THE INTER-SOCIETY FOR THE ELECTRONIC ARTS THE ISEA NEWSLETTER #68 September-October 1998 ___________________________________________________________________ * CONTENTS * * EDITORIAL * ISEA98 REPORTS * ISEA NEWS * INFO * JOB POSTINGS * * CALLS & EVENTS SECTION * ___________________________________________________________________ * EDITORIAL * French editorial is following * Dear Members, I hope all you had a great after-Symposium, it was surely an intense six days of conferences and exhibitions ! For those who couldn't attend the event, we have some reports for you; two reports by Mark Waugh, a Webcast report by Maria N. Stukoff, an ISEA98 Revolution report by Wim van der Plas and a general report on the event by James Faure Walker. (You will find them in the ISEA98 Reports section) And of course, we invite you to visit the WebCast pages at: http://www.isea.qc.ca/webcast98 to experience the event in RealVideo. In the name of the HQ and the ISEA Board, I would like to congratulate the ISEA98 (Revolution, Revolution98, and Terror) organisers and all their teams for their constant efforts in organising an extraordinary event. Bravo ! ANNUAL GENERAL MEETING OF MEMBERS (AGM) The AGM took place in the afternoon of September 2nd at the Liverpool Art School Lecture Theater. There were 25 members present to participate to the members' meeting. The AGM Agenda went as follow: * Introduction of new Board members * President's report * Financial Report * Appointment of auditor * Plans for 1999, 2000 * Issues, committees * Open forum * Closing Alain Mongeau presented the new Board and made a brief history of the ISEA for those who were not too familiar with our association. He then presented the Financial Report, which was accepted at unanimity by the members. The auditor, Eric Faille was also reappointed for next year. Roy Ascott represented the Invencao event, which was received with a lot of interest. The team of ART3000 who will be organising ISEA2000 in Paris, couldn't make it to the meeting so there was a brief presentation of their proposal. Then followed the last updates from the Board meetings and the open forum; the subject of archives of the past Symposiums was raised by some interested parties. To receive the detailed minutes of the AGM, please contact the ISEA HQ at email@example.com They will soon be available on our Website. BOARD MEETINGS REPORT The new ISEA Board held its meetings in the two days prior to the event. Some important decisions were made, here are the main ones: * Three Board Positions were appointed; Alain Mongeau and Tapio Makela will co-chair the Board, Amanda McDonald Crowley will act as Secretary and the Kathy Rae Huffman, as Treasurer. * They have decided to put together working groups on the subjects that need the most attention. The working groups will consist of 1 or 2 Board Member, 1 HQ staff, and 1 or 2 IIAC members. Their mandates will be very clear, and will take place on a very short period of time. The topics are: * Symposium * Membership * Publications * International Liasons and Branches * Cultural Diversity * Fundraising * The results are to be given during the Board's next physical meeting planned for late February 1999. The developments on these working groups will be published in the ISEA newsletter. ISEA WEBCAST htttp://www.isea.qc.ca/webcast98 The WebCast98 was an interesting event for the HQ team and our satellites who have made it possible. We would like to thank all the artists who have participated to the project, and especially our following affiliates: Liverpool John Moores University, Manchester Metropolitain University, Cinematheque Quebecoise, l'Alliance de la video et du cinema independant, Champ Libre, Technoboro, Studio XX, SugarRush and Videographe. Congratulations to the hardworking team: Valerie Jodoin, Eva Quintas, Sylvain Robert, Bernard Schutze and Maria N.Stukoff. Thanks to all our "satellites": Adrian Challis, Michel Lefebvre, Sanjvi Menezez, Annick St-Louis, Mark Waugh and Pierre Zovile. The team is currently updating the WebCast for the FCMM (Festival international du nouveau cinema et des nouveaux medias de Montreal) where it will presented mid-October. ** For more read Maria N. Stukoff's WebCast report in the ISEA98 Report section ** ****************************************** EDITORIAL FRANCAIS Chers membres, Nous esperons que vous vous remettez positivement du post-Symposium, car c'etait effectivement six journees intenses de conferences et d'expositions ! Pour tous ceux et celles qui n'ont pu participer a l'evenement, nous vous presentons quelques conclusions dans la section ISEA98 Reports : deux textes de Mark Waugh; un bilan du Webcast98 par Maria N. Stukoff; un rapport du Symposium Revolution par Wim van der Plas et finalement un regard global sur la manifestation par James Faure Walker. Et bien sur, nous vous invitons a visionner les pages et les sections du Webcast avec des entrevues en real video au : http://www.isea.qc.ca/webcast98 Au nom du siege social et du conseil d'administration d'ISEA, j'aimerais feliciter les organisateurs d'ISEA98 ainsi que leurs equipes pour leurs efforts enthousiastes investis dans cet evenement majeur. Bravo ! ASSEMBLEE GENERALE ANNUELLE DES MEMBRES (AGM) L'AGM s'est tenue dans l'apres-midi du 2 septembre au Liverpool Art School Lecture Theater, avec la participation de quelque 25 membres. L'ordre du jour etait le suivant : * Presentation des nouveaux membres du conseil d'administration (CA) * Rapport du president * Bilan financier * Nomination d'un verificateur * Projets pour 1999 et 2000 * Problematiques d'interet, comites de travail * Forum ouvert de discussion * Cloture Alain Mongeau a presente le nouveau CA tout en resumant les hauts faits de l'historique d'ISEA pour ceux et celles qui n'etaient pas familiers avec l'organisation. Il a egalement fait etat du bilan financier, approuve a l'unaminite par les membres presents. Eric Faille a ete renomme verificateur financier pour l'annee a venir. Roy Ascott a quant a lui presente l'evenement INVENCAO qui a ete accueilli avec beaucoup d'interet. L'equipe d'ART 3000 de Paris, promoteurs du prochain Symposium ISEA2000 ne pouvaient etre presents a l'AGM, mais un resume de leur proposition a ete presente. La reunion s'est poursuivie avec les dernieres mises a jour de la part des membres et une discussion ouverte. Le theme des archives du Symposium a particulierement suscite l'interet. Afin de recevoir les minutes detailles de l'AGM, veuillez nous contacter au firstname.lastname@example.org. Elles seront bientot disponibles sur le site internet d'ISEA. REUNION DU CONSEIL D'ADMINISTRATION Le nouveau conseil d'adminstration a tenu ses reunions deux jours avant l'ouverture du Symposium. Voici le resume des principales decisions : * Trois postes ont ete nommes : Alain Mongeau et Tapio Makela agiront a titre de co-presidents; Amanda McDonald Crowley devient la secretaire et Kathy Rae Huffman est nommee comme tresoriere. * Des groupes de travail autour de problematiques precises seront crees. Ces groupes seront composes d'un a deux membres du CA; d'un-e employe-e du QG et d'un a deux membres du comite-conseil international (IIAC). Les mandats seront bien definis et concentres dans une courte periode de temps. Les sujets d'interet sont les suivants : * Symposiums * Membership * Publications * Chapitres et affiliations internationales * Diversite culturelle * Financement Les resultats des comites de travail seront annonces et discutes lors de la prochaine reunion "physique" du CA prevue pour fevrier 1999. Les developpements et conclusions des groupes seront publiees dans le Bulletin. À suivre. ISEA WEBCAST htttp://www.isea.qc.ca/webcast98 Nous aimerions remercier toutes les personnes et les artistes qui ont participe au projet et plus particulierement nos partenaires : Liverpool John Moores University, Manchester Metropolitain University, Cinematheque Quebecoise, l'Alliance de la video et du cinema independant, Champ Libre, Technoboro, Studio XX, SugarRush and Videographe. Feliciations a l'equipe : Valerie Jodoin, Sylvain Robert, Bernard Schutze, Maria N.Stukoff et Eva Quintas pourle volet de diffusion a Montreal Et merci a nos collaborateurs : Adrian Challis, Michel Lefebvre, Sanjvi Menezez, Annick St-Louis, Mark Waugh et Pierre Zovile. Le site du WEBCAST98 subit actuellement une mise a jour et un lifting car il sera officiellement presente dans le cadre du FCMM - le Festival international de nouveau cinema et des nouveaux medias de Montreal qui aura lieu du 15 au 25 octobre a Montreal ** Pour plus d'info, lisez le rapport de Maria N. Stukoff's dans la section ISEA98 Report section ** ****************************************** ISEA NEWS ****************************************** NEW SUBSCRIPTION DISCOUNT FOR ISEA MEMBERS ! Mediamatic Magazine http://mmol.mediamatic.nl/index.html The accelerating convergence of modern media has created a maelstrom in which hype and relevance are difficult to distinguish. Located in the eye of this maelstrom, Mediamatic's strong philosophical and historical roots allow it to offer you a perspective on and participation in this digital 'third culture', where art and technology merge. Established in 1985 as a meeting place for video artists and TV dissidents, Mediamatic Magazine has evolved into today's sophisticated and beautiful quarterly on art and media and the changes being wrought by techno-culture, hypermedia and virtuality. Mediamatic focuses on understanding what's going on with our culture rather than boring you with the latest corporate mergers or technological breakthroughs. It is a magazine for literate people. Each issue has a theme, such as Storage Mania, Home, or Religion. Articles are commissioned in which playfullnes and freedom of thought are employed to produce unexpected insights. Mediamatic fosters the uncommon rather than the common. Its raw material is the text of theory: analysis, polemics, experimental theory, speculations and sometimes pure fiction. Authors from Europe, Japan and North America examine the themes through the filter of Mediamatic's only assumption: New media are changing every facet of human endeavour more rapidly and more deeply than one can guess. Next to the World Wide Web publication on the Internet, Mediamatic Magazine is also published in print plus CD-ROM. This printed edition is available by subscription. For more information on your ISEA membership discount to subscribe to Mediamatic, please contact the ISEA HQ: email@example.com ****************************************** LEONARDO SUBSCRIPTION DISCOUNT FOR ISEA MEMBERS LEONARDO, the leading journal for anyone interested in the application of contemporary science and technology to the arts, is now available to members of Inter-Society of Electronic Arts (ISEA) at a special discount price of $57.60 This is 20% off the journal's regular rate and includes the companion annual journal, LEONARDO MUSIC JOURNAL. Founded in 1967, LEONARDO provides an international channel of communication between artists and others who use science and technologies in their creations. The journal covers media, music, kinetic art, performance art, language, environmental and conceptual art, computers and artificial intelligence, and legal, economics, and political aspects of art as these areas relate to the arts, tools and ideas of contemporary science and technology. LEONARDO MUSIC JOURNAL (including compact disc), features the latest in music, multimedia art, sound science and technology. TO RECEIVE THE SUBSCRIPTION FORM, PLEASE EMAIL US AT: ISEA@ISEA.QC.CA ****************************************** ISEA98 REPORTS ****************************************** ISEA98 Terror by Gina and Eleanor On the fifth of September, isea98 brought: 12 Volunteers 11 Ace technicians 10 IPC bods 9 Keynote Sessions 8 Programme Sections 7 Lecture Theatres 6 Breakfast Sessions 5 Hundred Bags 4 Air-struck speakers (Thanks to Air Canada!) 