THE INTER-SOCIETY FOR THE ELECTRONIC ARTS THE ISEA NEWSLETTER #56 March 1997 -------------------------------------------------------------------------- ISEA, P.O. Box 508, Succ. Desjardins, Montreal (Qc), H5B 1B6, CANADA Phone: (514) 281-6543, Fax: (514) 281-6728 Email: firstname.lastname@example.org URL: http://www.sat.qc.ca/isea -------------------------------------------------------------------------- ISEA Board Members: Peter Beyls, Theo Hesper, Roger Malina, Amanda McDonald Crowley, Alain Mongeau, Simon Penny, Patricia Search, Wim van der Plas Ex-officio Board members: Shawn Decker (ISEA97), John Hyatt (ISEA98) -------------------------------------------------------------------------- CONTENTS -EDITORIAL -ISEA NEWS ISEA97 UPDATE ISEA98 UPDATE (LEAF97) -EVENTS VIDEO POSITIVE 97 : ESCAPING GRAVITY COSMOPOLIS: EXCAVATING INVISIBLE CITIES TRANSLOCATIONS IMPAKT FESTIVAL 1997 -CALLS 6CYBERCONF ART & DESING SKETCHES FOR SIGGRAPH 97 CONVERGENCE CALL FOR PAPERS CHICAGO UNDERGROUND FILM FESTIVAL INTERNET AS MATERIAL AND OBJECT COMPETITION -MISCELLANEOUS -------------------------------------------------------------------------- EDITORIAL This newsletter is a couple of months late. It has to do with having to restructure the whole set-up around the new Montreal ISEA HQ. The initial context in which we were supposed to evolve has disappeared. We were to take part in the rehabilitation project of the Bonsecours Market in the Old Port of Montreal. That projects went through a major false start last year. The administrators of the Market were replaced and they decided to go all commercial. Exit ISEA. We moved back into the building from which the ISEA95 symposium was orchestrated. So please note the changes in our phone and fax numbers - postal address remains the same. On the other hand, the good news is that all the legal matters regarding the installation of ISEA in Montreal are slowly being resolved and within a year now, we'll be recognized as an International Non-Governmental Organization (INGO). It should then help ISEA find financial resources that will facilitate its development. The change of office here in Montreal absorbed most of our energies. It proved that we needed to involve more people locally. We're currently forming a group of people that will help in getting things to run smoothly. For the rest, I think ISEA is in great shape for a bright future. We just completed a massive emailing that allowed us to clean all our databases. The response was more than satisfying since we now get in average about 15 messages daily. Many people subscribed to the ISEA discussion list which is now ripe to serve. A few institutions are considering bidding for ISEA99 and ISEA2000. And, of course, we are gearing up for ISEA97 in Chicago which is now accepting early registration. ISEA98 Liverpool/Manchester is also right on track with LEAF97 (Liverpool East European Electronic Arts Forum) which is presented as a sort of pre-ISEA98 event. Alain Mongeau ************************************************* ISEA NEWS ************************************************* ISEA97 UPDATE The ISEA97 website now includes registration forms and instructions. The Eighth International Symposium on Electronic Arts will take place at the School of the Art Institute of Chicago, Sept. 22 -27. Students and early registrants will receive substantial discounts; please see the ISEA97 website at: http://www.artic.edu/~isea97 . The first registration deadline is April 15 -- reserve your place now as space is limited! ============================================= ISEA98, LIVERPOOL/MANCHESTER, SEPTEMBER 2-9, 1998 As part of VIDEO POSITIVE 97: ESCAPING GRAVITY, ISEA98 REVOLUTION is presenting the following paving event: LEAF 97 Liverpool East European Electonic Arts Forum Sat 12 April 9.30am - 5.00pm Sun 13 April 10.00am - 5.00pm Blackburne House, Liverpool LEAF97 takes the romantic idea of revolution and reconsiders its implications for society/art/technology from an 'east' European perspective. The conference will reflect critically on a number of new and developing media art projects and a range of hot issues including: * the recent re-mapping of territories in Europe and the failure of the 'information revolution' to address the complex European experience * the cultural and ethnic diversity of the current electronic arts discourse * the transformation and fragmentations of European identity * the role of new Europe in the possible convergence of art and technology LEAF97 will provide an opportunity for east/west European media artists, thinkers and practitioners to discuss their current investigations of visual information culture. Chaired by LISA HASKEL (Arts Council of England), speakers include: ANDREAS BROECKMANN (V2, Rotterdam), VUK COSIC (Ljudmila, Slovenia), NINA CZEGLEDY (Hungary/Canada), SHAWN DECKER (ISEA97, Chicago), GEERT LOVINK (NL), TAPIO MAKELA (Muu, Finland), IGOR MARKOVIC (Arkzin, Croatia), DRAZEN PANTIC (Radio B92, Yugoslavia), RASA & RAITIS SMITE (E-L@b, Latvia), MIKE