, three
years ago the City of Linz did not only decide to dedicate a new
construction erected in the context of a city development project to
become the Ars Electronica Center, but also to pay for the cost of
construction, equipment, and for the expenses of the Center's
activities ...
The Ars Electronica Center (AEC) shall be a permanent home for digital
media, with the Ars Electronica festival continuing to be a highlight
in the Center's yearly exhibition and performance program. Therefore,
it was only logical to combine the Festival and the AEC on an
organizational level.

The Ars Electronica Festival was created in 1979 upon an initiative by
the Austrian Broadcasting corporation ORF, Upper Austrian Regional
Studios, in cooperation with the city-owned Linzer
Veranstaltungsgesellschaft mbH (LIVA, Linz Events Organization Ltd.)
based at the Brucknerhaus. Since then, both of these organizations
have been the joint organizers of the Festival. The festival's budget
has always been funded by the City of Linz, the Federal State of Upper
Austria and the Republic, additional funds coming from the organizers'
own budgets and - occasionally - from sponsors. 

In 1979, a new conception for the festival became effective: Formerly
a biennial event, Ars Electronica was to take place every year, a
separate Ars Electronica office was installed at the Brucknerhaus. A
general topic for every year was introduced, and Peter Weibel was
nominated artistic manager. 

The Prix Ars Electronica Computer Arts Competition was initiated by
ORF, the funding for the realization and the prize money came from
sponsors - in the early years among others from Siemens Germany,
meanwhile the Prix is funded as described by Austrian companies.

This construction will be valid for the future, too, i.e., the
Festival will be financed by public funding just like the AEC, while
both the realization and the prize money of the Prix rely on
sponsors. Any additional sponsorship both in money and/or material is
welcome. Anyhow, the energy supply companies never had anything to do
with Ars Electronica, neither will they in the future.
I suppose the notion that power supply institutions will finance Ars
Electronica is merely a misunderstanding in language. Actually, the
Italian energy supply corporation ENEL had rented part of the
exhibition area at the small presentation within the yet unfinished
AEC building in order to show the VR world and CD-ROM works they had

There is a reorganization within the distribution of activities at the
City of Linz, however: The City decided to found an Ars Electronica
Society that will run both the Center and the Festival. The media
artist Gerfried Stocker was nominated managing director and the
festival budget has been moved from the LIVA/Brucknerhaus to
this new Society.
In the place of the artistic manager (which had been Peter Weibel for
eight years), now there is an international panel the members of which
are to be nominated in accordance with the topic of the year. 

I can understand that there is a certain degree of disappointment at
the partner's at the Brucknerhaus considering the changes both in
financial matters and in structures of personal power. Anyway, the
fact is that Ars Electronica will not drift into any dependence from
any sponsors, but may rely on public funding also in the future, that
the contextual link of the Festival and the Center offers excellent
opportunities for continuous work and thus the chance of a further
enhancement and extension of the Ars Electronica idea.

Finally, let me add a personal statement, considering that there was
so much to read in the Newsletter about economizing and
popularization: I consider intellectual monopoles to be equally
dangerous, especially in a time when the Arts and philosophy seem to
be in decline and when Win95 is being celebrated in the media.

Best wishes for ISEA 95 and 96
Dr. Christine Schoepf

in the Context of Computer-Based Media

November 4  1995, Maastricht, The Netherlands
On November 4, 1995 the Jan van Eyck Akademie in Maastricht, The Netherlands
will host an intensive 1-day symposium on the question of the future of
design education in the context of computer-based media. This symposium will
look at and around a number of issues concerning rapidly evolving
technological changes which raise questions about the nature and content of
graphic design education. All the while it will recognize the social
paradigms which these changes reflect, create, and within which they occur.

The symposium will be introduced by design educator Lorraine Wild, former
Director of the Graphic Design Program at California Institute of the Arts
and current faculty member of CalArts and the Jan van Eyck Akademie, as well
as partner in the Los Angeles design firm, ReVerb. Ms. Wild will set the
ground for the simultaneous questions the symposium will explore: What future
graphic designers are being educated for; and What the role of the graphic
designer will be.

