THE ISEA NEWSLETTER INL#59, November 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, Janice Cheddie, Amanda McDonald Crowley, Tapio Makela, Alain Mongeau, Simon Penny, Cynthia Beth Rubin, Patricia Search, Wim van der Plas. Ex-officio Board members: Shawn Decker (ISEA97), John Hyatt (ISEA98), John Brady (ISEA98) ___________________________________________________________________ * LISTSERV * ISEA LISTSERV: To subscribe, send a message to: email@example.com, no subject, with the message in the body: "subscribe ISEA-forum first name last name" ___________________________________________________________________ * CONTENTS * * EDITORIALS * ISEA NEWS+ INFO * JOB POSTING * CALLS * CONFERENCES * ___________________________________________________________________ * IIAC EDITORIAL* by Roger Malina and Amanda McDonald Crowley ISEA BOARD ESTABLISHES INTERNATIONAL ADVISORY BOARD TO WORK WITH THE COMMUNITY At the recent meetings of the ISEA Board of Directors held during ISEA98, the board decided to establish an ISEA International Advisory Committee(IIAC) to provide the board with advice. The IIAC will provide input and recommendations on policy issues facing artists and organisations working, as well as to assist the board to decide how to move forward to ensure better representation and networking internationally. The purpose of the IIAC is specifically to provide advice to the ISEA Board of Directors on: the goals and priorities of ISEA; the projects and programs of ISEA; and the operating methods of ISEA. Roger Malina has agreed to co- chair the International Advisory Board, stepped down from the Board of Diretors to be able to dedicated time to this task. Amanda McDonald Crowley as a continuing board member will also act as co-chair for this body. Their terms will be for three years. The IIAC has been established in order to provide input to the the organisation to assist it move forward following the relocation of the secretariat to Montreal. With rapid developments in this field since the establishment of ISEA, there is a need to reevaluate the organisation and it is hoped that all ISEA members will help plan the organisation's future. Is ISEA still needed ? Are the ISEA Symposia meeting our needs ? Are there other services ISEA should be providing ? The composition of the group has not been finalised at this stage. The co-chairs are drafting policies and procedures for the IIAC, as well as suggested nominations. These will be submitted to the Board of Directors for approval before the end of the year. Individuals interested in being involved with the IIAC should contact Line Goyette (firstname.lastname@example.org), secretary to the IIAC. * ISEA HQ NEWS* Some news from the HQ we would like you to share with us.... The Inter-Society for the Electronic arts was recently nominated for the Makepeace TSAO Leonardo Award. This award recognizes organizations or artists' groups that increase public awareness of art forms involving science and technology through the sponsoring or curating of exhibitions. Makepeace Tsao is a retired biochemist, professor, gallery owner, and artist who has been a member of the Leonardo Editorial Board and an advisor to Leonardo/ ISAST for 15 years. The first recipient of the award will be announced in late 1997. We'll keep you updated of the results ! (they will be displayed, along with the finalists and honorable mentions both in the journal Leonardo and on their Web site http://mitpress.mit.edu/e-journals/Leonardo/home.html * TO ALL ISEA MEMBERS * I would like to invite you to participate actively to our Members' Repertory, on the ISEA Web Site (www.sat.qc.ca/isea). It will be online two weeks from now. We have developped two different sections, a repertory with your personal information, as well as a work repertory, where you can list your works for them to be discovered or known better. At first, the information displayed will be the one you filled with your membership form. The great thing about these two repertories, is that you update them yourself. In other words, you will be free to add, delete, and do anything you wish to your file. As soon as it will be on, you will be given a password that enables you to enter your own file and make the rectifications necessary. If you have any questions regarding the repertories, don't hesitate to contact me, Isabelle Painchaud Members Network Coordinator email@example.com ISEA96 PROCEEDINGS It is still time to order your copy of the ISEA96 Proceedings. Prices are: Members: 20 $CDN (15 $US) Non-members: 35 $CDN (25 $US) PLUS SHIPPING COSTS: 3$ for Canada 8$* for USA 16$* International *Those costs can be cut by half if the package is sent by ground or by sea, allow about 2-3 weeks for delivery ******************************************************************** ISEA96 Proceedings Fill this form and send it back to: ISEA, C.P. 508, Succursale Desjardins, Montreal, Qc, H5B 1B6, CANADA FAX: 1.514.281.6728 Last Name: ___________________________First Name:________________________ Address:_______________________________________________________________ City:________________________________State/Province:______________________ Country:_____________________________Postal Code: _______________________ Phone: ____________________Fax: ___________________ Email:____________________URL(s):______________________________________ Payment Method ( ) Money Order * ( ) Cheque on a Canadian Bank* ( ) MasterCard ( ) Visa ( ) Cash * payable to ISEA Card Number: ___________________________________________ Expiration date: __________________________________________ Name of cardholder: ______________________________________ Signature: ______________________________________________ ******************************************************* German Leonardo Web site collaborates on Digital Content for Culture As part of a collaboration with the Digital Content for Culture Forum, the German Leonardo Web site is calling for participation in a questionnaire for digital content providers and buyers. The questionnaire ---with supporting interactive visual content---can be found at: http://www.iic.dlr.de/dcc/survey092. The German Leonardo web site can be found at http://www.iic.dlr.de/leonardo/ Results of the survey will be shared with those who fill out the survey. We are also interested in additional questions you would like to see distributed. For info contact: Barbara Lechler, e-mail: Barbara.Lechler@iic.dlr.de *JOB POSTING* The Faculty of Humanities, of McMaster University, invites applications for a tenure track appointment at the level of Assistant Professor in the area of Multimedia Design. Duties will include teaching courses in Computer Graphics, Multimedia and Human/Computer Interface Design. The successful candidate will have a Ph.D. in a Humanities discipline or the equivalent, and experience in multimedia development including computer graphics, digital audio and video, and computer-based instructional technology. The candidate will also have demonstrated excellence in the teaching and development of multimedia works and have research interests in the history, rhetoric, or theory of multimedia design and the human- computer interface. Experience in the arts or arts-related endeavours would be an asset. The current minimum salary for an Assistant Professor at McMaster is $41,260. The starting date for the appointment is July 1, 1998. Applications, including curriculum vitae, transcripts, a multimedia design portfolio, and letters from three referees, should be addressed to : Dr. Evan Simpson, Dean, Faculty of Humanities, McMaster