3 days' terror 2 tons of bumf and made John Hyatt very happy! Here are some terror statistics for those of you interested in such things: We had 650 badges cut - and five left over afterwards. That means we badged a glorious 645 people, delegates, guest artists, our team and all. We gave away 490 delegate bags. We gave away all our International Bursaries - 25. We gave away 103 National and Local Bursaries of the 100 we had available. (That's what comes of putting me in charge!! Seriously, we gave some to artists who brought working partners/colleagues with them on the day, so rather than turn relevant bods away for the sake of bureaucracy.......) We served about 1000 complimentary cups of tea and coffee - and 2000 or so rather nice biscuits - during Coffee Breaks. We got through 500 assorted Danish Pastries, Croissants etc, and about 700 cups of tea and coffee at the breakfasts on Sunday and Monday. We welcomed over a hundred presenters and chairs for sessions. We had one technical requirement not mentioned in advance. We covered it. We had one small fire that wouldn't light - and we hope Peter Appleton is now fully recovered!! We lost our scissors. If you're the one who kidnapped them, I'd like you to know how much flak I have taken from Eleanor for lending them out and not getting them back - LOTS! We had a wonderful three days, met some lovely people and enjoyed every minute of isea98terror. We were delighted with the atmosphere of the Symposium, as well as the technical side of things. And finally - for now! - our very sincere thanks to each and every one of you for attending, taking part and being such very nice people. We plotted and planned for ages, we tried to think of everything, we worked day and night BUT, without you, it would have been for nothing. We would have been all alone in the GMB!! Thank you for your open minds, generous natures and willingness to carry psychedelic bags! Here's to next time - whenever that may be! :-) :-) Gina (and Eleanor!!) ****************************************** WebCast Isea98 : From an Alien Perspective. by Mark Waugh. The net is littered with casualties of the new electronic ether. Barely updated data moulding and rotting with obsolete buttons and add ons. Bienvenue a La Fin De Siecle; un, deux, trois. We are shot to bits and bytes of our former selves. I was a media mercenary hired by by Isea98 to cut an objective report on behalf of Rhizome. I was a double agent, switching positions and points o view. Now I am a multiplicity and underground in burial mounds dissecting a long cold corpse with a blunt incision. Incision 0.1 Opens an aquestion, "Would I have watched?" Speaking like a lunatic I reply, "I don't know!" "What do you mean? Asked the interrogator. "If I was on a date in Montreal and some set of lips espouses the options; Gentlemen Prefer Blondes, je ne sais pas, or a webcast of a digital arts festival in Liverpool. I think that prejudice might not give the latter favourable odds!" Incision 0.2 Cut to the action of accumulating assets @ Isea98. We detest the monumental attendance to the download. We operate at terrible speed. Rushing like drug fiends around the sites. Shooting everything but the dumb stuff that you can see a mile off. As a mercenary I found the Webcast crew were no hinderance to my mission. They were pro, dressed to fuck and fast on their toes. The hardware they were operating was not up to speed and they coped with that courageously. I was kitted out with a name brand DV camera that was X rated in every situation. Incision 0.3 Now we can see the wound. Realvideo is part of a future-archaic universe that stresses about bandwidth. Like I give a fuck. TV is in the detail. But it is nowhere near fast enough to keep up to speed with some of the freaks out there in the warzone. Ricardo Dominguez: He was a face to face off at speed and he danced like Fred Astaire. When the debate strays into intense zones of intimacy and speculative disinformation we mercenaries know our targets. Mission control code name MARIA kept us posted. We were operating in smalls cells on a vast plateau. Those we didn't engage were in hiding. Incision 0.4 Everything is propaganda. Bluntcut are media mercenaries who navigate through virtual battlefields. Art is no longer safe from the collateral damage of stray missives. Thoughts weep in memory of missive alinements. Pixilated scars delay the return to the main menu of the corpus. The corpus @ rest is never stable or motionless.. The corpus is under siege from engines of translation and dissemination. The Isea98 webcast site is a corpus is possessed by mediums. I return only to see the dead talk. These are phenonemal times to be mourning the zero's and ones. http://www.isea.qc.ca/webcast98 ****************************************** Mark Waugh for Rhizome Lassie comes home @isea98 Last night me and grunts hit the delerious streets of Liverpool after the last event we were supposed to cover for the webcast was blown out . Three fire alarms were a little over sensitive to the smoke of Corps Indice. Suddendly the revolution looked like a Cheech & Chong flick. We were down in China town but the Ma Bo was closed. We were burning all our bridges and ankles were wet with the sweat of the forced march. The truth is out there but we were on a devious trip into the menu of some Italian eatery dissing the open tomes of post modernity and trying to get pizza without digital rendering. We eat and intimate to our new Bulgarian cohort, Olga, that though she has lived through the hazards of a Communist state, we are zen masters of Groucho Marxism and spread the parmaesan heavily, she tolerated our uptopian and mal adjusted spirits and translated various conceptual toasts into Bulgarian. Thursday night and Liverpool is a weird place to be getting drunk. The Revolution bar is packed with Stalin's daughters and Lenin's sons. The boys are wearing shirts and say nothing about the installation art the has trapped us in their rich alluvial mudflats. Instead they watch us suspiciously as the girls decode our venal glances. The suburbs of the digital city are the cul de sacs of desire. Our platoon moved out of the Revolution and into the belly of the Buluga. Greg Garvey was in there and he downloaded his Gender Bender software and one of the longest e mail addresses on planet earth. It was not until this morning that any of this made sense. I was sitting in the main theatre of LIPA and Dave Toop was live on stage, cracking a stream of solliliquies like Seven Eleven were giving them away with Rizlas. And then Lassie opened an eye inquisitively and commented... Rtmark Having encountered one or two delegates who were flagging on the verbal floors of isea98 I decided to risk an encounter of the pure tongue based stuff. Masticating the encyclopaedic contents of the lecture list, with its assorted menus and obtuse abstracts, I came across that old favourite Rtmark. I asked around to confirm it was on. Luckily Sean Cubitt was down with state of collapse assuring me that Rtmark were present but anonymous until their new time @ 3.00pm. I sneaked in with fellow mercenary Bernard Schutze and we made our way to the back of the very plush seminar room. This option allows you to snigger and heckle from behind a barricade of dumber punters. These precautions were not necessary as Ray Thomas was a sophisticated and attractive avatar of the Stockbrokers of subversion. She explained the process of accumulating stock in the form of subversive potentials, anything which satisfies the agenda of destabilising corporate culture. She then outlined the various levels of investment that allow cash to be floated until a suitable project is selected for funding. In the past Rtmark have funded Info War, the rearticulation of Barbie and Action Man, the phone in sick day and Deconstructing Beck. All of these projects were reviewed on their video which was also another source of funds although me and my trooper persuaded the lovely Ray to let us copy it off for the webcast for nothing appropriating her assets stripping rhetoric. Keith Piper (British) "Robot Bodies" Another work from the resident alien of British video art. Described as "an exploration of the metaphorical relationship between the image of the robot and black people in science fiction and popular culture." It is an installation that engages in a slick archaeology of the future past. Sojourner Truth, a six wheeled robot landed on the surface of Mars in 1997. The robot's name was derived from an ex- slave. This was Piper's line of flight. The interfaces are further testament to Piper's engagement with ROM couture. The ensemble of decks sit in a cage that replays the signature of slavery forcing the player to see the world through bars. The Tea Factory. Obvious though it might be this place used to be a tea warehouse. It is a vast space that has been furnished with cubic rooms for the installation works during The Revolution. Dream no. 36 by Imanol Atorrasagasti & Yan Duyvendak. (sw) This work is a curiously engaging hybrid of hi and low tech. A series of photographs projected with a soundtrack drift and trip across the twilight in the near dark of dreamtime. Their style is quite kitsch evoking the work of Pierre et Gillles but their narrative is very oblique and genuinely disturbed. Digital String Games by John Fairclough & Maureen Lander (nz) Sometime back in the twenties mr Duchamp did a lot string. Back in the late 80's clubs all over the UK got hip to the uncanny atttractors between coloured wool and UV lights. Developing this little known or discoursed upon practice this work uses string as a metaphorical interstices between digital games both present and future. Millenniumania by Nina Fischer & Madroan el Sani (ger) This is a great idea. People in different cities walk at different speeds everyone knows this. The beat of the street in London is not the cadence of Paris, la la and bla bla. This work takes this concept and then twists it some. In a constantly revolving 360 degree screen-installation the mean speed of pedestrians in different time zones dictates the speed of the film. In effect you get an endless race between power walkers and slack strollers with their velocities displayed in metres per sec. Pursuing Paradise by Nelia Just (australia) I saw these weaving frames when the gallery was being put up and was taken by their fragile and delicate appearance. They look like someone had unwound an old fashioned tuner and used the copper wire to start some mutant embroidery. They also make a noise. What more do you want? Retinal Burn by Luke Jerram (eng) This is a viciously engaged attack on the geometrical prejudices of most artists. The image is ultra transient. A memory that refuses recall. I opened the curtain to the room which said, "One person Only" or something to that effect. Out popped the one person and I wished she'd been into a subversive occupation of the warzone but some things are OK in the dark as solo pleasures. Suzanne Treister (australia) This hypertextual narrative wigs it's way through issues of auto-identity in a smooth and slyly sexy way. Over a year a half in construction it is part of the click and chip set. ****************************************** WEBCAST 98 Maria N. Stukoff The Team How do you prepare for an international