Typographer and media designer Michael Worthington and graphic designer Rick
Vermeulen will explore topics fundamental to traditional graphic design
education, such as text and typography, which are radically differentiated by
the new media. Additionally, there will be a query about those skills and
knowledge which reach beyond a traditional curriculum, introduced by
Professor Gillian Crampton-Smith, Course Director of Computer-Related Design
at the Royal College of Art, London, and Dick Rijken, former director of the
Interaction Design Program at Utrecht School for the Arts, now with the The 
Netherlands Design Institute. Dingeman Kuilman, graphic design manager for
Philips Corporate Design, will broaden the scope to focus on new technologies
and specifics of the future role of the graphic designer. Lastly, the event
will contain a presentation of current educational approaches that
incorporate computer-based media, including samples of student work.
(All talks and discussion will be held in English)

For further information:
Louise Sandhaus or Karin Vlietstra
Jan van Eyck Akademie, Academieplein 1, 6211 KM Maastricht, The Netherlands.
Tel: 31-43-325-4285, Fax: 6474, E-mail: vaneyck@xs4all.nl

Dutch Electronic Art Festival
November 21 through 26, 1995, Rotterfdam, The Netherlands

DEAF95 (Dutch Electronic Art Festival) is an annual festival for the arts and
their relation to technology. A festival that investigates art in the light
of current development in the areas of science and technology. This year s
festival will be presented under the main theme of: INTERFACING=REALITIES
Interface literally means cutting edge. In man-machine relations it relates
to mean the hard- and software that is used to facilitate and optimise the
coupling of man and machine. During DEAF95 the interface in machine and
computer art will take centre stage. The development of the interface will
be approached from different disciplines, including art, robotics, medical
industry and virtual reality.

The festival program will include an international EXHIBITION of electronic
art projects and installations at the V2_Building and at Lantaren/Venster
theatre. In the DIGITAL DIVE cafe visitors will be able to browse the World
Wide Web and view recent CD-ROM productions on computer terminals arranged
in specially designed booths. The MUSIC AND INTERFACES (22.11.) programme
will offer lectures, concerts and special demonstrations. The CROSSINGS
project (25.-26.11) deals with the representation of computer spaces by
computer-animated virtual environments and will be presented in the
Rotterdam Harbour Simulator. In a SYMPOSIUM (24.-25.11.) an international
group of researchers and artists will discuss social, cultural,
philosophical and technological questions related to human-machine
interfaces, and will give demonstrations of the latest developments in this
field. The WORLD WIDE WEB is the theme of the Wiretap 1.11 program (26.11.)
which will be presented as part of DEAF95. An ADVENTURES NIGHT (25.11.) at
the music  venue Nighttown will see a six-hour program during which different
(art)disciplines are brought together in one event. Two SEMINARS will be held
prior to DEAF95 (6.+13.11.) as introductions for the general audience to the
technological, artistic and theoretical themes of the festival.
Organised by V2_Organisatie, Rotterdam.

For more information regarding DEAF95, ask at martvb@v2.nl

URL DEAF:     http://www.vpro.nl/arteria/V2onW3/DEAF/DEAF.html

December 5 - 7  1995, Leeds, UK

International State of the Art Course and Conference

An Introductory Course on Visualization and Modelling will be held on Tuesday
5 December.  This will provide detailed background information in these areas
for those new to the field.  The Lecturers will be -
Prof B. Wyvill (University of Calgary), Prof J. A. Vince, Mr H. Jones,
and Prof R. A. Earnshaw.

Pre-Conference Course, Tuesday 5 December 1995, 10.00 am - 5.30 pm
Course Registration: 9.30 - 10.00 am

The International Conference will be held on 6-7 December.

Paper have been selected by peer review from those submitted in response
to the Call for Papers.  Countries represented at the Conference include
Belgium, Brazil, Canada, France, Denmark, Japan, Taiwan, UK, and USA.

Visualization techniques are now well-establised and a wide range of books
and papers are available summarising the current state of the art.
Visualization techniques and tools are used in a wide variety of disciplines,
including science, engineering, medicine, business, and more recently in
financial and economic modelling.

With the migration of high end computing power down to the desk top,
along with relatively low cost graphics and multimedia boards, there is
renewed interest in further research and development in the areas of
modelling of data and techniques for visualization which are capable of
being exploited by a wide range of desk top applications.  Network
connectivity is facilitating desk-top to desk-top working in a wide range
of areas.  Visualization is also becoming an integral part of applications
and is playing an increasing role in CSCW, VR, networked data, and user

This Conference presents some of the latest work in tools and techniques
for visualization and modelling, and their application to a number of novel
application domains. 