STUBBS (Hull Time Based Arts, UK), JANOS SUGAR (Media Research Foundation, Hungary). This is an ISEA98 project for FACT, Liverpool John Moores University and Manchester Metropolitan University. LEAF97 is organised by Iliyana Nedkova at FACT and funded by Soros Foundations, APEX Changes Arts Mobility Fund, Fondation Marcel Hicter, British Council and Visiting Arts. TICKETS: £15.00 (see the LEAF97 / COSMOPOLIS conference booking form further below) ************************************************* EVENTS ************************************************* VIDEO POSITIVE 97 : ESCAPING GRAVITY 2 Cities, 12 Venues, 200 Artists Liverpool - Manchester April 11 - May 18 1997 Festival week April 11 - 20 VIDEO POSITIVE 97 : ESCAPING GRAVITY is the UK's biggest ever festival of video and electronic art. Spanning two cities, a host of contemporary arts venues and both Liverpool and Manchester's most celebrated night clubs, VIDEO POSITIVE showcases the work of international established artists and introduces a number of rising stars. Organised by the Foundation for Art & Creative Technology, VIDEO POSITIVE 97 uses the theme Escaping Gravity to take a critical look at the relationship between artists and new technology and identify both the attraction and dangerous momentum of new technology as we exit the millennium. The festival will contain over 20 installations by artists from the UK, USA, The Netherlands, Germany, Australia, Canada, Bulgaria, Norway and Scotland, ranging from sophisticated interactive multimedia pieces to raw and provocative artists' works on video. The Bluecoat in Liverpool will stage a host of work and European premiers by artists including Lyndal Jones (Aus), John Wood & Paul Harrison (Eng), Roderick Buchanan (Sco), and Sera Furneaux (Eng) working in collaboration with Common Ground Theatre. In Spitfire 1.2.3 Lyndal Jones explores the sexual attraction of women to heroic male icons: a second world war pilot spins and loops through the air as we hear the fantasies of women whispered in our headsets. At the Open Eye Gallery the sensual new work of the much acclaimed young artist duo Stephanie Smith & Edward Stewart (Sco) Finger , explores the body's use as a tool of communication. And the Hope Street Gallery presents the UK première of Luchezar Boyadijiev's (Bul) UP and Down, Back and Forth offering viewers an unrepeatable opportunity to join Charlie Chaplin in the opening sequence from the film classic The Great Dictator . Continuing its commitment to challenging the boundaries of art, VIDEO POSITIVE is presenting work in a number of more unusual city venues. At Liverpool's superclub Cream David Ward's (Eng) Skater sees a gigantic spinning ice dancer gracing the dance floor. In the unique setting of the Georgian Oratory of Liverpool's Anglican Cathedral, probably the world's most acclaimed video artist Bill Viola will be restaging his hypnotic Durham Cathedral installation The Messenger. At Cornerhouse in Manchester audiences will witness the explosive new work of up and coming British artist Graham Gussin (Eng). Produced in collaboration with EON Productions, famed for the James Bond movies and filmed at the Pinewood studios in the huge James Bond water tank, the unsettling and deadened tranquillity of Fall's landscape threatens to unexpectedly erupt into life. The work of Anneè Olofsson (Swe) at Castlefield Gallery turns a private world into a public spectacle when a ventriloquist's dummy swaps places with the artist, spilling out untold secrets. At the Museum of Science and Industry cyber culture awaits: the cellars of the 1830 Warehouse have been transformed into a dark cyber-forest complete with lighted paths and floodlight clearings in which visitors can view a host of new CD-ROM artworks by international producers. In Jon McCormack's (Aus) Turbulence, visitors can play God for the day, creating new perfected life forms in a computer universe and Jane Prophet's (Eng) Sarcophagus delves into the world of the cyborg: embedded in a surface of microchips a prophetic creature, combining animal and machine emerges. Strange animated dolls scream and whisper their secrets as they hide in suitcases or crawl under a mattress at Manchester City Art Gallery in the work of Tony Oursler (US). The bric-a-bac aesthetic of Oursler's work makes for a chaotic portrayal of American life: the flip side to the inveterate American dream. Complementing the exhibition programme, the festival week (11- 20 April) sees the presentation of screening programmes at Cornerhouse; conferences, at various Manchester and Liverpool venues; performances at Manchester's Green Room and Liverpool's Bluecoat; club events at the Haçienda and Cream; CD-ROM launches and artist talks across the galleries. For further details of Video Positive, press tickets, invitations or press images please contact Alison Edbury or Anna Douglas on 0151 707 9522, Fax: 0151 707 2150 or e-mail at: email@example.com ============================================= COSMOPOLIS: EXCAVATING INVISIBLE