WebCast project in a place you have never seen, not sure what the equipment will be able to achieve under heavy scrutiny, unaware of institutional guidelines and knowing that once you just settled in, know all the little bugs in the production facilities, you have to move to another production space, yet even another city and start all over again? And if that is not enough, there are two WebCast working in parallel, in collaboration, one at isea98 and one in Montreal, with all the isea98 material to be re-located and translated for the electronic magazines to be screened from the web site to the waiting desires of the Montreal audience The answer to this question is most convincing. A team crazy enough to take on these challenges, work with the limitation given and at best turn the most chaotic situations in to a productive space to bring out the best information on isea98!!!! We were very fortunate also to have additional team support from Mark Waugh, working, weaving and mingling his way through the symposium and exhibitions. And although his task as an independent eyewitness and a correspond to our affiliates: Rhizome, was to review and infiltrate the isea98 stronghold, he immediately become a full-fledged ISEA WebCast member ready to do battle for us. Likewise was the support and know-how of Adrian Challis, a Liverpoodlian editor and artist who's willingness and availability to be in the hot seat and do whatever needed picking up from the floor, he was there. He drove the team to shops and places we would have taken hours to even find on the map! A definite plus for us to have a local enthusiast on our side. To keep the pace in working order, to have a smooth effect on the excitable and the weary, Daniel Schuetze came from Paris just to be there, to experience and help with filming and reporting. Little did he know that he also would become a full time WebCast member unreplaceable and providing a stable base for moments of irrational behavior. To boost our archives and screening content we have much to thank Mark Haig, who directed the revolution98 exhibition documentary. He spent many hours copying interviews and visual material for the WebCast, which he had obtained and directed prior to the webCast's arrival. In this collaborative exchange we were able to broadcast information we otherwise would not have had for your interests. In Montreal, Eva Quintas hosted and co-ordinated the WebCast broadcast and exhibitions by the Montreal media arts organizations. A lively and exciting two day program was created in Montreal to both respond to and exchange to the isea98 themes. Special thanks to Michel Lefebvre who was also in Montreal writing and translating the information from isea98 into french. Other collaborators took part in the WebCast project. From Sofia, Bulgaria, reporter Olga Miltcheva was granted permission by her TV station to attend isea98, in her quest to learn more about electronic broadcasting and review the electronic media art. In her Cultural-Arts program she will be broadcasting segments about isea98 over several months. The ISEA WebCast project was put together on-line by Sylvain Robert and Valerie Jodoin who were responsible for the creative design and processing of all the information we received. Bernard Schuetze complied and wrote reviews of his navigation through the isea98 cities, spaces and faces and Maria Stukoff spend time placing a puzzle into place. Webcast Program : The programming for the WebCast98 took place two months prior to the isea98 event. In this time the isea98 organizers were able to provide us with the necessary information on the exhibitors and presenters who were to attend isea98. During these two months, the Montreal WebCast partnership took shape and a WebCast program was curated to both respond and criticize themes presented by the Montreal webCasters and reflect some of the discourse to take place at isea98. Three specific electronic magazines were created: Revolution - Terror: isea98 presenting ideas surrounding these thematics and their effects on both culture and communities. Collaborative efforts in Cyberspace investigating gender roles in new media art practices, performance aspects with interactive technologies and debating collaborative projects. Networks -Frameworks explored on-line communities, live net broadcasts in which the WebCast was also situated. Project Review: The WebCast broadcast in Montreal was a great success and a huge achievement by the ISEA WebCast team. Other organizations took a great interest in our production and frequently asked questions about the logistics involved to set up a WebCast project. So watch out for more on-line archives and live presentations in the future. We are still in the process to up-date and complete the WebCast site and it will be available for the next few months. Projects are currently being discussed to re-develop the WebCast material for a CD ROM publication with interviews and works not available on-line. ****************************************** ISEA98 SWINGS Wim van der Plas The Ninth International Symposium on Electronic Art, ISEA98, was a very successful event. It was unusual in the sense that it took place in two different cities, both Liverpool and Manchester and that it took place from Wednesday to Tuesday (September 2-7), instead of the usual Monday - Saturday schedule. The latter caused me, for one, to miss the complete second half (the Manchester located events) but I heard that was good too. There were more deviations from the regular series of ISEA symposia, some of which I regret. There was no program of workshops and tutorials that usually takes place preceding the actual symposium. And also, it amazed me very much that still images were left out of the exhibition program almost completely (except for the exhibition in the Liverpool Tate Gallery on the Irish photographer Willie Doherty, whose work is impressive, but hardly has a connection to electronic art). I hope the omission of still images has no connection to the theme of the Liverpool section of ISEA98: 'Revolution'. If the still image is considered to be exclusively part of the pre-revolutionary period, I don't want that revolution - we might as well throw away all of art history. A look at the symposium program proves me wrong. In fact, Mary Stieglitz gave a lecture on "the intersections of photography with painting in the 19th century, and with computers in the 20th century", which was an eye opener. Looking at the history of photography and the way (analogue) images have been manipulated right from its birth, there is very little revolutionary about most digital imaging and/or digital photo manipulation. Also, a truly 'revolutionary' interactive web based art project like TechnoSphere, where creatures can be composed by remote participants, that next live an artificial life interacting with other virtual creatures at the web site, depends on the 19th century concept of the post card to function. The web site doesn't show the adventures of your creature, you get a postcard or an email message telling you what it's life is like. Actually the consequent interaction of the creators with each other, via email, is more interesting than the simple adventures of the synthetic creatures. I still think email is the more interesting and, if you like, more revolutionary development as far as the Internet is concerned, compared to the WWW. But the progress of technology may still change that. Jane Prophet, one of the founders of TechnoSphere, also showed work of her new CD Rom. Talking about still images! This was a photo comic book on CD-Rom, like the ones published by old fashioned woman's magazines, where the -usually medical related- characters in the photographs have text balloons coming out of their mouth. Interestingly, Prophet used the photographs in existing medical CD Roms to put them in a different context. Nice work, but hardly 'revolutionary'. As a whole, I thought the Revolution theme to be much too pretentious. The intentions were interesting, but the character of an ISEA symposium is not fit for too much emphasis on a theme. If you want to treat a subject like this in the right way, you have to invite speakers (rather than the juried approach of ISEA) and (with a theme like this one) you have to aim at sociologists, computer scientists and politicologists as well as at artists. In that sense, I found ISEA98 to be a bit of a missed chance to incorporate more scientists into ISEA. After all, ISEA was founded with the aim of bringing the worlds of art and science closer to each other. Having said this, I must immediately add that I was impressed by the key note given by Coco Fusco from New York, who herself is a rare example of the fusion of art and science. She is a successful 'interdisciplinary artist' (as she phrases it), as well as a lecturer on art, media and cultural politics. She gave a very critical lecture on the relation between the so called increased freedom, caused by the development of technology in the West and the real circumstances of the people who produce this technology in third world countries. Question from the room after she finished: "There is no such thing as an autonomous gesture?". Answer: "No, there isn't". What made ISEA98 one of the best ISEAs so far for me, was the nice feeling the combination of lectures, exhibitions, concerts and performances created, all located within walking distance from each other and often in a logical order, like the successive opening of three exhibitions on Wednesday night. Liverpool proved to be an excellent location for an ISEA symposium, since all the industrial archeology has been renovated and turned into galleries, bars and discos. It will be hard for ISEA2000 to create this feeling in a city the size of Paris. Maybe this will be their greatest challenge. I already wish them good luck. ****************************************** ISEA98 by James Faure Walker Published with the kind permission of CGI magazine (Computer Generated Imaging),UK. Ten years ago the first International Symposium on Electronic Art (ISEA) took place in Utrecht. This year ISEA came to Britain for the first time, divided between Liverpool and Manchester. My guess is that the phase we are now in is best described as implosion. We are beyond the expansive phase of "artists exploring technology". Like the software upgrade that reaches a plateau of novelty add-ons going nowhere, today's installations and web sites stake their claim through spiced up content. The consensus - from this event at least - would be that eye-candy matters less than social "commitment". At previous ISEA conferences - Montreal 95 was the apotheosis - a hushed euphoria greeted the first major VR pieces - Jeffrey Shaw, Brenda Laurel, Char Davies. These were visionary works, breakthroughs into uncharted cyberspace. They were optimistic and holistic in ambition, free of the irony and caginess of the post-modern. Maybe they were New Age. At the time there was some disquiet - what of cyberspace for dogs? someone asked. Critics wanted a dirtier cyberspace, not just real time but real world. In Liverpool the standard format was the video installation - one or two video projectors, a mouse on a pedestal. If you'd expected something like immersive Tekken 3 but with chimes, kaleidoscopes, and Tai Chi instead of all that fighting and racial stereotyping, you would have been way off. These installations had their humans and cyborgs, but standing still like static specimens in a low-end slide show. To qualify as being critically engaged (what in the conference was called the cultural critique) you must allude to an "issue" or two - the body, gender, identity, race, genetics, surveillance, colonialism, sinister technology. Whether this leaves you with bubbling creativity or the tedium of stereotyped thinking is a matter of opinion. Confused by a laborious touch-screen that simply triggered a CD of projected videos called "Black Box" , and then produced sound without vision, or vision without sound, and fizzling, jerking images at that, you look for a loose cable. What is supposed to happen is explained on the wall. It's a "powerful and poignant reminder of the fragility and uncertainty of our increasingly technological existence". If it doesn't work it must be art. That used to be the excuse. Nowadays if a CD can't get the point across pretty smartly I'm not hanging around. 