University, 1280 Main Street West, Hamilton, Ontario, L8S 4L9. Applications received by December 15, 1997 will be assured consideration. In accordance with Canadian immigration requirements, this advertisement is directed to Canadian citizens and permanent residents of Canada (please indicate status). McMaster University is committed to employment equity and encourages applications from all qualified candidates, including aboriginal peoples, persons with disabilities, members of visible minorities and women. ************************** Teacher and Researcher/Developer Needed: MFA Computer Art program seeks a teacher and researcher to develop a course in History of New Media in 20th Century Art. The course should explore innovations in 20th century art with a particular focus on artists' practices which examine or embrace new developments in the media and technologies of their time, and related work of critics and theorists. Ideal candidate is a recent Art History graduate specializing in new technologies and contemporary issues in art. Position involves one semester of research and development of course, and at minimum, one semester of teaching. This is a faculty position, and salary is commensurate with experience. Please mail or fax resume and brief statement addressing approach to course development by December 1 to the address below. Address: 209 E. 23rd St., NY, NY 10010 Fax: 212-592-2509 Attention: Jen SanMiguel * CALLS* ISEA 98: REVOLUTION/TERROR [THE NINTH INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART] 04-11 September 1998 Liverpool : the revolution / Manchester : the terror CALL FOR ABSTRACTS ISEA [The International Symposium on Electronic Art] is one of the most significant events in the global electronic arts calendar. Staged in a different world city each year its presentation in Liverpool and Manchester in 1998 represents the first time that Britain has hosted this prestigious cultural event. ISEA has come to represent a key international forum for debate, discussion, exchange, critique and celebration of electronic art. ISEA98 is partnership between the Liverpool Art School at John Moores University, The Department of Fine Arts at Manchester Metropolitan University and the Foundation for Art & Creative Technology (organisers of the Video Positive biennale). The Universities will be responsible for developing and delivering the symposia and associated strands whilst the Foundation for Art & Creative Technology [FACT] will curate, co-ordinate and organise a wide ranging exhibition and events programme. ISEA98 will enjoy the co- operation and partnership of many of the leading cultural institutions in Liverpool and Manchester and will therefore be amongst the most expansive and imaginative events of its kind ever staged in Britain. THEMATICS Developments in new technologies appear to be revolutionising every aspect of our daily lives. The metaphors of 'revolution' are often applied to the speed of exponential change that the world is experiencing, in part through developments in computing and its applications. ISEA98 will seek to unpack the metaphors of revolution. It is appropriate that we do so in the north west of England as many new metaphors relating to technology [speed, progress] have been appropriated and reworked from the experience of the First Industrial Revolution which had Manchester at its centre and Liverpool as its trading heart. ISEA98: REVOLUTION will be staged in Liverpool and Manchester. It will consist of one conference with two strands set in two locations. Alongside this, a major series of exhibitions, entertainments and events will take place in many of the leading visual and performing arts venues in each city. Liverpool will identify, explore, assert and critique ideas and metaphors associated with the theme 'REVOLUTION'. Manchester will stage 'THE TERROR' in which these ideas, concerns and assertions will be dissected, deconstructed and re-ordered. The conference will conclude with an electronic global summit in Manchester. We are calling for papers, proposals and projects for a series of critical and practical investigations. At the same time we are particularly interested in contributions which address gender, cultural diversity and the developing world. A special Diversity Fund is being established to encourage, support and resource contributors from under-represented communities. Each element of ISEA98 will be formed and tempered in relation to an interrogative template of the following ten questions: Are we witnessing or making a revolution? Is there a digital aesthetic? Is electronic art revolutionising the terms 'artist' and 'audience'? Do new technologies revolutionise bodies? Is electronic media art a democratising, revolutionary or colonial force? Are we engineering the future, or is the future engineering us? Do subjectivities revolutionise new technology or vice versa? Are there revolutionary electronic ethics? How do we revolutionise materials and metaphors? Have notions of 'public' and 'private' been revolutionised by the shiftfrom mass-audience media to domestic leisure? For further details and application forms please contact : ISEA98: Revolution Graham Parker Research Coordinator ISEA98 ISEA98 Liverpool Art School Liverpool John Moores University 68 Hope Street Liverpool L1 9EB tel: +44 151 231 3110 fax: +44 151 231 5096 e-mail: firstname.lastname@example.org ISEA98: The Terror John Brady Research Coordinator Dept of Fine Arts Manchester Metropolitan University Grosvenor Building Cavendish Street Manchester M15 3BR tel: +44 161 247 3622 fax: +44 161 247 6818 email@example.com DEADLINE FOR RECEIPT OF ABSTRACTS : JANUARY 15 1998 ******************************************************************** CALL FOR ARTISTS' PROPOSALS FOUNDATION FOR ART & CREATIVE TECHNOLOGY PRESENTS REVOLUTION 98 'True art is unable not to be revolutionary, not to aspire to a complete and radical restructuring of society. The opposition of writer and artist is one of the forces which can usefully contribute to the discrediting and overthrow of regimes which are destroying, along with the right of the proletariat to aspire to a better world, every sentiment of nobility and even of human dignity.' Pour un art revolutionnaire indépendent. André Breton & Diego Rivera, 1938. (For security reasons Rivera's name replaced the real co-author Leon Trotsky) revolution 98 will be a major international series of exhibitions, entertainments and events staged in Liverpool and Manchester during September/October 1998 presented in association with the ninth International Symposium on Electronic Arts [ISEA98]. revolution 98 will investigate the contemporary cultural response of artists, filmmakers, performers, writers, computer programmers, musicians, designers and provocateurs to one of the most powerful concepts in modern history. revolution 98 exhibitions, entertainments and events will be distinguished by three complimentary areas of artistic investigation which underlie the term 'revolution' as it has been used historically and as it might be imagined in the future: * preparing the ground the investigation and examination of the raw material of social, economic and psychological reality as a foundation for the development of new theoretical structures. * provocation and collective action work that seeks to undermine the status quo, artistically, technologically and ideologically. * overload the exploitation and /or celebration of electronic and moving image media as a revolutionary tool and a new means of communication, concentrating on work that