CITIES Bridgewater Hall, Manchester Fri 18 April 2.00pm - 5.00pm Sat 19 April 9.30am - 5.30pm Sun 20 April 10.00am - 5.30pm Cosmopolis takes the city of Manchester as a starting point to explore the transition from post industrial to digital city. When the bomb destroyed the heart of the city last year it provided an opportunity to refocus on what city space is. The idea behind the confernece is that artists, academics, politicians, architects, businesses and the city's communities share a collective responsibility to create vibrant social and cultural public spaces for the future. The debates will concern how notions of the city have changed. By exploring the convergence between art, architecture and technology it will discuss ways to transform our urban spaces to encourage social responsibility and reflect cultural diversity. It will ask the question, does the digital age change or reaffirm our concept of the city space? Speakers at Cosmopolis include: Eddie Berg - Director Foundation for Art & Creative Technology, Liverpool John Byrne - Writer and Senior Lecturer Contextual Studies Liverpool John Moores University Dave Carter -Economic Intitaives Group, Chief Executives Depatment Manchester City Council Bob Catterall - Editor "City", Oxford Janine Cirincione - Advisor to Microsoft and freelance curator/US Cathy Cleland - Writer and Academic Autralia Nick Crowe - Artist, Manchester Tim Etchells - Artist "Forced Entertainemt" Sheffield Graham Fitkin- Composer (TBC), Cornwall Rudolph Frieling - Video Curater ZKM , Germany (TBC) Stella Hall - freelance curator and Writer, Manchester Mark Lewis - Film Maker and Course Leader Fine Art Dept Central St Martins Graham Miller/ Mary Lemely artists (tbc) John Montgomery - Urban Cultures/ London (TBC) Anneke Pettican - Artist, Manchester Lee Shostak - Archetect, Director EDAW, London Stewart Taylor & Lisa Lefrouve- Clone London Nick Thompson - Architect for Bridgewater Hall, London David Toop - Wire Magazine(TBC), London For further details on conference spakers call Lowena Faull 0161 908 0532. Tickets: £50.00 (£30.00 concessions) --------------------------------------------------------------------------------------------- CONFERENCE BOOKING FORM: LEAF97 / COSMOPOLIS If you would like to reserve a place for LEAF97 / COSMOPOLIS, please use the form below in replying to this e-mail. NAME: ADDRESS: TEL / FAX: E-MAIL: Please reserve me ____________ places for the LEAF97 Conference. Please reserve me ____________ places for the COSMOPOLIS Conference. NB. Reservations can only be held until Tuesday 1 April. UK Residents, please send a cheque/Postal Order payable to "FACT" or call +44 (0)151 707 9533 to pay by credit card (VISA, MASTERCARD, SWITCH, DELTA, JCB) Non-UK residents should make payments by acceptable credit cards (as above) or Sterling Bankers Draft made payable in the UK to "FACT". For further information, please call the Festival Hotline on +44 (0)151 707 9533. ============================================= Virtual World Orchestra - www.vwo.mcg.gla.ac.uk PARTICIPATION UPDATE The Virtual World Orchestra (VWO) has received personal stories from individuals in more than 160 countries! This is a very pleasing response to the call for participation that was sent out at the end of November. The goal was to have stories from every country with an A-1 connection. So far, the only countries who really should be there (but aren't!) are Portugal, Puerto Rico, Belize, Azerbaijan, Belarus, Columbia, and Hungary. So, if you know someone with email in these countries, please send them this message with the URL to check it out! VWO has another component for world-wide participation. You are invited to send personal audio files...a 1-2 minute sample of typical sounds from your neighborhood or city. You can also send a picture file that gives information about the particular geography of your environment. Any format can be decoded or decompressed by the master hackers of the nva organization, who will create soundtracks and picturescapes that combine Glasgow sounds and images with yours. You can hear a rhythm template of the site (http://www.vwo.mcg.gla.ac.uk/sound_ex.html). All material received will be incorporated into the live program, projected onto a giant screen at the mega-event in Glasgow, and simultaneously taking place as a live Internet broadcast event, the weekend of April 4, 5 & 6. Kathy Rae Huffman firstname.lastname@example.org ============================================= TRANSLOCATIONS: 7 March - 19 April 1997. 