'New Media' artists need a better feed-back loop telling them how much is actually getting through to an audience. They compete with slicker commercial products, and also with an art mainstream where communication is all. One room at the Bruce Nauman video exhibition at London's Hayward Gallery had these monumental heads projected on the wall - the same person- chanting the same phrases over and over. That was sublime stuff, the real thing. No back-up text with planted insights required. The most exciting and extreme work at Liverpool was produced by the Austrian group Granular Synthesis. They performed in the Cream Club ambience where sound and visuals approach pain thresholds, with low frequency audio and an array of six manically vibrating and strobing images of a woman's face. Lasting forty minutes the blast of electronic sound and the looped video of the woman - like a psychotic image, catatonic, frantic, unable to make contact- builds to a crescendo and then gradually relaxes. It had much in common with Nauman's confrontational close-ups. Keith Piper and Gina Czarnecki showed works in this same late nineties genre, skinhead hi-tech, grainy humans stripped bare and stared at by an impassive video. The twin conference themes of Revolution and Terror made more sense when I found the 'Revolution' bar with the Lenin decor. This signalled that the radicalism had less to do with cultural cleansing than with novelty pizza. Electronic artists used to be rare and isolated specimens, and if not revolutionaries they were at least idealists driven by curiosity. Gone are the programmers with pebble-glasses, the pioneers who had to build their own machines, the originals with something truly weird to show - like Stelarc. Now it's the turn of the digital professionals - media studies lecturers, cultural scouts commissioned by the Arts Council, a scattering of artists and self-styled anarchists who talk of funding strategy and web avatars. They are the primary - and it sometimes seems - the only audience. It is like a convention on comedy that has forgotten how to laugh. There's no mini animation festival, no sense of visual adventure, just a book stall groaning under the weight of critical texts. Only when lecturers showed student work did you catch a glimpse of the reckless vitality, bad taste, and outrageous extravagance that drew most of us to computer graphics in the first place. On the plus side the really inspired works looked very much better for breaking free of the thought control. Kevin Atherton, whose background is performance art and is now part of small VR set-up at Chelsea, presented Gallery Guide, a parody tour of an exhibition called four artists and a toilet at a virtual Serpentine Gallery. The clever part was how the rudimentary 3D could model something like a cube of smoke blown by fans, or a slide projection of clouds, just the sort of thing that routinely prompts a monologue on the semiotics of space. Steve Mann (http://www.wearcam.org) also has roots in performance. His idea is to be a mobile web-linked surveillance system. In his 'virtual' presentation - he was in Toronto where it was 4.30 a.m. - we saw what he saw, with cameras strapped to his head. His normal technique is to go shopping wearing his personal surveillance system and check out the store's systems. Invariably the security staff try and stop him videoing their cameras, which prompts him in turn to communicate via mike and net with his "manager". It's a beautifully thought out and wildly disproportionate response, a genial act of vengeance. Perry Hoberman's "System Update" installation at the Cornerhouse, Manchester, was a classic of interactive art, like playing Rubik Cube with furniture. A dozen primary coloured boxy shapes are full-scale models of beds, sofas and tables, laid about on a circular platform. The same shapes recur as toys on a turntable, and also as 3D forms on the monitor. A projected video combines all versions as overlapping layers. It's hard not to get involved, experimenting with different lay-outs and correspondences- you can also swivel any of the platforms around. If other people are playing you can be a wrecker or a collaborator. Like a game it's an exercise in role play, and you get engrossed without feeling you are being pressured to interact. It aerates all sorts of ideas about controlling and mapping objects. There's no heavy agenda, just the simple three-part structure unravelling like a fugue. ****************************************** INFO ****************************************** TRACE INTERNATIONAL ONLINE WRITING COMMUNITY The trAce Online Writing Community connects writers everywhere and already has members in 18 different countries. We wish to appoint the following to help us spread the word: 1.Virtual Research Fellow/Writer-in-Residence. 18.5 hours per week for 6 months. Supporting trAce members everywhere. This post operates entirely on the internet and the person appointed may be resident anywhere in the world. You will already be experienced in working and collaborating on the World Wide Web and you will be expected to facilitate a lively and interactive online literary community. Post Ref M0273. Full details at http://trace.ntu.ac.uk/posts/vwr.htm 2. Research Fellow/Writer-in-Residence. Full-time for 6 months. Based in Nottingham, England, you will use tutorials and group workshops to provide a point of interaction for local and international writers working on the internet. We expect that you will be an experienced author and already experienced in working and collaborating on the world wide web where you will facilitate a lively and interactive literary community. Post Ref M0526. Full details at http://trace.ntu.ac.uk/posts/wr.ht Please contact Personnel Services on 0115 948 6522 The salary for both posts is £14,148 pa (pro rata where applicable) Closing date 27 November 1998. Please quote appropriate post reference. the trAce International Online Writing Community http://trace.ntu.ac.uk Nottingham Trent University Clifton Lane Nottingham NG11 8NS ENGLAND Tel: +44 (0)115 9486360 Fax: +44 (0)115 9486364 email: firstname.lastname@example.org ****************************************** Arts Council of England Visual Arts Department: SMALL GRANTS FOR NEW MEDIA Small Grants for New Media is a special funding programme within the Media Publishing scheme run by the Visual Arts Department of the Arts Council of England. The scheme is run by the Photography and New Media team in collaboration with Artists' Film and Video and Architecture sections of the Visual Arts Department. This collaboration has come about in recognition of increasing cross-overs and convergences in practice across these areas. The fund aims to support small-scale art projects that experiment with and extend the possibilities of distributable or distributed forms of new electronic media. The scheme is in its second year. Details of the awards made in the first round of the scheme can be found on: http://www.artscouncil.org.uk/departments/VA.htm#devfunds Purpose of the Scheme Small Grants for New Media aims to encourage the production of original, innovative art works that have been made specifically for distributable forms of interactive media. The fund will support modest scale but experimental projects with relatively short production timescales, which have the potential to make a significant contribution to the development of the new media as new creative sites and forms. The fund aims to support experimentation and innovation, but also to ensure that projects have the widest possible impact and visibility. Therefore, marketing and distribution strategies should be a key part of any application, and these too should show an innovative approach and awareness of the characteristics of the new media and their audiences. Eligibility Applications should come from small groups or partnerships within which there is some demonstrable ability and expertise in managing project promotion as well as production. Projects could include but are by no means restricted to: artists' web sites, virtual environments, multi-user spaces, netcasting or other networked projects, small-scale interactive narratives, innovative interactive image/text works, artists' games, software, screensavers. Distribution formats could include floppy disks, CD-ROMs, web-sites or other networked forms. Projects that comprise research and development towards a larger project may be considered if there is a finished and distributable outcome of the development stage, and if there is a demonstrable opportunity for further funding. Applications for "completion" funding for the publication of a project already underway can also be considered. The scheme will *not* support projects that are primarily documentation or archiving of works made for other media. Projects should aim for completion by or before June 1999. Criteria for assessment Applications should demonstrate: * A motivation to explore the new media as enabling new forms of artistic production and sites for communication, rather than being led primarily by technological experimentation. * A critical understanding of the new media and a clear outline of the ways in which the proposal extends their potential. (Projects involving a substantial amount of text are eligible if they meet this criteria). * A strong and innovative promotion, marketing and distribution strategy, and a partner in the application overseeing this aspect, i.e. acting as the "publisher". A sub-committee made up of members of the Visual Arts Department's Publications Committee, Artists' Film and Video committee and Architecture committee will assess applications. Decisions will be made in November 1998. Finance and Conditions Grant money should be spent directly on costs involved with the production and distribution of original media art works. Items of expenditure may include: fees for artists and collaborators e.g. specialist programmers, musicians and designers, packaging, marketing, purchase of additional hardware or software to a maximum of 2000, distribution, marketing and promotion, ongoing technical support and facilitation for a specified period. Matching funding should be 15% or higher, and can include: sales, other grants and awards, sponsorship and help-in-kind for example: donations or use of equipment, technical support, server space, free use of pressing/duplications facilities, donations of carriers e.g. floppy disks, CD's. You will be offered 90% of your grant on acceptance of a formal offer and the remainder shortly after the completion of the project on receipt of a statement of income and expenditure and an evaluation report. Should there be any change in content, outline, finance or schedule of the project, you must let us know in writing at once. You will be expected to