Conference Secretariat,
Conference Office, University of Leeds, Leeds  LS2 9JT, UK
Tel: 44-113-233-6102, Fax: 44-113-233-6107, 
Email: rcsdmw@central.admin.leeds.ac.uk 


October 29  1995, Rotterdam, the Netherlands 
premiere of Huib Emmer's MEMORY DRUMS performed by the band LOOS
19.30hrs - Doors open
20.00hrs - Richard Barrett (UK) - performance
20.30hrs - Victor Wentinck (NL) - presentation: INTERFACES in MUSIC
21.30hrs - Intermission
22.00hrs - LOOS (NL) - performance: MEMORY DRUMS and performance of the
           FACTORSERIES by Peter van Bergen (NL)

Before and after the various parts of the program d.j. Alien Q (NL) will
present a selection of music FROM THE NEVERLANDS.

On Sunday evening October 29 from 19.30hrs V2_Orgniasation is presenting
Wiretap 1.10. The WIRETAP programs are informal presentations about CD-ROM,
CD-i, Virtual Reality and Internet. Artists from the Netherlands and abroad
present projects they are currently developing. The audience has Internet
access and the possibility to view recent productions on CD-ROM.

The 29 October program will be about music and machines. The program opens
with a performance by the British musician Richard Barrett. His music is
best described as the archetypical, high-energy, machine music with an
extreme sound-density, making extensive use of sampler techniques.

Composer Victor Wentinck - who says he re-learning composing now that he
uses the computer in his work - will elaborate on the interface, a
relatively unknown theme in the field of music. He will state that the
layering and structures in music can be 'opened up' using the interface.

After a brief intermission the band LOOS will perform the new composition -
MEMORY DRUMS (30mins) - by Huib Emmer. The basic aim of MEMORY DRUMS is the
research in the use of live-electronics and instruments. Since its
foundation LOOS has been working in this field. Additionally the program
will involve the performance of some pieces by Peter van Bergen (NL), the

V2_Organisatie - Marc Thelosen (math@v2.nl)
Eendrachtsstraat 10, 3012 XL  Rotterdam, The Netherlands
Tel: 31-10-4046427 
URL:  http://www.vpro.nl/www/arteria/V2onW3/Icons/V2Page.html 



This selected discography, with discs listed in somewhat chronological order,
is drawn from all the CDs currently in print that contain Cage's music. It is
neither definitive nor final: as we find new discs that we can recommend,
we'll add them. Meanwhile, all the major phases of Cage's career are
represented here, with some works available in more than one version.

The Cage discography is the first of our subject catalogs. In the next few
months, you can expect to see catalogs on microtonal music, pioneers of
electronic music, words and music, transformed sounds, improvisation, and

You'll also see a variety of special catalogs from time to time.  
Coming soon: a Larry Austin birthday tribute, with the entire CDCM 
catalog at sale prices; a group of special publisher offers; and 
"Discs Warren Burt has Known and Loved."

Electronic Music Foundation 
116 North Lake Avenue, Albany NY 12206, USA.
Tel: 1-518-434-4110, Fax: 1-518-434-0308, E-mail:  eMusF@aol.com

The Journal on Research into New Media Technologies. The subject is the
creative, social, political and pedagogical issues raised by the advent of
new media technologies. Twice a year.
John Libbey & Co Ltd
13 Smiths Yard, Summerley St., London, SW18 4HR, UK. Tel: 44-181-947-2777,
fax: 2664, E-mail: LIBBEY@Earlsfield.Win-UK.Net

Books & CDs on multimedia, networking and scientific computing.
Info: Charles River Media, POB 960, Herndon, VA 22070, USA. 
Fax: 1-703-6890660, E-mail: chrivmedia@aol.com

Magazine of Culture, Technology and Science, "offering essays and interviews
by scientific and cultural luminaries that delve deep into the psychological,
philosophical, scientific and cultural issues that mark the end of the
millennium". Info:
International Publishers Distributor
POB 41010, Newark, NJ 07101-8007, USA. Tel: 1-800-5458398, Fax: 1-215-7506343
Outside N. America: Tel: 44-73-4568-316, fax: 211

On CD-ROM for Macintosh.  