14 March - 26 April 1997. Curated by Displaced Data: Janice Cheddie, Keith Piper and Derek Richards. Recently we have seen much excitement generated about the limitless possibilities of digital technologies in shifting the relationships between art, technology and society. Technologies; which its techno-celebrants claim, promise the emergence of new cultural forms based on cultural exchange, reciprocity and fusions, while simultaneously borrowing from a plurality of cultures. These utopian assertions are made against the background of continuing social, economic and cultural inequalities which frame the development of new art using these technologies. Translocations seeks to examine the ways in which artists of colour are engaging with digital technologies, against the background of these utopian assertions and social realities to explore concepts of movement, place and positioning of cultures. The centrepiece of the exhibition is Permanent Revolution Part 2, a collaboration between Keith Piper and Derek Richards. Taking the form of a physical interactive environment of soundscapes and projected still and moving images, this important new work explores the role that the convergence of migrating peoples, exchange and fusion play in cultural change. Culture, death, sex and health are seen as opportunities for profit in Roshini Kempadoo's installation Lapping it Up, which looks at the commodification of social activity. The work consists of four large scale digitally composed images constructed to form a series of shop front elevations. Focusing on the position of Black people within this exchange system, Kempadoo examines the dialectic of the commodification of Black culture alongside the increasing economic displacement of Black communities worldwide. The third section of the exhibition is made up of a selection of digital prints and computer based work curated by Janice Cheddie. It includes Keith Piper's 'Caught Like A Nigger in Cyberspace' and Rosendale Odyssey a virtual exhibition of multimedia work by primary school children on the world wide web. New work by Reggie Woolery, Alex Rivera, Poulomi, Kenseth Armstead, Art Jones, Shaheen Merali, Virtual Varrio, Surjit Simplay, Allan de Souza, will also be shown. A programme of events supporting the exhibition includes a one-day conference on 13 April with keynote speakers Kodwo Eshun, (I.D. magazine) and Ziauddin Sardar, (co-editor Of CyberFutures Pluto Press 1996) and a series of informal web based events including an debate considering issues of access; and an event featuring the work of Virtual Varrio, a web based artist's group in LA. Rosendale Odyssey can be found on: www.artec.org.uk/rosendale. Rosendale School can be e-mailed on: Kids @ Rosen100.demon.co.uk. For information contact Fiona Bailey, Project Organiser on +44 171 831 1772. For information and press prints please contact press on +44 171 831 1772. ============================================= IMPAKT FESTIVAL 1997 The 8th Impakt festival will be organized from May 7 to 11, 1997 in Utrecht, The Netherlands. Impakt is an international festival for innovative audiovisual arts. The festival is a showcase for avantgarde film, video art, music, installations, performances and multi media events. Lectures and exhibitions complete the programme. Programmes this year include: * The Art of Destruction - the destruction of art and the art of destruction. Destruction as critique and as aesthetic ideal. * 1001 Plateaus - after the ideas of the French philosopher Gilles Deleuze, theoretical provocator and cyberkid avant-la-lettre. * The Element of Time - the notion of time, borrowed and manipulated: compress, expand, parallel time and new temporal experience in the light of the digital media. And: cinematographic sculptures, David Toop, Scanner, Christina Kubisch, and Panorama: the most exciting, funniest and strangest films and videos of the past year. Further details (soon ...) at: http://www.xs4all.nl/~impakt Contact: Impakt P.O. Box 735 3500 AS Utrecht The Netherlands Phone: + 31 (0)30 2944 493 Fax: + 31 (0)30 2944 163 E-mail: email@example.com ************************************************* CALLS ************************************************* 6CYBERCONF CALL FOR PAPERS, NEW DEADLINE! Sixth International Conference on Cyberspace June 5th to 8th, 1997. University of Oslo Website: http://televr.fou.telenor.no/cyberconf We already live part-time in cyberspace, and that time is increasing as fast as the quality of the experience is radically changing. The Sixth International Conference on Cyberspace addresses the social, political and cultural implications of cyberspace from a critical as well as practical standpoint. In the nets, there is a growing society that ranges from researchers to Silicon Valley sophisticates to neocyberpunks. 