include an acknowledgment of Arts Council funding on all distributable media and publicity. Guidelines regarding this will be sent to all successful applicants. Applications Please use the Photography and New Media application form available from the Visual Arts Department. You may supply a separate budget itemised appropriately to your project. Papers must be submitted loose-leaf and unbound (ready to photocopied). Please send a copy of your application to the relevant officer of your Regional Arts Board. Supporting Materials Supporting materials to your application may include slides, web sites, CD-ROM's, floppy disks, video tapes, sketches of interactive structures and/or interfaces. It is essential that you discuss your supporting materials with the Visual Arts Department officers named below who can advise you on what would be most appropriate. Maximum Award: 8000 UK pounds Grants will normally be in the range 3000 to 6000 UK pounds Planned Allocation: 45,000 UK pounds Deadline: October 12 1998 It is highly recommended that you discuss your project with Andrea Davidson, Lisa Haskel or Amanda King before you submit an application. This will ensure that your application is eligible for the fund, is well budgeted, and that supporting materials are appropriate. For further details contact: Andrea Davidson Lisa Haskel Amanda King Visual Arts Department Arts Council of England 14 Great Peter Street London SW1P 3NQ Tel: 0171 973 6474 Fax: 0171 973 6429 email: email@example.com firstname.lastname@example.org email@example.com ****************************************** JOB POSTINGS ****************************************** TEST digital research facility has the following vacancy available: Technical Officer - £18K PA TEST Digital Research Facility is looking to appoint a Technical Officer for its public access facilities. The Technical Officer will be responsible for the maintenance of the facilities, and be able to offer advice and training to TEST users. S/he will be able to use a range of software and operating systems, including MacOs, Win 95/98 and NT, Photoshop, Director, Avid, After Effects, Flash, Dreamweaver and others. Knowledge of designing, writing and maintaining Web sites is also desired. more information and job specification is available at: www.test.org.uk or by e-mailing Matt Locke: firstname.lastname@example.org Closing date for applications: October 9th 1998 Matt Locke Artistic Director TEST a new digital arts research facility opening late 98 T:+44 (0)1484 431289 F:+44 (0)1484 513739 E:email@example.com www.test.org.uk ICQ:11157918 ****************************************** Audio Artist/Musician. The School of the Art Institute of Chicago. Full-time, tenure-track, rank open. Sound department seeks practicing audio artist/musician with experience in one or more of the following: digital/analog electronic production techniques, experimental instrument design and construction, improvisation, sound installation, and sound for internet or multi-media presentation. Candidates should be familiar with current critical discourse as well as with the history of audio art and experimental music. Candidates should be comfortable working with sound and music in the context of a variety of artistic disciplines. MFA or other terminal degree or equivalent experience as well as college-level teaching experience required. AA.EOE.WMA. Send letter of application; resume; documentation of work (audio cassette or DAT, VHS/NTSC videotapes, slides, CDs or CD-ROMS, written materials); names and addresses of three references and self-addressed stamped envelope by February 1, 1999 to: Sound Search Committee/em1, SAIC, Dean's office, 37 S. Wabash, Chicago, IL 60603, USA ****************************************** CALLS & EVENTS ****************************************** 1. [Call for Proposals] DIGITAL TRACES: NAVIGATING INTERACTIVE DOMAINS Pittsburgh, PA, USA Deadline for entries: October 30, 1998. 2. [Call for Pre-Proposals] RESEARCH IN CONSCIOUSNESS STUDIES Tucson, AZ ,USA Deadline for entries: October 30, 1998. 3. [Call for Works] THIRD INTERNATIONAL VIDEO SUMMIT VIDEOMEDEJA Novi Sad, Yugoslavia Deadline for entries: November 1st, 1998 4. [Call for Proposals] INVENCAO ITAU Cultural Institute, CAiiA-Star, ISEA, LEONARDO Sao Paulo, Brazil Deadline for submission of abstracts: November 30, 1998. 5. [Call for Papers] INTERNATIONAL HYPERTEXT COMPETITION presented by Alt-X and trAce, UK Deadline for entries: December 31st 1998 6. [Call for Papers] EXPLORING CYBER SOCIETY Newcastle, UK Deadline for entries: January 1st, 1999 7. [Call for Participation] DBONANZAH http://simsim.rug.ac.be/dBONANZAh/ 8. [Call for Proposals] INTERNATIONAL FILM FESTIVAL ROTTERDAM/EXPLODING CINEMA " Digital New Wave " Rotterdam, The Netherlands 9. [Call for Participation] THE INFORMATION: INVITATION Dooley Le Cappellaine New York, USA 10. [Call for Participation] The NOON QUILT THE trAce ONLINE WRITING COMMUNITY, UK http://trace.ntu.ac.uk/quilt/index.html 11. [Event] IEEE VISUALIZATION 98 Research Triangle Park, North Carolina, USA October 18 - 23, 1998 12. [Event] ARTLAB8 "SOUNDCREATURES" BY ARTIST KOUICHIROU ETO October 17 - November 1, 1998 Tokyo, Japan October 17 to November 1, 1998 13. [Event] ON/OFF + ACROSS A One day Conference exploring the issues of Language, Identity and New Technologies. November 7th 1998 London, England 14. [Event] MANAGING CONTROVERSY: THE CHANNEL FOUR SUCCESS STORY aka Stuart Cosgrove Tells All The New Media Institute at The Banff Centre for the Arts, Canada November 14 & 15, 1998 15. [Event] DEAF98: THE ART OF THE ACCIDENT Rotterdam, The Netherlands November 17 - 29, 1998 16. [Event] DOORS OF PERCEPTION 5: 'PLAY' Amsterdam, The Netherlands 26, 27 and 28 November 1998 17. [Event] IN (BETWEEN) THE IMAGES Moving Images in Their External And Internal Expansion Graz, Austria December 4 to 6, 1998 18. [Event] "IMAGE|ARCHITETTURA IN MOVIMENTO" International Festival for Architecture in Video Florence, Italia 9-13 December 1998 ****************************************** 1. [Call for Proposals] Digital Traces: Navigating Interactive Domains Pittsburgh, PA, USA Deadline for entries: October 30, 1998. The Pittsburgh Center for the Arts is currently accepting submissions and proposals for a 1999 exhibition entitled Digital Traces: Navigating Interactive Domains. Digital Traces is a cross-disciplinary examination of interactivity in both screen-based and real-world environments. Proposing interactivity as a medium, we will examine new forms and experiences in the culture industries, including art, media and entertainment, as well as the larger societal impact of new modes of communication made possible by the Net's reconfiguration of real-world time/space relationships. The exhibition will exist as gallery installations and terminals, printed catalog, and web site. Submissions and proposals for all three forms from those constructing, critiquing and theorizing interactivity are encouraged. Please submit relevant information and materials - URLs, CD-ROMs, documentation, essays, abstracts, etc. - along with any technical and budget requirements to: Digital Traces Pittsburgh Center for the Arts 6300 Fifth Avenue Pittsburgh, PA 15232 USA URL's and inquiries should be sent to firstname.lastname@example.org. All materials must be received by Friday, October 30, 1998. ****************************************** 2. [Call for Pre-Proposals] Research in Consciousness Studies Tucson, AZ ,USA Deadline for entries: October 30, 1998. Consciousness Studies at the University of Arizona is currently seeking research pre- proposals that address issues related to the understanding human consciousness. Proposals will be accepted that touch on the following disciplines and will be judged on the basis of quality, originality and relevance. Interdisciplinary proposals are especially encouraged. 1) Philosophy 2) Neuroscience 3) Cognitive science and Psychology 4) Physical and biological sciences 5) Experiential approaches 6) Culture and Humanities Submissions sent by e-mail to <email@example.com> are preferred. Examples of areas to be addressed would include but not be limited to: -- the binding problem -- implicit cognition -- the "hard problem" and the explanatory gap -- conscious and unconscious processes -- neural correlates of consciousness -- synesthesia -- computability vs. non computability -- subjective time -- emergent and hierarchical systems - cross cultural approaches to mind Pre-proposals are due October 30, 1998. A number of these will be selected to submit full proposals by March 1999. Awards will be made in June 1999. Pre-proposals should include: 1) Principal Investigator(s), with affiliation, address, phone and e-mail and a two page CV. 2) Two page project description, including a summary budget for an amount between $10,000 and $20,000. Submissions sent by e-mail to <firstname.lastname@example.org> are preferred. Hard copies can be sent to: Jim Laukes Consciousness Studies Department of Psychology University of Arizona Tucson AZ 85721 USA Phone: (520) 621-9317 More details about Consciousness Studies at the University of Arizona can be found at http://www.consciousness.arizona.edu. ****************************************** 3. [Call for Works] Third International Video Summit VideoMedeja Novi Sad, Yugoslavia Deadline for entries: November 1st, 1998 The Third International Video Summit VideoMedeja dedicated to presenting works done by women will take place from 4 to 6th December 1998 in Novi Sad, Yugoslavia. The suggested, but non-obligatory topics of the festival are "East/West: Trends and Non-Styles" and "Theme as Challenge: Undo&Redo". These topics can help artists to select their works for the festival, and also serve to the critics and art historians as a trigger of their observation which will be included in the catalogue or a special publication. The program will cover: The official selection: 1) Presentation of the video works; 2) Video installations; 3) Performances. The accompanying programs: Retrospectives; Presentations of the distributors, national videographies, the centers of new art, multimedia research institutes, video schools etc. In the official competitive selection VideoMedeja awards: Sphinx statuette (award for the individual authorial achievement) VideoMedeja plaquette (three awards of equal rank) "Bogdanka Poznanovic" Award (to the best young author) The Board of the Festival: Biljana Tomic, Balint Sombati, Kathy Rae Huffman, Tatjana Mogilevskaya, Vera Kopicl Production and organization by: Yugoslav Video Art Association VideoMedeja Produced by: Simon Grabovac / Curator: Vera Kopicl/ Secretary: Elza Vuletic DEADLINE: 1st November 1998 The works must not be older than two years ADDRESS: VIDEOMEDEJA Jevrejska 4/1 21000 Novi Sad Yugoslavia tel/fax: +381 21 621-308 email: email@example.com http://www.videomedeja.opennet.org ****************************************** 4. [Call for Proposals] INVENCAO ITAU Cultural Institute, CAiiA-Star, ISEA, LEONARDO Sao Paulo, Brasil Deadline for submission of abstracts: November 30, 1998. INVENCAO thinking the next millennium A conference presented by the ITAU Cultural Institutein collaboration with CAiiA-STAR, ISEA, LEONARDO. Invencao is an opportunity for those working at the creative edge of the arts, sciences and technology to collaborate in the transdisciplinary development of ideas and innovative strategies for life in the next millennium. Invencao is a "seeding" event that seeks to identify key questions and issues that can lead to the radical transformation of culture. Just as increasingly artists work with the metaphors