references popular culture and the so-called 'information revolution'. revolution 98 requests calls for proposals of new or existing work in the following categories: * installation [video, electronic, interactive object, film etc] * performance [live event for any context] * sound [for installation, public spaces etc] * internet and networked projects [in any context] * cd-rom [for presentation] * site-specific projects [in Liverpool or Manchester] * other [please specify] (a limited number of new works will be commissioned by FACT for revolution 98) For further information and application forms for revolution 98 please contact: REVOLUTION 98, FACT, Bluecoat Chamber, School Lane Liverpool L1 3BX tel: + 44 151 709 2663 fax: + 44 151 707 2150 e-mail: firstname.lastname@example.org DEADLINES FOR RECEIPT PROPOSALS : JANUARY 15 1998 ******************************************************************** LIGHTFORMS'98 LIGHTFORMS'98 MARKS THE BEGINNING of an exciting new bi-annual event for the field of lightart ! $5,000 prizes to each of three winners, award- winning judges, prestigious sponsors. This event is a co-production of Art & Science Collaborations, Inc. (ASCI) and The New York Hall of Science. LIGHTFORMS'98 is an international competition and exhibition of the three winning LightArt proposals that will be executed and installed in the Great Hall of the New York Hall of Science, April 16 - May 31, 1998. This will be the first exhibition of monumental, site-specific, and interactive lightart in the world. Such an exhibition is possible only because of the uniquely appropriate nature of the Great Hall. Complete details: http://www.asci.org Proposal deadline: Jan. 10, 1998. To "feel" this space, imagine a blue, honeycombed cave, or gliding through space leagues under the sea. Envision a cathedral-like space (123' long by 70' wide) unfettered by the visual interruption of vertical or horizontal support beams. No natural light enters this darkened space, only that which is filtered by chunks of cobalt blue glass embedded into cells of the grid-like concrete walls. The undulating, modular curtain-wall forms distinct "bays" in the oddly shaped, 80' tall cylinder room. The bays vary in shape and size between 10' -15' deep and 20' - 32' wide. (There are photos, floor plan, and wall-cell diagrams in the Guidelines.) A DEFINITION OF "LightArt" Any use of the medium of light to create a unique and personally expressive piece of art. As well as being engaging and aesthetic, this lightwork must be appropriate for the family and school audience (40,000 public anticipated) that will see this exhibition. Types of light sources utilized can be as low-tech as fluorescent or incandescent lamps or more high-tech, such as lasers (non-water cooled), electro-luminescence, and fiber optics. REMEMBER these lightart installations must be "interactive" with the public! We will help you with this aspect (read the Guidelines). Award-winning judges with international reputations: James Carpenter, artist; Don Holder, lighting designer, and Billie Tsien, architect. (bios on website) The proposals will be evaluated based on the following criteria: the nature of the interaction, feasibility, and concept. WINNERS WILL RECEIVE: - A $5,000 prize (presented at the end of the Opening Reception) - Equipment: Donated or loaned by our theatrical & architectural lighting Sponsors. - A $150 per diem for 8 days (for expenses during installation; April 9-16,'98) - 2-3 Helpers (college students) for installation. - Round-trip airfare (if we can secure a donation for it) - Auditorium Talk & Presentation by three winners; including past work. - Print Publicity: winners announced in full-page ad in Discover Magazine and photos of lightworks will be included in a Special Gallery Section of Leonardo Journal, and editorial coverage is anticipated by our sponsoring magazines. - An online version of the exhibition, including all finalists' proposals. - Exhibition Catalog: 2,000 will be distributed for free at the exhibition. - NYC Media Coverage: we anticipate networkTV coverage. SCHEDULE: Design Proposals due: January 10, 1998 (email during Jan. 5-10 ONLY) Notification of Winners: February 1, 1998 Installation: April 9 - 15, 1998 Exhibition Opening: April 16 Exhibition closes: May 31, 1998 (anticipated 40,000 public viewers) No printed Guidelines or Application Forms will be sent. Entrants must visit the ASCI website for complete details. Electronic submissions are encouraged. Project concept and development: Cynthia Pannucci, Director of ASCI. Email any questions to email@example.com but please read the Guidelines thoroughly before doing so. Voice: 718 816-9796. This event is endorsed by: IES/NYSection (Illuminating Engineering Society) Major Sponsors include: Discover Magazine; Ushio America, Inc; Leprecon, CAE. Media sponsors: Architectural Record, Lighting Dimensions, TCI, The International Lighting Review, LD+A, Photonics Spectra. Plus twelve other lighting companies have contributed to make this first year's event possible. (See Sponsor Information in the Guidelines). Cynthia Pannucci Founder/Director Art & Science Collaborations, Inc. (ASCI) 718 816-9796; firstname.lastname@example.org PO Box 358, Staten Island, NY 10301 URL: http://www.asci.org ******************************************************************** CONTAGION: MUAE 3 At the edge of the next millennium, Malaysia's Prime Minister Mahathir Mohammed has vowed to build a digital economy, challenging conventional assumptions of the noble Third World savage, untainted by technology. In the Third World, as in the over-developed world, the contagious speed of daily life continues to transform our understanding of the borders of nations, cities, and our bodies themselves. Immigrant workers, cyborgs, criminals and agents of radical change are described as viruses, increasingly in the wrong place at the wrong time. New ethnicities, sexualities and identities are mutating and thriving. What are the meanings of nativism and nationalism in a virtual world? What are the implications of disease in a world defined by viruses, where everything is, if not curable, then containable by multinational medical industries? Contagion can be a way of describing the historical moment of contact with civilization, the moment of invasion, the impossibility of purity, the reality of mestizaje and the interdependence of all things. CONTAGION: MUAE 3 will look at a world that "is not inviolable, but always already violated by man, the social, the bricoleur, jack, jill, technology." CONTAGION: MUAE 3 will look at events such as the first live, interactive dialogue on the Internet by a head of state, Malaysia's Prime Minister, Taiwanese hackers defacing the ruling Kuomintang Party's official web site and the Aum Shinrikyo cult's release of poisonous gas on the Tokyo subway system. Through critical essays, fiction, poetry and artists' projects, CONTAGION: MUAE 3 will explore what is often left out of discussions of technology: the mostly female Third World labor pool that manufactures it. Writers and artists will explore the era of the recombinant, in which plagiarism has once again become an acceptable, even crucial element of literature and art. CONTAGION: MUAE 3 will look at the viruses that are reconfiguring today's cultural and political landscapes. My deadline for handing in material to my publisher is January 1, 1998. You can send material directly to me c/o Kaya, 133 West 25 Street, #3E, New York, NY 10001, USA. Email: email@example.com ******************** CRAC (Creative Room for Art and