"BLAM!2 is the second in a series of celebrated annual CD-ROM magazines
generated by the controversial art ensemble Necro Enema Amalgamated.
It's full of dogs and daffodils and dirty talk in the language of flowers!
Let the idiot savants of interactivity tell you about the birds and the bees!
Let the flower children of fascism tell you how to use the user! Let the
demons of the doghouse tell you about THE NEW WAY. Parental advisory: This
product contains explicit audiovisual art."
Sneak previews: http://www.phantom.com/~blam1
Orders, catalogs or info:
Enema Amalgated, POB 208, Vilage Station, New York, NY 10014, USA.
Tel: 1-212-979-2445, Fax: 6052, E-mail: blam1@phantom.com

                                  WORLD WIDE WEB
"From September 20th have a good time on the Web site of the CICV Centre de
Recherche Pierre Schaeffer and welcome to the First On Line Festival of
Multimedia Creation: competition of electronic tags, artistic and legal
issues at stake, who's who of electronic art sites.."

Wouter Van den Broeck

AMPHI-ZINE  (version 1.1, 20 SEPT. 95)
A: news concerning KaMERS met Zicht

A: news concerning KaMERS met Zicht
Some new pages have been added to the site:

The ROSWELL-special: with general itroduction, summary of other sites related
to UFO's or the Roswell-incident, and...some previously  unpublished
pictures! YES....

DE BRAKKE HOND: a well known superb-quality dutch literary magazine is 
now online in KaMERS...

CATACOMBES: Mourad, one of our newest members in our team, has 
surprised us with some really good looking pages about a discotheek; 
the Catacombes

SHOES OR NO SHOES: restyled, renewed, updated, all you want...done by 
Serge, another member, and it looks GOOD!

CJ BOLLAND: of course there's CJ official homepage, an other Steve
Cop-production...check it out!

ARTPROM: not really in KaMERS, but our team has been working on it, 
and those guys from artprom understand the internet-spirit, so...


Well...i don't have to tell...our previous session has been rather a 
succes...so, next IRC-session: 4th October, take off: 22.00 h (Central 
European Time)

subject: How can artistic, underground and non-profit sites join 
forces national and/or international and create a strong interlinked 
and independant sub-web?

Kasteelstr. 4 / Antwerp / Belgium / +32-3/ 248.50.24
KaMERS met Zicht : http://www.dma.be/p/amphion

September 20, 1995
ARTLAB, Canon Inc.

Canon's ARTLAB to hold Interactive Art Exhibit on the Internet
Giving rise to new possibilities on the Internet, ARTLAB presents its fifth
original exhibition  entitled 'Molecular Clinic 1.0' 

Canon ARTLAB will hold an exhibition on the WWW (World Wide Web) entitled
"Molecular Clinic 1.0," from October 20, 1995 to April 30, 1996. Previously
ARTLAB has held four internationally recognized original exhibitions,
realized through the collaboration of artists and engineers. This exhibition
will utilize the rapidly expanding world wide computer network, the Internet,
to further explore the artistic possibilities of diversified multimedia.

"Molecular Clinic 1.0" has been realized through the collaboration of
ARTLAB and Ms. Seiko Mikami, a Japanese artist living in New York. Seiko
Mikami has been creating artwork related to the state of information and
mankind in present-day society, as well as the living body, immunity,
information warfare, and related topics.

The present exhibition is based on the idea that all objects can be created
artificially by changing the structure of the molecular chain. The entire
structure of the work will be transformed according to how the audience
accesses the program where each molecule can be changed individually. 

A three-dimensional virtual space is set up in ARTLAB's home page on the
Interment. At the entrance of the virtual space there is a spider which
consists of numerous molecular models, symbolizing the WWW. Users can
choose and download one of the molecules to their own computer, and various
changes will occur according to the way the molecule is manipulated. 
The molecule can also be uploaded back to the spider after the user makes
molecular alterations, and the spider on the ARTLAB homepage will change in
kind. An inaccessible abstract monolithic object will also be installed in
the inner area of the virtual space, which will react arbitrarily to the
changes in the spider's shape. 

In this way, the user can download a part of the work from the Internet to
his or her own computer, and the interactivity of numerous users will
influence the exhibit as a whole. This free interactive participation from
users on the Internet in this art exhibition is unique in the art world and
represents ARTLAB's attempt to present a new approach to art using the

Following this Internet Exhibition, ARTLAB is planning an installation
exhibit next spring entitled "Molecular Clinic 1.1," in which computers
will be installed at the exhibition site.