of science, so scientist are employing forms of representation, such as visualisation, which owe much to research in the digital arts. As art is transformed by interactivity, so science increasingly recognises the subjectivity of the observer. In turn, technology informs our aesthetic and epistemological structures and is engendering new processes of perception, communication and cognition. Invencao will examine the consequences of this convergence of art, science and technology on our sense of self and human identity, on consciousness, community and the city, as well as on learning and leisure. For example, the artist is challenged to consider what might lie beyond "electronic art": where might the connectivity of the Internet, the interactivity of hypermedia and the fluidity of virtual reality lead us? The scientist , walking a delicate balance between the world of the quantum, deep space, chaos and complexity has profound questions to ask about the constraints of nature and the part that can be played by artificial intelligence and post-biological systems in the construction of reality. Bio-technology and nano-engineering add further dimensions to these questions. Invencao will take place in Brazil, whose euphoric energy, cultural diversity and productive optimism is intended to characterise the conference. With its history of dynamic pragmatism coupled with utopian vision, Brazil is a country where dreams can be reclaimed, a vast space both geographically and culturally, in which we can re-invent ourselves and collaborate in the construction of new realities. Invencao will be structured to enable a wide range of presentations, collaborations and interventions to take place, involving lectures, workshops, panel discussions, poster sessions and breakout groups. The onsite activity will be integrated with online activity. through a dedicated website. The proceedings will be embodied in CD and print publications *This event is produced by ITAU Cultural Institute in collaboration with the ISEA, Inter-Society for the Electronic Arts, and CAiiA-STAR, Centre for Advanced Inquiry in the Interactive Arts, University of Wales College, Newport and the Centre for Science Technology and Art Research, University of Plymouth, UK, and Leonardo. CALL FOR PROPOSALS (Papers, panels, work in progress) The official languages of the conference are Portuguese, Spanish and English. Publication to be in these three official languages Abstracts must be submitted in English to facilitate the work of the organising and scientific committees. Abstracts (350 word maximum) must be accompanied by a brief biography (250 words). Include up to five keywords with your abstract.Submit as an attached document in Microsoft Word by e-mail Panels may be proposed. Proposals should include details of each member of the panel. Innovative forms of contributions are welcomed, please provide full details. Include in your submission the title, author(s), institutional affiliation, and contact address (including phone/fax/email and URL if applicable). Your Abstract must be accompanied by a declaration of intention to attend the conference. Deadline for submission of abstracts: November 30, 1998 Abstracts will be acknowledged on receipt and authors will be notified of acceptance by mid-February 1999. There will be a registration fee of US$ 100 for those who are selected to present - 20% reduction for members of ISEA and CAiiA-STAR. In order to be included in the Abstracts, Conference Programme and announcements, presenters are required to pay the Registration Fee by April 30, 1999 Accommodation and Travel Logistics will be revealed in the final version of the call for proposals. Planning Committee: Arlindo Machado (chair) Roy Ascott, CAiiA Roger Malina, Leonardo Alain Mongeau, ISEA For more information, contact the ISEAHQ at: firstname.lastname@example.org or ITAU Cultural Gerencia de Difusao Projeto Invencao Avenida Paulista 149 CEP 01311 000 Sao Paulo SP Brasil T: (55) 11.238.1768 F: (55) 11.238 1720 Email: email@example.com ****************************************** 5. [Call for Papers] INTERNATIONAL HYPERTEXT COMPETITION presented by Alt-X and trAce, UK Deadline for entries: December 31st 1998 Alt-X and trAce are pleased to announce their first International Hypertext Competition. We offer a single prize of One Thousand English Pounds for the best hypertext site on the web. Deadline for entries: December 31st 1998 What is hypertext? Ted Nelson, who invented the term hypertext over 30 years ago, described it as "non-sequential writing -- text that branches and allows choices to the reader, best read at an interactive screen. As popularly conceived, this is a series of text chunks connected by links which offer the reader different pathways." We prefer to see it as "multi-sequential" writing but are generally comfortable with his description here. Also, we're open to work that integrates other media as well (sound, images, Java, etc.) but it should be primarily text-based and easily accessible from the average web-surfer's home-computer. What kinds of hypertext entries are you looking for? First of all, they have to be web-based. On the entry form, please be sure to include the URL (web address) so that we know where to look for your project. Hypertexts submitted on disk are not acceptable. We will be judging the entries against the following criteria: * High quality writing * Excellent overall conceptual design and hyperlink structure * Ease of use for the average web-surfer (if we can't read it on our home machines then we'll just move on to the next one!) How many awards will there be? There will be a single award of One Thousand English pounds (approximately $1600). Other entries will be considered for publication at trAce or Alt-X and we will contact you if we're interested in publishing your work. We are happy to consider multi-authored sites, although there should be one named representative. (It's up to you how you split the money.) How do I enter? Complete and send the entry form. You will receive an acknowledgement of your entry by email within the following few days. If you have a query about your entry please email us. Who will judge my entry? Entries will be shortlisted by a panel of experts in hypertext and web-authoring. The overall Judge will be eminent hypertext specialist ROBERT COOVER of Brown University. My site is dynamic and changes all the time. How can I be sure the judges will see it at its best? We know that hypertext sites are always being expanded and updated. Your entry will be scrutinised by several judges on several different occasions. Just make sure it's always at its best! What are the competition rules? Since this is such a fluid area of development we are keeping the rules simple and straightforward (see below). When will the results of the competition be announced? Spring 1999. To enter, point your web browser to: http://trace.ntu.ac.uk/comp.html The trAce/alt-x International Hypertext Competition is organised by: Alt-X P.O. Box 241 Boulder, CO 80306 USA firstname.lastname@example.org trAce Nottingham Trent University Clifton Lane Nottingham NG11 8NS UK phone ++ 44 (0)115 948 6360 email@example.com RULES * Entries must be the work of the author(s) listed on the submission form. * Sites must remain online from the date of submission until 30th May 1999. * You can only submit one autonomous project per person (do not submit the URL for an entire website with multiple links to multiple projects) * Sites must be written in English. * TrAce and alt-x both have the option to feature the winning hypertext on their sites. * The Judge's decision is final. * The prize will be paid in sterling. ****************************************** 6. [Call for Papers] EXPLORING CYBER SOCIETY Social, Political, Economic and Cultural Issues Newcastle, UK Deadline for entries: January 1st, 1999 An International Conference at the School of Social, Political and Economic Sciences, University of Northumbria at Newcastle, UK. 5th-7th July 1999 What is Cyber Society? What are its social, political, economic and cultural dimensions? What are its theoretical and policy implications for the 21st century? New Information and Communications Technologies (ICTs) now touch on almost every aspect of our lives. No serious discussions of society, politics, economics or culture can be complete without their consideration. This interdisciplinary conference will assemble theorists and practitioners from the social sciences, the humanities and the arts, to explore the emergence of Cyber Society. Both the rhetoric and reality of Cyber Society will be addressed at a regional, national and international level. The conference will provide a forum for the critical evaluation of the impact of ICTs on individuals, communities, the state, economy, and culture. *CONFIRMED KEYNOTE SPEAKERS*: Professor James Der Derian, Centre for European Studies, Harvard University, USA. Professor William Dutton, Annenberg School for Communication, University of Southern California, USA. Professor Ian Miles, Centre for Research on Innovation and Competition, and PREST, University of Manchester, UK. Professor Kevin Robins, Centre for Urban and Regional Development Studies, University of Newcastle, UK Professor Frank Webster, University of Birmingham (From January 1999), UK. *FOUR CONFERENCE THEMES*: *Cyber Society* - Cyber communities; Cyberspace and everyday life; Cyberfeminism; The virtual class; Cyber ethnicities and identities; The cyber classroom; Cyber medicine; Research methods . *Cyber Politics & Policy* - Information age government and public administration; Power and control; Geopolitics; Net politics and activism; Censorship, Privacy; Regulation and surveillance; Access; Interactivity; Democracy; Cyberwarfare; Cybercrime. *Cyber Economics* - Cyber markets, industries and corporations; Internet and Intranet economics; Electronic commerce; Information services; R&D; Cyber employment; Globalization of information and networks; Intellectual property rights. *Cyber Culture* - Theory; Posthumanism; Cloning; Cinema; Intelligent TV and video; Post-photography; Digital architecture; Cybernetic art; Literature; Performance; Cultures of the Internet. *CALL FOR PAPERS* Papers related to the above themes are welcome. Abstracts (150 - 300 words) should be sent to the conference secretary (see over) stating the theme under which the paper should be considered. Deadlines for papers: 31.1.99 - Submission of abstracts 31.3.99 - Notification of acceptance 31.5.99 - Submission of full papers All papers will be published in conference proceedings. A selection of papers will be published in edited volumes. Professor Manuel Castells, University of California, Berkeley, (Author of the three volume 'The Information Age: Economy, Society and Culture') has agreed to contribute a commentary to one of these conference volumes. *PROVISIONAL PROGRAMME* The programme and timetable for the call for papers and conference bookings are subject to change and will be updated as details are finalised. Form mid September the latest information will be available at our web site: http://www.unn.ac.uk/corporate/cybersociety Monday 5th July 1999 Registration 11.30am - welcome, plenary session, lunch. Afternoon -parallel paper sessions, plenary session. Evening - dinner. Tuesday 6th July 1999 Morning - plenary session, parallel paper sessions, lunch. Afternoon - plenary session, parallel paper sessions. Evening - conference dinner. Wednesday 7th July 1999 Morning - plenary sessions, parallel paper session, closing comments, lunch. *BOOKING FORM* (Please print off and complete) Name:............................................................ Institution/Affiliation:....................................... Address:.............................................................. .................................................................... .................................................................... ............................................................... Postcode:..................................................... Tel No. (including STD code).................................. Fax No. (including STD code)................................. Email ............................................................. FEE (Please tick as appropriate) Including accommodation stlg285 Without accommodation stlg255 stlg20 Reduction for booking by 1.3.99 stlg20 Reduction for paper presenters Accommodation consists of bed and breakfast in the Claude Gibb Halls of Residence at the University of Northumbria at Newcastle. For those wishing to arrange their own accommodation a list of hotels can be obtained from the conference secretary or our web site. The Conference fee includes all meals and timetabled refreshments. Please state any special requirements (diet, disability, etc.) I enclose a cheque (payable to the University of Northumbria) for the sum of stlg................................ Travel details, maps of the city of Newcastle and the campus of the University of Northumbria, and an acknowledgement of payment slip will be sent to delegates on receipt of this booking form and payment of the appropriate fee. Closing date for booking: 31st May 1999. COMPLETED BOOKING FORMS, PAPER SUBMISSIONS, AND GENERAL ENQUIRIES SHOULD BE DIRECTED TO: Lorna Kennedy, Conference Secretary, School of Social, Political and Economic Sciences, University of Northumbria at Newcastle, Room 143, Northumberland Building, Newcastle Upon Tyne. NE1 8ST. Tel: +44 (0)191 227 4937. Fax: +44 (0)191 227 4515 Email: firstname.lastname@example.org. Further details will be available from mid-September at the Cyber Society web site: http://www.unn.ac.uk/corporate/cybersociety ****************************************** 7. [Call for Participation] dBONANZAh http://simsim.rug.ac.be/dBONANZAh/ dBONANZAh! * The idea. Sola P., our dbonanzah! contact for South America, calculated that, with a decent MPEG3 compression we could make a cd containing 11 hours of music. We already had this ftp-server <ftp://quixot.rug.ac.be> set up, so that is what we are using, and we just hope that the connection can hold! * The name. We have been mixing it up in all possible ways but it should all point in the same direction: MP&G_11H.dbh! mp3_11h_650Mb * dBonanzaH! In reality, nothing coherent seemed to be happening here in Belgium/Flanders, and we thought it was due to the will to set up an infrastructure where anti/multi/super/undisciplinary digitaloz could connect to: audio & visio & action or just a big yell! we don't care, as long as it is not Flemish, pragmatic and consolidating and ... still 100% digital! It is of no use limping after cultural moneymakers, kick start your own channels and get your feet wet! So the idea is to give space to an emerging electronic community of local artousiasts of any kind, provide them with tools for creativity and connect to similar initiatives world wide. Empowerment = digital! * The task. Read the readme. Spread the news. Fwd it to interested noise/snd/music makers and please: upload YOUR music !!! You still don't know who we are and what we want you to do? Or what the hell is mpeg3 and how do I use it? All descriptions are at http://simsim.rug.ac.be/dBONANZAh/ The readme.html/.txt is at ftp://quixot.rug.ac.be/MP&G_11h.dbh!/ And the project can now also be accessed via hotline hotline://quixot.rug.ac.be/ We are going to finish the program with an 11 hours webcast! Announced in due time. You can also contact our staff: dBONANZAh@simsim.rug.ac.be email@example.com firstname.lastname@example.org email@example.com And join the MP&G_11h.dbh! mailing list (with an empty email without subject to firstname.lastname@example.org) ****************************************** 8. [Call for Proposals] INTERNATIONAL FILM FESTIVAL ROTTERDAM/EXPLODING CINEMA " Digital New Wave " Rotterdam, The Netherlands For the upcoming International Film Festival Rotterdam (dates: January 27 - February 7, 1999) we are planning a special program under the title Digital New Wave. With this letter we would like to raise your interest in this program. We are looking for new (and maybe some older) productions which are (at least partly) filmed on Digital Video (DV) or made by using computers. We have noticed that recently quite a few film-makers have tried their hand with the new DV and other digital equipment. We are interested in bringing together some of the results of this move from film to digital.. We would like to pose questions such as: "Is digital technology just a cheap replacement of film material or does it offer new production and aesthetic potential?". "Is the growing importance of digital editing simply practical and economical or can we expect a real change in the approach of the image, and the notion of montage?" Maybe these questions are premature. The availability of cheap, small cameras, editing equipment, and highly improved video projectors is still rather recent. On the other hand we have seen some recent productions that looked very promising. We are interested not only in artists and film-makers who use digital techniques for economic reasons, but especially in artists exploring the aesthetics and new narrative forms that come out of digital cinema and non linear editing systems. What we mainly want to do is to collect a number of new and good digital productions. They can be features, documentaries, shorts, experiments, diaries or home movies. For the moment we are open to everything. That's one of the reasons we approach you personally. Your digital film can be provisional or just private in intention. Partly we would like to see the Digital New Wave program as a follow up to the 1994 Master Home Movies program, but besides the highly personal, diary idiom of home movies we are looking for digital film productions that reflect the new aesthetics that seem to be appearing. By exploring digital video and computer cinema we want to explore whether there is a new paradigm coming out of the digital medium. You can write, phone, fax, e-mail or send in tapes. We also would appreciate it if you could give us names, titles, suggestions for further research in this field. Also, please forward this letter to other artists and film-makers who you think might be interested. Thank you in advance for your kind co-operation, Femke Wolting International Film Festival Rotterdam programmer Exploding Cinema/International Film Festival Rotterdam http://www.iffrotterdam.nl Kruiskadehof 36 B 3012 EJ, Rotterdam Phone 31.10.4118080 Fax 31.10.4135132 ****************************************** 9. [Call for Participation] THE INFORMATION: INVITATION Dooley Le Cappellaine New York, USA http://www.thing.net/dooley/INFOINFORMATION.html Dooley Le Cappellaine Gallery is a gallery featuring the work of contemporary artists by using computers as an exhibition space. The exhibitions exist on CD Rom and the Web. The gallery uses technology to transcend the limitations of physics inherent in other exhibition methods. "Technophobia " is the first exhibition on CD Rom: it presents interactive multimedia artwork and addresses the uses of computers in art. The Web Site : http://www.thing.net/dooley presents web based works by various changing artists and assists artists to realize special projects. I'm currently curating a Web exhibition titled "The Information" (a reference to Martin Amis' book of the same title) The Exhibition is about APPARENTLY/seeming to give information, which is actually more to do with seductions, sabotage, hoaxes, mind games, frame-ups, practical jokes and murder. Ideally the works run in a 160 X 120 frame (to avoid loading multiple html pages with shockwave or flash movies with the plugin delay) To submit work for exhibition send materials with a self addressed, stamped envelope to: Dooley Le Cappellaine, Prince Street Station, PO Box 528, New York, New York, 10012-9998. http://www.thing.net/dooley email@example.com ****************************************** 10. [Call for Participation] The NOON QUILT THE trAce ONLINE WRITING COMMUNITY, UK http://trace.ntu.ac.uk/quilt/index.html The waiting is over. The NOON QUILT is now online at http://trace.ntu.ac.uk/quilt/index.html Look out of your window at noon wherever you are in the world and write what you see in 100 words. Send it to us with details of who and where you are and we will put your writing on the World Wide Web with a link to information about you and where you live, gradually building up a patchwork of noon-time impressions from across the globe. This is a unique opportunity to connect internet users wherever they are. Every patch of the Noon Quilt represents a person somewhere in the world - click on one to find out what they see from their window at noon. We want to hear from people everywhere, and there isn't much time. The Quilt will only be open for contributions from 28 September to 23 October 1998 after which it will remain on permanent exhibition at the trAce website. HOW TO CONTRIBUTE Submissions are made via a form on the website at http://trace.ntu.ac.uk/quilt/index.html Anyone may contribute, but we cannot guarantee that all items will be selected for inclusion. ONLINE DISCUSSION There will be an online discussion about the building of the Noon Quilt with Teri Hoskin on Monday 26 October 1998 at 3pm GMT. Notes to Editors: THE trAce ONLINE WRITING COMMUNITY http://trace.ntu.ac.uk The trAce Online Writing Community has its physical home in Nottingham, England, but its real existence is on the internet. With members in 18 countries around the world, and more joining every day, trAce can truly claim to be international. THE STITCHERS The Noon Quilt is designed, programmed and stitched by Teri Hoskin from an idea by Sue Thomas. Perl and cgi scripting by Ali Graham. Teri Hoskin is a visual artist/writer and Site Manager/Curator of The Electronic Writing Research Ensemble. She lives and works in Adelaide, South Australia, and is currently curating Ensemble Logic, a series of nine on-line lectures and related works by five artists running from June 10-October 7 1998. http://ensemble.com.au Sue Thomas is a novelist and Director of the trAce Online Writing Community. She lives in Nottingham, England. http://www.innotts.co.uk/~thomas For more information, please contact: Sue Thomas (Director of trAce) tel: +44 (0)115 9418418 x3551 Sue.firstname.lastname@example.org Jennifer Spencer (Director of Corporate Affairs) tel: +44 (0)115 9486541 Jennifer.email@example.com Kate Dawson (Press & PR Assistant) tel: +44 (0)115 9486589 Kate.firstname.lastname@example.org ****************************************** 11. [Event] IEEE Visualization 98 Sheraton Imperial Hotel Research Triangle Park, North Carolina, USA October 18 - 23, 1998 Visualization is a vital research and applications frontier shared by a variety of science, medical, engineering, business, and entertainment fields. The ninth IEEE Visualization conference focuses on interdisciplinary methods. It supports collaboration among developers and users of visualization methods across all of science, engineering, medicine, and commerce. The conference week will include tutorials, symposia, and mini-workshops Sunday through Tuesday, and papers, panels, case