Computing) CRAC is a digital media workshop in central Stockholm, Sweden. CRAC combines advanced digital technology and artistic integrity and offers a unique setting for the production of digital art and for research in the field. CRAC gives artists the opportunity to work with most digital tools, including video, sound, www, 2-D and 3-D images. The equipment is continuously updated and our goal is to always have the most up-to-date technologies available. We sponsor seminars relating to artistic and digital fields in order to further understanding of current and future tools for art making. Collaborative research with other Swedish and international participants in the field of digital technology also falls within CRAC's agenda. Please inform us on other activities of this kind. CRAC is run by the non-profit organization SKODK (Svenska Konstnarers Organisation for Digital Konst) and the foundation MediaLab. SKODK was founded in 1996 by visual artists and artists working with sound. The goal was to start and run a non-commercial, digital workshop. With generous support from Sveriges Bildkonstnârsfond, Stiftelsen Framtidens Kultur, and Stiftelsen fàr Kunskaps- och Kompetensutveckling, SKODK opened the CRAC workshop in 1997. The members of SKODK have access to the workshop on a project-to-project basis. You, swedish or not, can apply for SKODK membership if you have documentation of previous artistic practice and experience with digital technology. We also look for exchange situations so that we ( and perhaps you) will be able to work in various places in the world. Please contact the direction for more information and/or an application for membership in SKODK. Board: Peter Hagdahl, Anders Boquist, Mikael Lindgren, Gunnel Pettersson, Carl Michael von Hausswolff, Annika von Hausswolff, Karin Hansson and Arijana Kajfes Technicalilties: Tore Nilsson Administrator: Christine Odlund Carl Michael von Hausswolff c/o Rahm, Roslagsgatan 58, S-113 54 Stockholm, Sweden phone: +46 (0)8 612 27 03 (alt. 08 668 4234) contact: firstname.lastname@example.org *************************** ___________________________________________________________________ hARTware projekte e. V. is searching for media artists from Denmark ___________________________________________________________________ hARTware projekte e. V. is a non-profit organisation dealing with new media. We are planning for 1998 an exhibition of danish media art in Dortmund, Gemany. Please send us your suggestions to: hARTware projekte e. V c/o Sunderweg 1 D-44147 Dortmund fon: ++49(0231-823106 fax: ++49(0)231-826847 mailto:email@example.com or mailto:firstname.lastname@example.org mailto:email@example.com Iris Dressler, Hans D. Christ, Matthias Kampmann Visit the documentation of our recent project under: http://www.kunstgeschichte.de/shortcuts __________________________________________________________ Special Exhibition in the Collected Visions Gallery http://cvisions.cat.nyu.edu/gallery C O L L E C T E D V I S I O N S http://cvisions.cat.nyu.edu An interactive Web Site that explores how family photographs shape our memories. Exhibition VII is now on view in the Collected Visions Gallery. This is an unusual exhibition for Collected Visions in that all of the authors are writing about their own photographs. Collected Visions with an attached scanner was included in the exhibition "Telling Our Own Stories: Florida's Family Photographs" at The Southeast Museum of Photography in Daytona Beach, Florida, June 17 to September 19, 1997. These photo essays were selected from submissions gathered during that exhibition. This exhibition will be remain on view only until November 10. Be sure to visit the Collected Visions Museum, http://cvisions.cat.nyu.edu/museum Our archive essays from previous Collected Visions exhibitions For any additional information, please contact Lorie Novak email: firstname.lastname@example.org tel: 718-522-3699 fax 718-855-0788 We are seeking guest curators for the Collected Visions Gallery. If you are interested in submitting proposals that are culturally, historically, or regionally specific, or would like to curate an exhibition from our submissions, please contact Lorie Novak. Collected Visions is sponsored by the NYU Center for Advanced Technology * * * * * * COLLECTED VISIONS was created by Lorie Novak, Clilly Castiglia, Betsey Kershaw, and Kerry O'Neill with additional programming by Art Johnson. It is a participatory Web site that explores the relationship between family photographs and memory. The most significant aspect of Collected Visions is the ability it gives people to submit images to a growing archive of family photographs and to create photo stories. Visitors to the site are encouraged to search and view images from the on-line database of more than 1200 images. In addition to searching, participants can create and submit live photographic essays exploring the power of family snapshots. Those interested in writing about their own snapshots or contributing to the archive can upload their images. Changing exhibitions of selected submitted essays are presented in the Collected Visions Gallery and archived in the Collected Visions Museum. The concept for Collected Visions grew out of the photographs and installations Lorie Novak has been creating since the early 1980s. She uses family snapshots and images from the media to explore the relationships between personal and collective memory. Excerpts from her installations provide the backgrounds for the gallery, museum, and bibliography. C O L L E C T E D V I S I O N S http://cvisions.cat.nyu.edu ***************************************** CALL FOR PAPERS: Leonardo Music Journal, Vol. 8 (1998) Theme: "Ghosts and Monsters" In his infamous 1972 essay, "John Cage -- Ghost or Monster," Cornelius Cardew took Cage to task on issues of political correctness. Inspired by Mao Tse-tung's "Talks at the Yunan Forum on Literature and Art" (1942), Cardew surveys the state of new music, and Cage's work in particular, for signs of what Mao called "ghosts" ("myth, madness, magic and mysticism," which Cardew associates with political anarchy) and "monsters" ("anti-people ideas" having to do with technological futurism and political fascism). The avant-garde does not fare well under Cardew's hand, but if his histrionics seem quaintly dated in 1997/98, those twin pillars--slightly adjusted--still have relevance. In the realm of both technology and aesthetics, ghosts and monsters play critical--if often covert--roles in the creation of an individual composition, in the evolution of the body of a composer's work and in the development of musical "schools" and scenes. Leonardo Music Journal invites composers of many nations, styles, temperaments and technologies to address the influence of ghosts and monsters in their own work and (where appropriate) that of their peers. In the realm of technology, the questions might seem obvious: - Are you a Luddite or a Utopian (or other)? - Do you crave tubes or Crays? - How does music rooted in technology adapt to technological change? In the aesthetic realm the issues are perhaps murkier: - Did Cage ruin your life or open up fruitful vistas? - What did Stockhausen or Boulez mean for a composer coming of age in Europe in the 1970s? - What happens after Minimalism? Interested authors should contact Leonardo Music Journal Editor-in-Chief Nicolas Collins with proposals: e-mail TallmanCollins@compuserve.com or send proposals to the journal's editorial office: LEONARDO MUSIC JOURNAL Cathryn Hrudicka, Coordinating Editor 425 Market Street, 2nd Floor