6CYBERCONF offers the opportunity for exchange within and between these confluent and diverse interests and encourages discussion between theoreticians and practitioners. Hosted for the second time in Europe, this sixth edition of CYBERCONF considers: cyborgs looking for a home, the future body, interface/interaction breakthroughs, and the importance of collaboration in virtual environments. CONFERENCE FORMAT The official opening of 6CYBERCONF is scheduled for Thursday afternoon, June 5th. The conference will take place over three and a half days. There will be 6 keynote speakers, 15 plenary sessions, electronic art installations, special events, a pre- conference workshop on immersive environment design, and a banquet dinner on Saturday June 7th. All sessions are designed to foster discussion. Presentations will be in English. The themes are: CYBERSPACE METAPHOR? The cyberspace metaphor is a means of effecting instantaneous fusion of two separate realms of experience (man/machine, good/bad, self/world) into one illuminating, iconic, encapsulating image. Is the metaphor still a way to proceed from the known to the unknown in cyberspace? Is the metaphor a critical synthesis of complex communications technologies, bio-sociality or techno-sociality? Is cyberspace a new metanarrative of progress, or a story of paradise lost? Which language for the virtual age? VIRTUAL SUBJECTS ON THE ROAD A cyborg is a double articulation in which we find both the end of the subject and a new dispersed and refracted subjectivity constructed in cyberspace. The fabric of cyberspace dresses us in the cloth of possibilities -the virtual subject as a switchboard of souls? Can we really construct and reconstruct any identities and personalities? Will not the "real" subject implode in its multiplicity? Or is it a question of mastering ones avatar puppets on a global playground? Do we need psychiatrists for avatars? Logged off, where does the will of the cyberpersonality go? HACKING THE FUTURE BODY McLuhan argued that electronic media reintegrated the senses. How are bodies represented through information technology? How can cyberspace give priority to the lower senses? How is desire constructed through virtual worlds? Are there darker domains of e-motional interference beyond the emoticons? Is there a "violence of connectivity"? What about cybersex? Are we masturbating our way into the year 2000? Will sexuality become a post- biological phenomenon? Is the future body a recombinant structure of flesh or schizoid realities? ZONES / INTER-ACTION i) INTER-FACE is the sensitive boundary zone of negotiation between human and machine, allowing seamless crossings between the worlds: Facilitating the disappearance of the difference between them - emerging new set of human/machine relations - interweaving calculation, simulation and post-modern culture. How can we design for tacit knowledge and bricolage? How can we account for differing incentive structures between designers and users? Which concealed design codes promote or dissemble functionality? How to extend the interface into social/material space, transforming it into an environmental power? Away from the daily prayer at the desktop, when technology becomes transparent and disappears, where will it take us? ii) The rapid development of Internet and WWW have limited the definition of INTER-ACTION as the click of the mouse. How can interaction become a mutual and simultaneous activity on the part of the participants (man-machine-man interaction) in art and education? If the computer adds an interference to communication, how can it be used creatively? What is interaction beyond the Web? LABORATORIES FOR COLLABORATION Many of us are today involved in group interaction through telecommunication networks. In the future the 2D interface of the web will shift to 3D interactive interfaces. How will this affect the way we perceive our collaborators and our usage of information? Will it be a preferred medium to social interaction - opening up new possibilities within a group, organisation or community? INCLUSION - EXCLUSION What about the politics of networks? Which impact will commerce have on the the internet community? How will the powerstructures of the internet affect the behaviour of netizens? What about the diversity of cyberspace cultures? What is "freedom of speech" in a global context? CALL FOR PAPER ABSTRACTS To submit an abstract for the potential inclusion of your paper in the 6CYBERCONF programme, please follow these format guidelines: · Title of the paper · Author(s) · Institutional affiliation (if any) · Chosen 6CYBERCONF theme (from the list above) · Abstract, 500 words maximum · Brief biography, 100 words maximum · Audio-visual equipment requirements · Contact information (email preferred) There are two ways to submit abstracts: 1) Email with the subject topic to firstname.lastname@example.org or 2) mail both a printed copy and a PC or MAC diskette to: 6CYBERCONF/ Morten Soby, University of Oslo, P.O. Box 1092, Blindern, 0317 Oslo, Norway. The selection will be done by an international and a local committee made up of academics, theorists, artists and technicians in the field. Submission of an abstract indicates the submitter's intention and capability to write and present the corresponding, full length paper, if chosen. Papers will be allotted a half hour for presentation in English. Please be advised that the selection committees will not consider abstracts that are not formatted as stated above nor papers that have been previously published. All abstracts and papers will be published in the proceedings (paper and Web-edition). DEADLINES Deadline for reception of abstracts: April 1, 1996 Notification of