*Launched in April 1991 as a new form of cultural support, ARTLAB functions
as a laboratory which aims to pioneer new artistic realms that integrate
science and art by applying Canon's digital technologies to artistic
        Title   : ARTLAB5  'Molecular Clinic 1.0'
        Artist  : Seiko Mikami
        Duration: October 20 (Fri.),1995 - April 30(Tue.),1996

        URL     :

For general inquiry, please contact:
ARTLAB, Social & Cultural Program Division, Canon Inc.
5F, DK Bldg., 7-18-23 Roppongi, Minato-ku, Tokyo 106, Japan 
Tel: 81-03-5410-3611  Fax:81-03-5410-3615

                             CALLS FOR PARTICIPATION

March 26 - 30  1996
Two categories: "You have never been awarded a prize in your artistic
career": you may enter the competition (3 prizes of 10.000 FF)
"You have already been awarded a prize: you may enter the official 
Deadline: December 15, 1995
Entry forms:
Videoformes, Laurent de Bussac, BP 71, 63003 Clermond-Ferrand Cedex 1, France
Tel: 33-73-906758, Fax: 924418 


The development of contemporary electronic sound technologies -- all the
digital ones, in the first place -- has changed many aspects of today's
music. This is particularly true with regards to both the sound object in
itself (its forms and structures) and the ways in which such object is
produced, composed, performed and listened to.

Among said changes, the emergence is worth noticing of aspects of music and
sound that in the past have barely attracted the attention of musicians,
critics, analists, musicologists and listeners: it is the case of parameters
like timbre and texture, and their electronic treatment via modern means of
sound production and reproduction -- a set of elements usually referred to by
the term "sound".

At any rate, it must be stressed that not only does the emergence of the
category of sound deeply affect the acoustic qualities of sound and the forms
and structures of the musical object, but also acoustic perception, musical
composition and performance, and everyday musical practices and behaviours
are involved.

Can we be more explicit about this change as regards to its technical,
musical, socio-cultural, anthropological, artistic, semiological and
historical aspects? Can we try and understand the whys and hows? Are there
any relation between the mutations in the sound objects and those in the
musical practices of composition and/or reception? And why has the category
of "sound" emerged with that force just recently?

NetMagazine is setting up a special dossier on "sound". Those of you who want
to participate in this project can submit a paper (see the following section
named "Forwarding instruction")

We welcome papers of any kind, under any disciplinary perspectives
(musicology, acoustics, psychology, semiotics, sociology, anthropology,
aesthetics, philosophy, etc.), dealing with any aspects (acoustic perception,
musical analysis, anthropological mutation, change in musical experience, 
musical communication, musical applications, multimedia, sound technology,
means of sound production and reproduction, etc.), or referring to any
musical activities (contemporary art music, computer music, popular music,
rock, jazz, world music, new age, ambient, techno, etc.).

Forwarding Instructions
Contributions must be either in e-mail format (subject: < sound check >) or on
electronic support.

Centro Studi Baskerville sulla Comunicazione
via Farini 3, 40104 Bologna (Italy)
Email: netmag@baskerville.cineca.it

The length of the written text should not exceed 15,000-20,000 characters.
Iconographic, sound and video files can be attached to text files. These
documents must be accompanied by full information notes (authors, titles,
explanations, dimensions of files, systems and programs used).

The editorial board encourages papers that make use of the multimedia
potential of the telematic nets, processing words, images, sounds and

Please, refer to the presentation of NetMagazine for any other information
(copyright norms, more technical details, informations about NetMagazine).

NetMagazine, Electronic Publication on Culture of Contemporaneity
Centro Studi Baskerville sulla Comunicazione, via Farini 3, 40104 Bologna
(Italy).  Tel. (39) 51 333399 - Fax (39) 51 333309,  Email:
WWW: HTTP://www.baskerville.cineca.it/netmag/home.html

CADEX '96  
International Conference and Exhibition on Computer Aided Design
September 9 - 12 1996, Hagenberg Castle, Hagenberg, Austria.

Cooperation with several associations is being negotiated.

The conference aims at gathering together outstanding educators,
professionals and researchers in Computer Aided DESIGN. It will include
invited talks, panels, videos and papers reviewing, presenting a state of the
art, discussing future directions or reporting new results on the respective
fields. It will be open to contributors from all ranks and from over the
world. The event will be all-encompassing, covering all aspects and sub-areas
of CAD. An exhibition of major vendors, developers, labs, research centers,
universities, publishers, etc, will take place concurrently. Research
contributions will be refereed by the Program Committee. A selection of
compatible papers will be considered to appear in "Finite Elements in
Analysis and Design", "Computer Aided Design", "Languages of Design" and the
"Journal of Visualization and Computer Animation". Other journals may be
considered for other topics. The proceedings will constitute a formal,
registered publication, internationally distributed.