San Francisco, CA 94105 U.S.A. E-mail: email@example.com *********************************** Transmediale 98 11th VideoFest February 12 - 22, 1998 Podewil, Berlin, Germany CALL FOR ENTRIES From February 12 - 22, 1998 the Podewil hosts the second transmediale and the eleventh VideoFest. Associated to the Berlin Film Festival, it will attract thousands of visitors and hundreds of accredited guests, thus making the Podewil an international meeting place for the creative talents in media. The festival will be organised by transmedia and Podewil, with support by the Senate of Berlin, the European Commission, and private sponsors. Submitted may be works from the areas of video, computer animation, television, films with digital parts and multimedia projects (CD-ROM, CD-I, discs, cartridge, internet) which were produced since 1996. Works will be considered for selection which are dealing with reality in an innovative way, or those which aim at furthering their respective medium. AWARDS The transmediale will award three prices for outstanding works in the fields of video, television and multimedia. Further awards will be donated by sponsors. Award holders in 1997 are: Best Video-Installation: "Sieben Fr—’æte vom Baum des ewigen Lebens" by Rotraut Pape (D) Best Video/TV-Production: "The Last Angel of History" by John Akomfrah (GB / D) Best Multimedia -Project: the WWW-Site "jodi.org" by Joan Heemskerk and Dirk Paesmans (E) ProPublico Award (Post production worth 10.000.- DM): "Fake" by Sebastian Peterson (D) MEDIA ART INSTALLATIONS The transmediale exhibits classic video-sculptures as well as space related installations, based on interactive or networked systems. The transmediale invites artists to exhibit but other interested parties may also submit their proposals. We expressly desire entries for performance concepts. FURTHER EVENTS The presentation of works is one side of the transmediale. In a series of special events the festival will reflect theoretical questions of media art, especially the crossing of the borders between the different media territories to that the whole event is dedicated. Artists, companies, producers and educational institutions will be provided with a platform to present their ideas, concepts and projects to a broad audience. transmedia questions the philosophical and social effects connected with technological developments and uses. Focus 98 In 1998, a focal issue of the transmediale will be a "stock taking of seeing". Renowned artists and experts will take into critical review the past 30 years of video culture; in the field of computer animation and multimedia it will present the state of the art, and in the television section it will concentrate on outstanding stations and personalities of german TV history. DEADLINE: November 28, 1997 For further information, incl. all FORMAL REQUIREMENTS, please, contact "transmedia" firstname.lastname@example.org Johannes Lenz-Hawliczek transmedia Berlin February 12 -22, 1998 Fon *49 30 2472 1907 Fax *49 30 2472 1909 ******************************* The Second Biennial of South Africa Digital Diaspora at the Cape of Good Hope Armin Medosch filtered by Lev Manovich The Biennial reverts the new cultural world order. A "live"-report with interviews and quotations by Okwui Enzori, Olu Oguibe, Catherine David and others. Abstract On Sunday the 12th of October 97 the 2nd Biennial of South Africa was opened in Johannesburg in the Newtown cultural precinct. This Biennial should be complimented for looking at the multiple implications of globalisation from an African point of view, thereby adding a new twist to the ever popular discussions of the global/local problematic. It reversed the usual South to North direction of cultural import, with more than 50% of the participating artists being born in the Southern hemisphere. But Johannesburg was not only the comfortable place of meeting for a pretty cosmopolitan mix of artists, curators, theorists and journalists. The town itself offered us other zones - not of comfort but of friction, its mere existence demonstrating what the Biennial failed to address. full length article http://www.heise.de/tp/english/inhalt/sa/3125/1.html Telepolis English Section http://www.heise.de/tp/english/default.html ________________________________________________________ WEBART CONTEST Casa das Rosas launches in the network the WebArt Contest, an event which follows the activities of Arte Suporte Computador Exhibition. Its main purpose is to incentivate and promote works and their creators who take the advantages of Internet to elaborate their artistic works. The entry form and rules of participation are available in the site of Casa das Rosas (http://www.dialdata.com.br/casadasrosas/net-art). The pre-selection will be coordinated by Casa das Rosas' staff in collaboration with invited artists such as Artur Lara, Artur Lescher and André Cymbalista. The pre-selected sites will be part of Casa das Rosas digital collection and will also integrate the Arte Suporte Computador Exhibition. After the opening of the Exhibition, a Panel of Judges will choose three sites. The members of the Panel are: Rachel Greene (USA - critic and editor of the electronic publication Rhizome), Maria Ercília (Brazil - journalist of Universo On-Line/Folha de São Paulo, specialized in matters related to Internet), Rejane Spitz (Brazil - professor and coordinator of the multimedia laboratory of PUC/Rio de Janeiro and the representative of Siggraph and ISEA, associations which promote two of the worldwide most important events in electronic art), and representatives of the magazines Mondo 2000 and Wired, yet to be confirmed. The prizes will be awarded as follows: US$ 6,000 (six thousand american dollars) for the first prize, US$ 4,000 (four thousand american dollars) for the second prize, US$ 2,000 (two thousand american dollars) for the third prize. All prizes will be granted in cash. Event: WebArt Contest, part of the activities of Arte Suporte Computador Exhibition. Inscription: We would like to receive your entry for our Web Art Contest. It was posted specially for your web site to November 7th. Site: http://www.dialdata.com.br/casadasrosas/net-art Information: http://www.dialdata.com.br/casadasrosas/net-art Phone/Fax: (011) 251 5271 or 288 9447, with Ilo e-mail: email@example.com Awarding Date: to be confirmed. ++++++++++++++++++++++++++++++++++++++++++++++ DAY WITHOUT ART WEB ACTION, December 1, 1997 http://www.creativetime.org/dwa/join.html ++++++++++++++++++++++++++++++++++++++++++++++ contact: Carol Stakenas email: firstname.lastname@example.org phone: 212.206.6674 #201 Join Creative Time in digital observance of Day Without Art/World AIDS Day by proudly featuring a hyperlinked DWA logo on your homepage and connect to Web Action 1997 (http://www.creativetime.org/dwa). Creative Time's DWA Web Action is created in conjunction with Chrysanne Stathacos "The Wish Machine" which will be located in NYC's Grand Central Terminal (December 1st - 18th). Wrapped in the image of a wishing tree from India, this customized vending machine dispenses the artist's wish multiples that are intended to conjure the desires of the urban commuter. Each artwork includes a printed photocollage depicting a plant that evokes the essence of the wish (Rose=Love) along with a small vial of the plant's essential oil to extend the wishing ritual into a multisensory experience. This year's DWA observance features an on-line version of "The Wish Machine" offering a web site for personal and collective action and contemplation. Instead of hard currency, the user will be invited to submit a wish to activate the powerful energy of imagination and hope. Consider the broad continuum of how the HIV/AIDS pandemic continues to effect our lives and our culture from the promising results of new drug treatments to the ominous certainty that this fatal virus is continuing to spread. Love, Peace, Health, Hope, Sleep, Communication, Home, Money, Lust and Happiness -- what do you wish for? This site also offers plentiful resources, on-line activities and a list of DWA participants. In cooperation with ArtAIDS (UK), Visual AIDS, and the Museum of Modern Art, Creative Time will also host The Time Capsule. Facilitated by artist Ming Wei Lee, this interactive web site will preserve for posterity personal accounts of the impact of the AIDS pandemic at this specific moment. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ To link your web site, go to http://www.creativetime.org/dwa/join/html F E E L F R E E T O C I R C U L A T E ! Be sure to send your name and URL to email@example.com. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Creative Time annually coordinates DWA Web Action to facilitate the coming together of individuals as well as organizations to defy geographical boundaries and publicly unite around the grave impact of the AIDS pandemic. OTHER CRITICAL DETAILS about DWA Web Action: WHEN SHOULD I PUT MY LINK UP? World AIDS Day/Day Without Art is officially December 1st; however, we will begin previewing the site mid-November. Since December 1st is the Monday following Thanksgiving (US), we highly encourage everyone, especially USers, to post their DWA link by November 25th. HOW LONG DOES DAY WITHOUT ART WEB ACTION LAST? We plan to proudly feature DWA Web Action on our site year round. DOES THIS MEAN THAT I HAVE TO REPLACE MY SITE FOR THE DAY? How you choose to observe DWA/World AIDS Day is up to you. Here are several strategies participants have used in the past: 1. Simply post the linked DWA icon as a special addition to your site. 2. Shift your backgrounds to black for the day and post the linked DWA icon as a special addition to your site. 3. For an elegant solution that doesn't deny access, create a buffer page for the user to "pass through" that features the linked DWA logo and also offers entrance to your site. 4. For the most radical observance, disable entry to your web site for December 1st and post the linked DWA logo on a black background. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ INTERNATIONAL CONTEMPORARY MUSIC CONTEST "CITTA` DI UDINE" 1998 1. The City Council of Udine, together with TauKay Music Publishing House, within its musical activities, announces the Second International Contemporary Music Contest. 2. The contest is divided into two sections: * instrumental compositions for chamber instrumental group. * electro-acoustic, analogical, and digital music. 3. Only unpublished musical compositions will be admitted into the contest. The pieces may have been already performed. Composers may be of any citizenship. 4. Musical scores for the chamber instrumental group section must be no longer than eight minutes. they are required to use the following instruments: string quartet piano flute clarinet These instruments may be used in any combination. The Composition for the electro-acoustic, analogical, and digital music section. must be no longer than ten minutes. (dat or compact disc) 5. The City Council of Udine , together with TauKay Music Publishing House, will organize a public performance to be held in Udine during autumn 1998. A compact disc will be recorded. The TauKay Music Publishing House will publish the selected compositions and has committed itself to broadcast and publicize them by means of specialized magazines and operators. Those composers who are committed to another publishing house are requested to send in a copyright waiver (under-signed by both them and their publishers) which authorizes the publication of their compositions. 6. All works must be submitted - no later than April, 30th 1998 - to: "Comune di Udine - U.O. Coordinamento Segreteria Attività Teatrali - via Savorgnana 12 - 33100 Udine ITALIA" The postmark will bear witness to the date. The jury's decision will be made public on June, 30th 1998. 7. The jury has the right to discard those works that do not satisfy the above mentioned requirements. 8. If a work presents new graphic characters or symbols , the author is requested to provide an explanatory table. The scores must be sent in six copies attached to the application and together with the receipt for 35 USD payment made by a international postal order to: Comune di Udine Servizio tesoreria Conto corrente postale n. 14372338 The following wording must appear on the postal order as the description: "Tassa di iscrizione per il II[ Concorso di Musica Contemporanea Città‹di Udine 1998" If a work is selected to be performed, the author must send the single scores for each and every instrument. The scores will not be returned, specific agreement excepted. The following additional documentation is requested from the author: * First and family name, address, telephone number, place and date of birth, citizenship. * a recent picture * A statement certifying that the submitted composition is unpublished and has not been awarded any prizes in any musical contest. * A statement agreeing to permit the composition to be broadcast or telecast and archived without compensation. * A statement permitting publication by TauKay Music Publishing House, or a copyright waiver under-signed by the author and his or her publisher as in paragraph #5. * Curriculum vitae and curriculum studiorum. 9. The jury's decisions are final and cannot be appealed. 10. The submission of the application and the piece implies the full acceptance of the above mentioned regulations. The non-compliance of the above stated regulations implies the loss of any rights originating from the jury's decisions. The Court of Justice of Udine is the place of jurisdiction. Further information is available from: Settore Attività Culturali ed Educative del Comune di Udine - via Savorgnana 12 33100 Udine ITALIA and TauKay Music Publishing House http://www.nauta.it/taukay/ firstname.lastname@example.org ************************************************ Concorso Internazionale di Musica Contemporanea "Città di Udine" 1998 Seconda edizione Domanda di iscrizione/Application form CATEGORIA/CATEGORY (Si prega di dichiarare la categoria a cui si partecipa) (please, indicate the section you wish to enroll to) Nome e Cognome/First and Family Name Data e Luogo di Nascita/Place and Date of Birth Nazionalità/Citizenship Indirizzo/Address Numero telefonico/Telephone number Fax Titolo del Brano/Title Organico/Instruments employed Anno di composizione/Year of Composition ************************************************ Call for Entries in Digital Film/Video, Audio and Multimedia OPEN ENTRY: DEADLINE 14 JANUARY 1998 __________________________________________________________ Lovebytes Digital Arts Festival Sheffield 23-25 April 1998 __________________________________________________________ Lovebytes Digital Arts Festival 1998 invites entries of digital art and media to feature in a substantial exhibition of CD ROM, audio work, internet art and screenings of films and videos which make explicit use of digital technology. A wealth of exciting and innovative new work is being generated out of the fusion between digital art, graphic design, interactive multimedia and film and video making. The aim of Lovebytes Digital Arts Festival is to connect up this