selection for presentation: April 15, 1996 Deadline for registration: May 1, 1996 FINANCIAL ASSISTANCE The registration fee will be waived for those presenting a paper in 6CYBERCONF. In addition, a limited number of grants are available to those presenters who demonstrate financial need. These grants may cover the costs of travel and accommodation. FEES & REGISTRATION The registration fee for attending 6CYBERCONF is US$ 250 (US$ 50 for students). For detailed information on how to register and information on travel and accommodation, check our Website or mailto:email@example.com FOR FURTHER INFORMATION Send e-mail to: firstname.lastname@example.org See the Web site for continuous updates: http://televr.fou.telenor.no/cyberconf - or contact directly Abstracts, Papers, Information: Conference Editor: Vibeke Kløvstad Phone: + 47 22426980 / 22426892#126 Email: email@example.com ============================================= A R T & D E S I G N S K E T C H E S Submit a Sketch to SIGGRAPH 97 Deadline: April 16, 1997 SKETCHES are live, 15 minute presentations that provide a forum for unique, interesting ideas and techniques in computer graphics. Sketches allow the presentation of late-breaking results, works in progress, art, design, and innovative uses and applications of graphics techniques and technology. Sketch abstracts will be published in the Visual Proceedings of SIGGRAPH 97, the premier international conference on computer graphics and interactive techniques. Sketches are an engaging, high-profile way to show your work and creations. We are seeking submissions in four areas: Art and Design Artists and designers are invited to submit artwork or designs that utilize unique, compelling, or innovative approaches or ideas. Animations Computer animators are invited to present their latest techniques, artwork, and products. Applications Organizations or individuals are invited to submit descriptions of creative or especially useful applications of computer graphics technology applied to solve everyday problems in industry, education, government, and research labs. Technical Authors are invited to submit abstracts of their latest research, techniques, and software. Technical sketch submissions are less formal than the Papers program and allow lively presentation of late-breaking results with more audience interaction. For more information, see the SIGGRAPH 97 Call for Participation, send email to firstname.lastname@example.org, or for the latest, most comprehensive information on how to submit to Sketches and other SIGGRAPH 97 programs, including supplemental documents, please go to: http://www.siggraph.org/s97/ http://www.siggraph.org/s97/contributors/programs/sketches/require.html To request a copy of the Call for Participation, contact: SIGGRAPH 97 Conference Management Smith, Bucklin & Associates, Inc. 401 North Michigan Avenue Chicago, Illinois 60611 USA +1.312.321.6830 +1.312.321.6876 fax email@example.com DEADLINES: 16 April 1997 5 pm Eastern Daylight Time Final Sketch proposals Unsure of which area would be most appropriate for your work? Contact: David S. Ebert SIGGRAPH 97 Sketches Chair University of Maryland Baltimore County CSEE Department ECS-210 1000 Hilltop Circle Baltimore, Maryland 21250 USA +1.410.455.3541 +1.410.455.3969 fax firstname.lastname@example.org For questions about the Art & Design Sketches, contact: Diana Gromala SIGGRAPH 97 Art & Design Sketches Chair University of Washington School of Communications Box 353740 Seattle, WA 98195 USA +1.206.543.2660 +1.206.543.9285 fax email@example.com ============================================= CONVERGENCE: The Journal of Research into New Media Technologies Call for papers: SOUND AND MUSIC THEORY AND PRODUCTION Submission deadline for this issue is *30 april 1997* From 1997 Convergence will become a quarterly journal. For Volume 3, No. 4 of the Journal (Winter 1997) we are seeking papers relating to research projects or case studies on sound and music theory and production as they relate to new media technologies. Papers would be welcomed that deal with digital sound; delivery systems; technology and psychoacoustics; and critical analysis of new technologies in composition, performance and improvisation. This issue will be guest-edited by Rebecca Coyle of Macquarie University, Sydney, Australia. Proposals for articles or completed papers for the sound / music issue should be sent to: Rebecca Coyle, Dept. of Media and Communication Studies, Macquarie University, NSW 2109, Australia, tel. +61 (0)2 9850 8752, fax +61 (0)2 9850 8240, email: firstname.lastname@example.org Call for papers: NEW MEDIA TECHNOLOGIES IN CENTRAL, EASTERN AND SOUTH-EASTERN EUROPE Submission deadline for this issue is *30 October 1997* For Volume 4, No. 2 of the Journal (Summer 1998) we are seeking papers relating to research projects or case studies on media art, specific electronic arts discourse(s), and the cultural, social and political implications of new media technologies in Central, Eastern and South-Eastern