Topics include :  Drafting, CADD, Graphics and Geometry of CAD, Geometric
Modeling, CAGD, Visualization, Physically-based Modeling, Animation and
Simulation, Virtual Reality for CAD, Architecture/CAAD, GIS, CAE,
Industrial and Engineering Design (all engineering specialties), Finite
Element and other Numerical Methods, Artificial Intelligence and Expert
Systems, Standards, Databases, Systems/Software, Human-Computer Interface,
CAM, Management, Education, Applications.

A pre-conference tutorial program will be announced in due course.


There will be two groups of contributed papers :  refereed and unrefereed.
The refereed papers will obviously be research contributions, marked as such
in the proceedings, and will be considered for publication in the journals
indicated above, and, as far as possible, in other publications. The other
group (simply reviewed) will mainly be the educational and application papers
and other interesting contributions in the form of panels and demonstrations. 

The review/refereeing will be based on the full form, which should reach the
chair until February 29. In order to speed up the reviewing process, authors
are kindly asked to set up, as far as possible, electronic versions of the
paper, to be accessed by ftp or www.  

Final communication of acceptance will be given until March 31. The final
manuscript shall be received until May 31 in hard copy form, adhering closely
to the manuscript guidelines which will be sent in due course to all
contributors. Note that these are preliminary deadlines which may be slightly

The full version of papers in the unrefereed category (application,
education, panels, demonstrations) will be reviewed and any necessary
corrections or changes will be communicated accordingly.   


Contributions should only be submitted by snail mail.   

Papers can already be submitted in the final format as specified in the
"Guidelines for Camera Ready Manuscripts".  These and a LaTeX-style file will
be provided on request.

Companies, institutions, labs, publishers, etc, wanting to participate in the
exhibition should send the participation form to the chairman via fax,
electronic or snail mail.  More details will be provided afterwards.

Submissions (send to the chairman)
papers (4 copies of full version)
panels (one-page summary),
videos (VHS)                       :  February 29
Notification of acceptance         :  March 31
Final Manuscripts                  :  May 31

General Organizer and Chairman :
Harold P. SANTO
GRASP - Cadex '96, PO Box 4076, Massama, 2745 Queluz,  Portugal
Tel/Fax : 351-1-439-2571, E-mail: chpsanto@beta.ist.utl.pt


The Banff Centre for the Arts (Canada) is dedicated to living cultures: the
exploration of new art forms and rethinkig traditional arts in the context of
contemporary society. The Departments are: Media & Visual Arts, Music &
Sound, Theatre Arts, Writing and Publishing. Self directed creative
residencies provide time and facilities for artists to research, experiment
or produce artwork in a self directed environment.
Application deadlines starting December '95.
Info: Tel: 1-403-7626-180, Fax: 345, E-mail: arts_info@banffcentre.ab.ca


October 1 - November 5  1995, Graz, Austria
Works by Jeffrey Shaw from 1985-1995: Narrative Landscape, Heaven's Gate,
Legible City, Golden Calf. 
Neue Galerie Graz am Landesmuseum Joanneum, Sackstrasse 16, 8010 Graz,
Austria. Tel: 43-316-829155, Fax: 815401 

October 5 - December 14, 1995, The Netherlands/Canada
Organized by ACS-i in cooperation with the McLuhan Program, NVI, Delft 
University and media-gn. Series of lectures and demonstrations on Thursday
nights. In English. Locations: Holland: Amsterdam, Groningen, Delft. Canada:
Info: Karel Koch, Tel: 31-20-4204505. Toronto: Tel: 1-416-9787026

October 12 - November 11  1995, Montreal, Canada.
'The Factory' and 'IMA' by Erwin Driessens & Maria Verstappen (Netherlands),
'Choice Tomatoes' by Robin Deyo (Canada) and 'Other Real Stories' by 8
Canadian Artists. On this last piece: "Based on the notion that any
photomechanically reproduced document is a photograph, 'Other Real Stories'
consists of eight Canadian artists invited to produce in situ works in daily
Scottish newspapers for the duration of Edinburgh's International Photography
Optica, 3981 boulevard Saint-Laurent, espace 501, Montreal, Quebec, Canada
H2W 1Y5. Tel: 1-514-28-71574, Fax: 99680