emergent energy and present it to an audience of artists, media professionals and the public as part of a three day conference and exhibition programme. If you produce film/video, audio or multimedia using computers and digital processes this is your opportunity to get it shown. If selected, your work will be featured as part of an extensive programme exploring new media technologies, alongside a conference which seeks to make a significant contribution to defining 'digital art' through critical debate. Established five years ago, Lovebytes has a growing reputation as a regional, national and international meeting point of digital arts and cultures. Lovebytes 98 will take place at the new Sheffield Media and Exhibition Centre which is the largest independent cinema and multi-media centre in the UK. There will be a Multimedia Gallery offering open access to computer based multimedia, a Digital Soundspace for music and audio works whilst film and video screenings will be presented in the new Showroom Cinema. ____________________________________ Please read the GUIDELINES FOR ENTRIES and use the official APPLICATION FORM available from: e-mail email@example.com http://www.lovebyte.org.uk or Lovebytes Tel +44 (0) 114 221 0393 for GUIDELINES FOR ENTRIES see http://www.lovebyte.org.uk/callo.html and APPLICATION FORM see http://www.lovebyte.org.uk/form3.html ____________________________________ What are we looking for? INTERACTIVE MULTIMEDIA WORKS. Interactive works can be anything from, a 1Mb piece sent on a floppy disc, to a CD ROM or console game. We will endeavour to show the widest range of work. Work will be shown as part of a multimedia gallery at the Festival. Some of the most intriguing work may also be projected. Audio, sound and music work very welcome. FILM / VIDEO PRODUCTIONS. We are looking for imaginative uses of computer based media in film and video, which explore the conceptual and creative aspects of digital processes. All films and videos must have some kind of digital input which is evident in concept or content - this may include, for example, animation, special effects, tricks and transformations and digital post-production. We welcome work produced using high-end computers or lo-fi productions made on desk-tops or in back bedrooms. INTERNET ART. E-mail your URLs for the Lovebytes Multimedia Gallery Bookmarks and Festival web site links to firstname.lastname@example.org. Please supply GIF pointers / buttons as attachments. Include details of any browser plug-ins required. PRINT: Print work and supporting material may be submitted but wall space is limited so we cannot guarantee it will be displayed. Please send digital previews of work for selection and please do not send originals. _______________________________________________________________ Lovebytes is funded by The European Regional Development Fund, Yorkshire and Humberside Arts, The National Lottery, Sheffield City Council, Arts Council of England, Photo98 - The Year of Photography and the Electronic Image. Sponsored by The Electronic Telegraph http://www.telegraph.co.uk/ and Sony Playstation. _______________________________________________________________ DON'T DELAY! Deadline 14 January 1998 ENTRY IS FREE! _______________________________________________________________ Lovebytes Unit 320 Workstation 15 Paternoster Row Sheffield S1 2BX http://www.lovebyte.org.uk tel 0114 221 0393 fax 0114 279 6522 *CONFERENCE* ART AND TECHNOLOGY: IN THE AGE OF INFORMATION Liverpool, UK - 1-3 July 1998 Conference Announcement and Call for Contributions 1. Conference Idea We live in a world that depends increasingly on electronic communication technologies. The global diffusion of these technologies is creating what has been called the virtual planet. The new technologies promise to restructure every aspect of modern life, from science to art, from education to entertainment, from business to politics. Fundamental changes are already taking place in the way we experience and think about the world. Among these changes are: Information and images take the place of conventional knowledge; the reconstruction of the world in terms of recombinable "bits" of information; the substitution of transient parts and fragments for stable wholes; the emphasis on speed and motion rather than static structures; the dissolving of traditional divisions in social and cultural life, e.g., between art and technology. Art has always reflected major changes in science and technology. Photography is one example of a technology that can be said to have redefined art. Photography introduced new ways of seeing and form-making. Cinema revealed further possibilities of visual form. The new electronic technologies - computers, video, virtual reality, artificial intelligence, cybernetics, robotics, TV, etc., - dramatically extend our capacity to create new worlds of form and in-formation. Art can be seen as a running commentary and reflection on these technological developments. No longer concerned with simple representation, art draws attention to itself as a form-making activity and so raises fundamental questions about the ways in which we construct our world and about our role in the construction process. It's this revealing of the world as a source of in-formation that brings art and technology together. 2. Call for Contributions and Participation This conference is aimed at a wide range of participants. In addition to academic specialists in areas such as Art Theory and History, Cultural/Media Studies, Sociology, Philosophy, Psychology, and Literature, we would like to invite artists, technologists, art critics, art teachers as well as interested members of the public to take part in this conference. Indeed, one of our main aims is to create discussion among these different groups about art and technology in the age of information. Contributions for this conference are therefore invited from all the different groups mentioned above. The form of such contributions is negotiable. While we invite the academic paper that will analyse the art-technology-information relationship in conceptually imaginative and provocative ways, we also invite contributions that will express and explore the conference theme in visual forms e.g., demonstrations, small exhibitions, performances, computer installations, etc. If you are not sure about the appropriateness of your intended contribution, please feel free to contact one of the organisers informally (see contact details below). 