Europe. Papers would be welcome that deal with current developments in electronic arts and the specific aesthetic strategies in the post-socialist Eastern European countries; that provide an insight into Eastern European approaches to using new technologies and attitudes towards the effects of new media; that deal critically with the notion of technology as a 'unifying' or 'normative' factor; that question the viability of notions such as East and West, analysing local developments within a broader global context; or that provide critical analysis of institutions and non-institutional networks and structures promoting and supporting new media technologies in Eastern Europe. This issue will be guest-edited by Inke Arns, media art curator, Berlin, Germany. All inquiries about, proposals for articles or completed papers for the Central, Eastern and South-Eastern Europe issue should be sent to: Inke Arns, Pestalozzistr. 5, 10625 Berlin, Germany, tel/fax ++49-30-313 66 78, e-mail email@example.com All other editorial inquiries, general proposals and submissions to: Julia Knight or Alexis Weedon, Editors, Convergence, School of Media Arts, University of Luton, 75 Castle Street, Luton, LU1 3AJ, United Kingdom. Tel: +44 1582 34111, fax: + 44 1582 489014, email: Convergence@luton.ac.uk Convergence is a paper journal. For further information and details of back issues see our web site at http://www.luton.ac.uk/Convergence Subscriptions and samples from John Libbey Media at the above address. Tel:+44 1582 743297. Fax: +44 1582 743298. ============================================= CHICAGO UNDERGROUND FILM FESTIVAL The Chicago Underground Film Festival is gearing up for it's Fourth Annual Film Festival and 2nd Annual CD-ROM and Digital Media Showcase. The Events will take place @ The Theatre Building 1225 W. Belmont and @ the Interactive Bean 1137 W. Belmont August 13-17 in Chicago. The CD-Rom Digital Showcase is seeking submission for this years showcase and is opened to any area of digital medias, if we can accomidate the request we will exhibit it. If you are intrested you can contact Mark Siska @ firstname.lastname@example.org or call (888)864-9644 for more info on how to submit. If you are intrested in submitting a film/video you can call (773)866-8660 or email email@example.com for a application. Deadline for film and video is *May 12th* ============================================= HAMBURGER KUNSTHALLE GALERIE DER GEGENWART EXTENSION Internet as Material and Object Invitation for Entries Material and object are familiar terms used in the plastic arts. The current competition sets out to transfer these concepts to the Internet. What meaning can the Internet have for the museum? Collecting, preserving, educating and researching have been traditionally the guiding principles of museum work. In order to put these principles to the test on the newmedium, a number of art projects taking up Internet as a theme are now being placed in the context of "museum". The competition is a joint project of SPIEGEL Online, SPIEGEL special, Philips and the Hamburg Kunsthalle, who are pursuing common goals in sponsoring/creating EXTENSION. Each of the partners will contribute his specific competence in the fields of Internet, media and technology to the project. Underlying idea of the competition: The Galerie der Gegenwart is the extension building of the Hamburg Kunsthalle and was officially opened on February 23rd. Now the extension is continuing into cyberspace: EXTENSION is the space where the Galerie der Gegenwart can be visited in the Internet, and the competition is designed to generate projects for display in EXTENSION which perceive the Inte net as object and material of artistic expression. The competition is regarded as an experiment: What can this extension mean to the traditional museum, and what can the museum contribute? What rela ionship can evolve between Internet and museum? As Kunsthalle director Professor Dr. Uwe M. Schneede explains: "The Internet is a communication medium of the present, and the Galerie der Gegenwart is a new museum for Hamburg. EXTENSION will show how artists react to the new medium. To the Kunsthalle, the competition represents both a search for and promotion of new movements in art." In parallel with the start of the competition, the new issue of SPIEGEL special has been published, dedicated to the subject "Digital man - how computers are changing the world". Apart from the invitation to take part in the competition the issue features an extensive report by California-based author Gundolf S. Freyermuth on the new art form of "CyberArt". As co-organizer of the competition, SPIEGEL special is committed to supporting the ongoing development of an artistic vocabulary of forms unique to the Internet, according to chief editor Jochen Boelsche. The following terms have been agreed for the selection of entries and the presentation of the EXTENSION competition. The jury will select entries based on the intensity of dealing with the subject. The