October 14 - November 4  1995, Amsterdam. The Netherlands.
"Instapmodellen" by Kees Aafjes and "The Red Connection" by Pepe Smit
Tuesday-Saturday 12-17 hrs.
Spuistraat 104, 1012 VA Amsterdam, The Netherlands

October 29 - November 3, 1995, Atlanta Airport Hilton & Towers, Georgia, USA
Info: Bill Ribarsky, GIT, tel 1-404-8946148
E-mail: bill.ribarsky@oit.gatech.edu
WWW: http://www.gatech.edu/vis95.html
or: http://davinci.informatik.uni-kl.de/Vis95

November 1 - 3  1995, Hamburg, Germany.
International Symposium. For a Program contact:
Interface 3 Office, Studio Andreas Heller, Tel/fax 49-40-470968
E-mail: interface2@hfbk.uni-hamburg.de
Web Site: http://www.hfbk.uni-hamburg.de/interface3/link.html

November 1 - 3  1995, Frankfurt, Germany
Meeting of Systems Installation Professionals at the Frankfurt Sheraton,
Frankfurt Airport. 
Conference: Foundations of Audiuo Technology, Digital Audio Technology in
Systems Installations, Room & Electroacoustics, Project Planning &
Realization, Event Technology, Measurement Technology.
Info hotline: Tel: 49-611-60-3437, Fax: 7879
AVITEC, Hessler Hof, D-55252, Mainz-Kastel, Germany

November 1 - 5  1995, Sofia, Bulgaria
The seventh edition of the international computer art forum
COMPUTER SPACE 95 will incorporate the following categories:
1. Computer Graphics(slides or pictures A4,A3)
2. Computer Animation(VHS tape)
3. Computer and Electronic Music(tape,CD or DAT)
4. Multimedia
5. CAD systems
Entry deadline: September 10, 1995
For further info and the entry form, contact:
Rossen Petkov, phone/fax +359-2-870293
SCAS, office 407, 10, Narodno sabranie sqr.,1000 Sofia, Bulgaria

November 1 - December 22  1995, Maryland, USA
Exhibition by Richard Bolton, Alan Dunning, Manual, Christine Tamblyn, Joan
Truckenbrod. Join in via the Web site. Opening Events November 1: Keynote by
David Gelernter, Concert:  'Alternating Currents'.
Symposium November 3 with the artists and other speakers.
Art Gallery, University of Maryland
Art-Sociology Building, College Park, MD 20742, USA
Tel:  1-301-4052763

November 4 - 12 (exhibition) and 10 - 11 (symposium), 1995
Luxemburg International Trade Fair
Exhibition and Symposium on the Interactive and Networked City
Contact: Medienlabor Munich, Lothringerstrasse 13, D-81667 Munich, Germany.
Tel: 49-89-48407-3, fax: -4, E-mail: telepolis@mlm.extern.lrz-muenchen.de
Web Site: http://www.lrz-muenchen.de/MLM/telepolis.html

November 6 - 11  1995, Amsterdam, Netherlands
'On Matter', a meeting between info and eco communities.
-Launch Event: November 7
-Workshops: November 7-9
-Conference: November 10-11
Info-Eco Scenarios, Mental and Material, After Dinner Session, Collective
Intelligence, From Info to Action
-DOME (Doors on the Net): http://www.design-inst.nl/DOME
-Open Doors (Visual presentations by artists, designers and experts) 
November 6-7 (evenings)
-Dutch Case: November 9
-Late Show: November 7-11
Paradiso c/o Wim Bogerd, Weteringschans 6, 1017 SG Amsterdam, The Netherlands
Tel: 31-20-62-02679, Fax: 43212
NVI, c/o Annelou Evelein, Keizersgracht 609, 1017 DS Amsterdam, The
Netherlands. Tel: 31-20-55165-06 or 12, Fax: 6201031, E-mail:
doors@design-inst.nl     http://www.design-inst.nl/DOME

November 8 - 10  1995, Amsterdam, Netherlands
Interactive Multimedia tradeshow and congress.
Info: ExpoMasters, Provicialeweg 4a, 4013 Kapel-Avezaath, The Netherlands.
Tel: 31-3446-2150, Fax: 1546

November 8 - 12  1995, Dessau, Germany.
The International Video Forum at the Bauhaus Dessau Foundation.
Video-installation, performance, workshop, symposium, emare.
For info and application form:
Stephen Kovats, Studio Electronic Media Interpretation, Bauhaus Dessau
Foundation, Gropiusallee 38, 06846 Dessau, Germany. 