3. Possible Conference Themes The conference themes will depend on the contributions submitted. These might include discussion of questions such as: - What does the art-technology relationship mean for the ways we construct and represent our world? What does the history of art tell us about changes in this process? - What exactly are the new electronic technologies, e.g.,hypermedia, hypertext, digitalisation, video, virtual reality, etc.? How are they used in art? - What is Art in the Age of Information? - What does the meeting of art and electronic technology mean for our experience of space and time, e.g., cyberspace, hyperspace? - What are the implications of the new electronic technologies for the public showing of art, e.g., the electronic museum? - What are wider implications of electronic technology for the dissemination of art in mass society? - What do the new sciences of information (e.g., information theory, cybernetics, chaos theory) have to say about recent developments in art and electronic technology? - Art and the Machine. - The Aesthetics of In-formation. - Technology and the art of performance. - Techno-Aesthetics. - Technology, art and time. - Hybridity, technology and art. This is by no means a definitive list and other ideas are more than welcome, especially if they promise to deepen our understanding of the art-technology relationship in the terms we have outlined here. 4. Conference Speakers Conference speakers will include: Paul Crowther, Oxford University. Ron Day, literary theorist/information specialist, San Francisco, USA. Dan Fern, Royal College of Art, London. Martin Kemp, Oxford University. Celia Lury, Goldsmith's College, London University. Suhael Malik, Goldsmith's College, London University. Mike Michael, Goldsmith's College, London University. J. Hillis Miller, University of California at Irvine, USA. Nicholas Royle, Stirling University. Roy Stringer, hypermedia architect, Amaze Ltd. Mark C. Taylor, Williams College, Massachusetts, USA. 5. Organisation of the Conference a) Organisers The conference is organised by: Toby Jackson (Curator of Education, Tate Gallery Liverpool) Fiona Candlin (Tate Gallery Liverpool/Department of Visual Arts, Keele University) Robert Cooper (Professor of Social Theory and Organisation, Centre for Social Theory and Technology, Keele University) Olaf Boettger (Centre for Social Theory and Technology, Keele University). Questions about contributions to the conference should be addressed to: Toby Jackson Tate Gallery Liverpool Albert Dock Liverpool L3 4BB United Kingdom Tel: ++44 (0)151 709 3233 Fax: ++44 (0)151 709 3122 or Robert Cooper Centre for Social Theory and Technology Darwin Building, Keele University Staffs ST5 5BG United Kingdom Tel: ++44 (0)1782 583421 Fax: ++44 (0)1782 584272 Email: email@example.com Further information and latest updates are available on the WWW pages of the Centre for Social Theory and Technology at: http://www.keele.ac.uk/depts/stt/cstt2/tg/ b) Place and Time The conference will take place at: Liverpool Institute of Performing Arts Mount Street Liverpool L1 9HF United Kingdom from 4.00pm on Wednesday 1st July, to 5.30pm on Friday, 3rd July, 1998. c) Submission Deadlines We require five copies of a one-page abstract of your contribution by Saturday, 31st January, 1998. If you are unsure about the suitability of your contribution, please contact one of the organisers well before this date. Five copies of your abstract should be sent to: Toby Jackson Art & Technology Conference 1998 Tate Gallery Liverpool Albert Dock Liverpool L3 4BB United Kingdom You will be notified by the end of March 1998 if your submission has been accepted. d) Costs (i) 200 pounds sterling full rate for conference attendance, accommodation and meals (ii) 130 pounds sterling full rate for conference attendance and meals (iii)120 pounds sterling concession for conference attendance, accommodation and meals (iv) 80 pounds sterling concession for conference attendance and meals Please note the following important points: * All payments must be made in cheques in pound sterling, made payable to "Tate Gallery Liverpool". * All concessions require evidence of status (e.g. photocopy of student card). * All rates above are valid for payment before 31st May 1998. For payments after this date, the above rates will be increased by an administration fee of 30 pounds sterling. * Conference fees are non-refundable after 31st May, 1998. You can, however, send a replacement delegate in case you cannot attend the conference. * Resident fees include bed and breakfast and all meals from registration on Wednesday, 1st July, 1998, at 4.00pm to finish of conference at 5.30pm, on Friday, 3rd July, 1998. * Non-resident fees include lunch and dinner for the period of the conference. * If you feel unable to pay the full rate, please contact Toby Jackson or Robert Cooper in confidence. ****************************** CODE RED conference.performance.media.art.discussion.strategy.action across Australia November, 1997 CODE RED is an international event bringing together writers, artists and activists who interrogate and critique contemporary media and information culture. It dissects the mass media, opening up the body of information for analysis and scrutiny. CODE RED is about strategy, and asks the question - how as cultural thinkers and practitioners can we work as active agents in defining and creating a diverse and smart information culture? CODE RED is curated by Julianne Pierce and presented by the Australian Network for Art and Technology (ANAT) in association with The Performance Space, Sydney. It is part of an ongoing series of events which brings together international and Australian cultural and media experts to discuss contemporary issues around art and technology. Please find the CODE RED program enclosed.... full program details available at http://www.anat.org.au/projects ************************************************************************* Sydney Nov 22 - 26 The Performance Space, 199 Cleveland St, Redfern Bookings: (02) 9319 5091 Saturday November 22 Free opening event in the gallery (open from 12pm) 4pm ZINA KAYE (Australia) (Humble Under Minded) Psychic Rumble Part 2 Soundz of the underground brought to you by the Anti-Destination Society. 5pm MARKO PELJHAN/PACT (Slovenia) 178[ East - Another Ocean Region (research and performance) A presentation resulting from a two week residency (Nov 10 - 22); 178 [ EAST is a legal and practical research of Australian telecommunication laws with emphasis on interception and privacy. Prior to the public presentation on Nov 22, viewings are available by appointment. Sunday November 23 Forum event in the theatre Admission: $20/$15 (includes lunch) 11.45am Welcome address JULIANNE PIERCE (curator) and AMANDA MCDONALD CROWLEY (Director, ANAT) 12pm - 1pm GEERT LOVINK (Netherlands) Strategies for Media Activism 1 - 1.45pm JEFFREY COOK (Australia) The Symborg Manifesto 1.45 - 2.45pm Lunch 2.45pm - 3.30pm LINDA WALLACE (Australia) Luminous 3.30pm - 4.15pm BRAD MILLER (Australia) Art in the Age of Collaboration 4.15 - 4.45pm Afternoon tea 4.45pm - 5.30pm CORNELIA SOLLFRANK (Germany) The Production of Visibility 5.30pm - 6pm Wrap up and general discussion Roundtable discussions Monday November 24, 6 - 8pm GEERT LOVINK (Netherlands) and McKENZIE WARK (Australia) Wednesday November 26, 6 - 8pm ZINA KAYE (Australia), JULIANNE PIERCE (Australia) and CORNELIA SOLLFRANK (Germany) National tour Geert Lovink - University of Newcastle, Binary Code (Melbourne), Australian Centre for Contemporary Art (Melbourne), University of Western Sydney (in association with Streetlevel), Perth Institute of Contemporary Arts Marko Peljhan - Contemporary Art Services Tasmania, Media Resource Centre (Adelaide) Cornelia Sollfrank - University of Western Sydney (in association with Streetlevel), Media Resource Centre (Adelaide) CODE RED is presented by the Australian Network for Art and Technology in association with The Performance Space. Supported by the New Media Arts Fund of the Australia Council, the federal government's arts funding and advisory body with additional support from the Goethe Institut. ******************************************************************** 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. Support: Fondation Daniel Langlois, Ministère de la culture et des communications du Québec, Montréal International, ANAT, FACT, Liverpool John Moores University, Manchester Metropolitan University, Leonardo, SAT, McGill University, Université du Québec à Montréal. *********************************************** end of newsletter
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