Internet must be the object as well as the place of all entries. Size and degree of elaboration will not be a criterion; what matters instead is the degree in which the Internet is made the specific object of an entry. Three entries will be awarded a prize, and the winners will receive DM 10,000, DM 5,000 and DM 3,000, respectively. In addition, a "Philips Internet/TV set" will be awarded by Philips as a special prize. "Philips has always been one of the pace-makers in communications and media technologies", explains Dr. Manfred Schmidt, CEO of Philips GmbH. "Therefore, we gladly take the opening of the Galerie der Gegenwart as an opportunity to support a competition that will spread artistic forms of expression in the new world of multimedia." Entries will be available for viewing in the Internet EXTENSION of the Galerie der Gegenwart. In parallel with cyberspace happenings, the Kunsthalle will stage a series of events in autumn '97 on the subject of "Internet", which is where prizes will be awarded by the Jury. Jury: Prof. Dr. Uwe M. Schneede, director of the Hamburg Kunsthalle, Rainer Woertmann, art-director SPIEGEL special, Prof. Valie Export, artist, Dellbruegge & de Moll, artists, Prof. Dieter Daniels, expert in new media and art. Form of submission: The physical location of the competition will be the SPIEGEL Online server. Entries should be viewable using standard browsers (Netscape 3.0/Explorer 3.0) and freely available plug-ins. Technical requirements and procedure are availiable on Internet URL: http://www.spiegel.de/extension Entry conditions: Beginning and deadline: The competition started with the opening of the Galerie der Gegenwart on February 23rd 1997. Closing day will be June 30th 1997. If you need further information, please watch the Internet EXTENSION-Site http://www.spiegel.de/extension For any questions please call: Jens Emil Sennewald Hamburg Kunsthalle PR office Phone (+49) 40/2486-2614 Fax (+49) 40/2486-2978 e-mail: Kh@kulturbehoerde.hamburg.de .....moscow wwwart centre...... http://sunsite.cs.msu.su/wwwart ************************************************* MISCELLANEOUS ************************************************* Digital conceptual art: THE HUMAN BODY AS AN ECOSYSTEM, a new CD-ROM. 200 images and a number of short videos (easily accessible on Power Mac or older Macintoshes). Pre-publication price: $25. E-mail: firstname.lastname@example.org Athena Tacha, Professor of Art at Oberlin College, known for her public art commissions and conceptual art books, has just completed an interactive CD-ROM meant to reveal the incredible universe of micro-organisms that live as permanent residents on and inside our body, interdependent with each other and with us. The human body is visualized as a parallel to the planet Earth, colonized by bacteria, viruses, fungi etc. -- an environment with varied climate zones, comparable to cool dark woods (the scalp), sparsely inhabited deserts (the forearm), heavily populated tropical forest (the underarm), hot moist jungles (the nose and mouth), oceans teaming with life (the vagina, or the intestinal and urinal tracts). The CD-ROM offers multiple layers of images and textual information that represent the body's different areas allowing interpenetration from one to the other at many levels, just as the micro-organisms communicate from area to area. It also allows surprises and unpredictable juxtapositions, individual connections and discoveries, and an interactivity and fluidity that are paralleled by the actual conditions in the body. ============================================= The Inter-Society aims at joining a world-wide network of artists, scientists 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. -------------------------------------------------------------------------- ISEA-FORUM: THE ISEA DISCUSSION LIST The purpose of this list is to provide an open forum for our membership. This discussion list can be used to exchange ideas about ISEA and its symposia, to propose projects for ISEA, to ask questions, and to share information of interest to ISEA members. To subscribe, send a message to: email@example.com no subject with the message in the body: subscribe ISEA-forum First_name Last_name All the messages are sent to: firstname.lastname@example.org -------------------------------------------------------------------------- ISEA MULTI-CULTURAL Hosted by the University of Vermont, this is a closed discussion list for those who want to extend cultural diversity within the ISEA framework. It grew out of the discussion at the plenary session of ISEA 96 in Rotterdam. Since one of the primary obstacles to making ISEA more inclusive appears to be the English language bias of the organization, we are experimenting with making this list multi-lingual. To subscribe, send a message to: email@example.com no subject with the message in the body: sub ISEA-Multi Your Name =============================================end of newsletter
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