November 9 - 11  1995, Bologna, Italy.
Info: Lelio Camilleri, Comitato Organizzatore del XI Coloquio di Informatica
Musicale, Conservatorio di Musica G.B. Martini, Piazza Rossini 2, 40126
Bologna, Italy. Tel: 39-51-233975, Fax: 223168, Email:

November 9 - 15  1995, Arnhem, Holland
Info: AVE, POB 307, 6800 AH Arnhem, Netherlands. Tel 31-85-511300, fax 517681

November 21- 26  1995, V2_Organisatie, Rotterdam, The Netherlands
"Interfacing Realities"
Info: V2_Organisatie, Eendrachtsstraat 10, 3012 XL Rotterdam
Tel: 31-10-404-6427, Fax: 31-10-412-8562, E-mail: v2@v2.nl

November 22 - 26  1995, Buenos Aires, Argentina
World Wide Competitive Section, Informative Section, Seminars and Workshops. 
Info: Festival Internacional de Video, Guardia Vieja 3360, 1192 - Capital
Federal, Argentina. Tel: 54-1-862-0683/865-8024, Fax 54-1-866-1337

December 3 - 8  1995, San Diego Convention Center, CA, USA
Info: tel (in USA) 1-800-niisc95, fax 1-619-5345039, e-mail 
WWW: http://sc95.sdsc.edu/SC95

December 4 - 17  1995, Utrecht, The Netherlands
Info:  Cultuurcentrum EKKO, t.a.v. Springtij 1995
Bemuurde Weerd WZ 3, 3513 BH Utrecht, Holland
E-mail: Springty@dru.knoware.nl  Fax: 31-30-310402 
URL: http:\\dru.knoware.nl/maatschappij/organisaties/ekko/springt.htm

December 14 - 15  1995, San Diego, USA
First Annual Symposium on the Virtual Reality Modelling Language
University of California, San Diego. 
Info: http://www.sdsc.edu/Events/vrml95

February 21 - 23  1996,  Monaco, France
Conferences on Virtual Worlds, Augmented Reality, Infohighways, 
Special Effects. Panels, Workshops, International Competition, 
Industrial Exhibition.
Info: INA-Imagina, 4 avenue de l'Europe, 94366 Bry-sur Marne cedex, 
France. Tel 33-1-4983-2693, fax 3185, e-mail imagina@imagina.ina.fr

March 25 - 27 1996, Melbourne, Australia
The Simulation Technology and Training Conference. Info:
Dr. Sabina Sestito, SimTecT 96
Air Operations Division, AMRL
POB 4331, Melbourne, VIC 3001 Australia
Tel 61-3-9626-7271, fax 7084, e-mail Sabrina.Sestito@dsto.defence.gov.au

August 26 - 30  1996, Futuroscope Poitiers, France
Info & Call: Eurographics'96, INRIA Rocquencourt, POB 105, 78153 Le Chesnais
Cedex, France. Tel: 33-1-396356-00, fax: 38, E-mail: eg96@inria.fr

September 16 - 20  1996, Rotterdam, The Netherlands.
Including DEAF96 (Dutch Electronic Art Festival, September 17-22)
organized by V2) and in cooperation with R96 (City-wide festival on New
Media, September 16-29, organized by Rotterdam Festivals).
ISEA, POB 8656, 3009 AR, Rotterdam
Tel/fax: 31-10-4778605, Email: ISEA96@HRO.NL

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,  Media Research, Museum der Stad Gladbeck,
The Council for the Int. Bienale in Nagoya,  KITT Engineering,  Viking
Eggeling-Salskapet,  Bratislava Academy of Fine Arts & Design,  Softimage
Inc,  Lokman Productions, ARTCOM in Deutschland e.V., Painatuskeskus Oy,
Tallinn Art University, School of the Art Institute of Chicago, BSO Medialab,
Koln Academy for Media Arts, Monitor Information Systems, Nordiska
Konstkolan, Centre Georges Pompidou, Rotterdam Academy of Art & Design .

End of Newsletter


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