studies, and late-breaking hot topics presentations Wednesday through Friday. The deadline for conference and hotel advance registration is September 25th. For more information see the IEEE Visualization 98 web site at: (http://www.erc.msstate.edu/conferences/vis98) Three local items of interest include: -- A one-day hands-on workshop entitled "An Introduction to Scientific Visualization with AVS/Express", on Sunday October 18, 1998, hosted by the North Carolina Supercomputing Center. (http://www.ncsc.org/training/workshop/) -- A Tour of the United States Environmental Protection Agency's Scientific Visualization Center, on Tuesday October 20, 1998, from 5:30 PM - 7:00 PM. (http://www.epa.gov/vislab/svc/outreach/ieee_vis98/index.html) -- An Open House hosted by the University of North Carolina at Chapel Hill's Graphics & Imaging Cluster, on Thursday, October 22, 1998, from 7:00 PM - 9:00 PM. (http://www.cs.unc.edu/~glasgow/VIS98.html) The Information Visualization 98 Symposium has now announced their keynote and capstone speakers. George Robertson of Microsoft will provide the Keynote Address on Monday, October 19th and Edward Tufte will provide the Capstone Address on Tuesday, October 20th. The keynote speaker for the Volume Visualization 98 Symposium will be Jim Foley. His address will be on Monday, October 19th. The keynote speaker for the main Visualization 98 Conference will be Pat Hanrahan of Stanford University. His address will open IEEE Visualization 98 on Wednesday, October 21st. The conference climaxes with a Capstone Address by Turner Whitted, of Microsoft Research, on October 23rd, 1998. We hope you will join us in Research Triangle Park, North Carolina for IEEE Visualization 98. -- The IEEE Visualization 98 Conference Committee Dr. David S. Ebert Computer Science & Electrical Engineering Department U. of Maryland Baltimore County; 1000 Hilltop Circle Baltimore MD 21250 USA email@example.com or http://www.umbc.edu/~ebert ****************************************** 12. [Event] ARTLAB8 "SoundCreatures" by artist Kouichirou Eto October 17 - November 1, 1998 Tokyo, Japan October 17 to November 1, 1998 -connecting Internet into Installation site-...please access!! -Installation: Oct.17-Nov.1, 11am-8pm (japan time), at Hillside Plaza, Tokyo -Internet: http://www.canon.co.jp/cast/ *the project is active when the installation opens. *the project starts at 11am japan time of Oct.17. "SoundCreatures" is a new work by Koichirou Eto co-produced with ARTLAB. Eto is one of expecting Japanese media artists who is known by fully using the digital networking technologies. This work aims to explore a new form of art, by organizing communications via sound. Sound data are exchanged through a networked-sound installation, which is influenced by the accesses from the Internet. The composition of the work is based on the sound communication conducted between the Internet and the exhibition site linked realtime. A participant can access the work from the Internet, and input visual patterns on web pages which will be transformed to multiple sound patterns. The sound patterns are networked to register on sound robots at the exhibition site. At the site, the sound robots (loaded with speakers) move around in the space and exchange the registered sound data as if they were living creatures, while the entire sound environment slowly changes. One can simulate realtime on web pages the robots' movements and changes in sound occurring at the site as well as add new sound patterns from web pages. <Profile of Kouichirou Eto> Born in 1971, graduated from Keio University graduate school of Media and Governance (researcher at Masaki Fujihata Lab). Presently a researcher of the International Media Research Foundation, Tokyo. In 1993, Eto created "JoyMechFight" for Nintendo. His selected works include "RealPanopticon"(1995) at ICC'95 "On the Web "(ICC, Tokyo), "WebHopper" (1996) for "sensorium" Internet project("sensorium" was awarded the Golden Nica Net. of the 1997 Prix Ars Electronica), "WebHopper@AEC" at Ars Electronica Center(1997), "RemotePiano" (for the concert "MPI x IPM" by Ryuichi Sakamoto and Toshio Iwai (1996-97) which was performed in Art Tower Mito(Mito, Japan), Ars Electronica (Linz), and Ebis Garden Hall(Tokyo), "RemotePiano installation" with Ryuichi Sakamoto and Toshio Iwai at ICC. His other works include "PeepHole"(1993) and "DotPaint"(1995). <ARTLAB8"Sound Creatures" by Kouichirou Eto> Organized by: Canon ARTLAB, Tokyo Cooperation: International Media Research Foundation, Hillside Plaza Sponsored by: Fast Net Inc. Production Collaborator / -Sound Composition: Suguru Yamaguchi -Visual Direction: Ichirou Higashiizumi curators: Kaz Abe, Yukiko Shikata *For further information, please contact; firstname.lastname@example.org Yukiko Shikata, Canon ARTLAB DK Bldg.5F, 7-18-23, Roppongi, Minato-ku, Tokyo 106-0032 Japan Tel:+81-3-5410-3611 Fax:3615 http://www.canon.co.jp/cast/ ****************************************** 13. [Event] ON/OFF + ACROSS A One day Conference exploring the issues of Language, Identity and New Technologies. November 7th 1998 London, England The day will be divided into three thematic areas with a choice of two workshop discussions to accompany each theme Theme 1 - ON INNERTEXTUALITIES - CYBERBODIES AND PSYCHOANALYSIS * Keynote Speaker Ardele Lister Rutgers University NY USA 'Feminist Art Practice - Shifting Territories' * Talkingshop A Tessa Adams Goldsmith College 'Whose Reality is it Anyway' Virtual reality, Psychosis, the Semiotic and the Real, A Psychoanalytical Perspective Alex Warwick University of Westminster 'Technobody - Mythobody' Representations, Redefinitions and Reconfigurations The Role Played by the Body in Todays Technoculture * Talkingshop B Sarah Kember Goldsmith College 'Get Alife.' Cyberfeminism and the Politics of Artificial Life Sandra Kemp University of Westminster 'Technologies of the Face' The Effects of new technologies on the Psychology of Face Recognition and Portraiture Theme 2 - OFF OUTERTEXTUALITIES - INTERNAL SITES AND EXTERNAL EXPERIENCES * Keynote Speaker Jos Boys De Montfort University 'Windows on the World' Architecture, technologies and identities An exploration of how we use imaginary and material spaces to articulate identity, through investigations of specific places and technologies * Talkingshop C Angela Medhurst University of Westminster 'Shop 'til you(r connection) drop(s)' Producing and consuming e-commerce. Female identity and the politics of the on-line supermarket Sherry Milner 'We are all Wired for Violence' The Booby Trap, Technology and Domestic Spaces * Talkingshop D Maren Hartman University of Westminster 'The Cyberflaneuse' - Strolling Freely through Virtual Worlds?' The city, the flaneur and their relationship to the flaneuse- how language and history shape new cultural spaces Penny Harvey University of Manchester and Gaby Porter The Museum of Science & Industry in Manchester 'Infocities' - From Information to Conversation' Analysising how a group of men and women in Manchester have worked with new technologies in a pan-European project to create 'digital communities'. Theme 3 - ACROSS INTERTEXTUALITIES - LANGUAGE, IDENTITY AND NEW TECHNOLOGIES *Keynote Speaker Diane Caney University of Tasmania, Australia 'Inside\Outside Intertextuality' Assembling web-sites, texts and identity: new technologies and language * Talkingshop E Jackie Hatfield University of Westminster 'Distressing the Surface' How have women determined representation of their identities? Mary Ann Kennedy Napier University 'Technological Snow' Living with Snow and Nuclear Technology in Modern America * Talkingshop F - one presentation only Lucia Grossberger-Morales (USA) Independant Artist 'Multimedia that represents a Feminist, Personal Narrative' - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - Then everyone is invited to:- Helen Reddingtons' 'Voxpop Puella' Six films and a live performance, exploring attitudes to the seven ages of women, using predominantly digital film and music technology. Contributing film-makers: Gina Birch, Joan Ashworth, Charlotte Worthington, Gail Pearce, Jane Prophet, and Akiko Hada. - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - YOU ARE ALSO ALL INVITED TO THE CUTTING EDGE BOOK LAUNCH 'Desire by Design' Body, Territories and New Technologies Publishers I.B.Tauris - in the University of Westminster Fyfee Hall, 309 Regent Street, London W1 - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - BOOKING FORM On/Off + Across Cutting Edge One Day Conference Name _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Organisation_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Address_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Postcode_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Telephone_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Email_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Delegate Fees Tea and Coffee Refreshments included Institutions £75 Individuals £50 Students £10 ( ) I wish to attend the On/Off Conference and enclose a cheque for £_ _ _ _ _ for _ _ _ _ _places Please make cheques payable to The University of Westminster ( ) Please invoice my institution/organisation at this address _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Please send this form with payment to: Erica Matlow, Coordinator for Cutting Edge The Womens Research group The University of Westminster, School of Communication, Design and Media Watford Road, Northwick Park, Harrow HA1 3TP Times of Conference Saturday 7th November 1998 Registration - 9.30 Regent Street Foyer Conference - 10 am - 6.30 pm Book Launch for 'Desire by Design' 6.30pm - 8.30pm in the Fyfee Hall 309 Regent Street, London W1 Where we are The Symposium will be held in the Lecture Theatre 2 at the University of Westminster, 309 Regent Street, London W1 The nearest tube station is Oxford Street a five minute walk and an underground National Car Park is nearby in Cavendish Square. A Map and further information will be available on receipt of payment. Access There is a ramp access available to the left of the Regent Street front entrance. Help will be available for anyone needing assistance to the Lecture Theatre 2 If you would like further information about the On/Off +Across Cutting Edge Conference please contact:- Erica Matlow: 0171 911 5000 x 4007 (voice mail) Email: Erica@catcity.demon.co.uk or Alex Warwick: 0171 911 5000 x 4332 (voice mail) Email: Cavalld@westminster.ac.uk or visit our Web Site http://www.wmin.ac.uk/media/onoff/info.html ****************************************** 14. [Event] Managing Controversy: The Channel Four Success Story aka Stuart Cosgrove Tells All The New Media Institute at The Banff Centre for the Arts, Canada November 14 & 15, 1998 Stuart Cosgrove is back with a bang! Having hosted the successful "Meet the Brits" event at The Banff Centre in 1995, he returns with a dynamic two-day workshop on how to produce, direct, broadcast, make money from and build audience share with controversial content in documentary, narrative and experimental form. The event explores marketing and press management strategies. Cosgrove was Commissioning Editor for the independent department of Channel Four, went on to head Arts and Entertainment and is now leading the charge in the newly autonomous regions of the United Kingdom as the Commissioning Editor for the regions. This year marks Channel Four's 20th anniversary and the workshop presents great co-production opportunity. Tuition: $150 Banff New Media Institute registration: Office of the Registrar The Banff Centre for the Arts Box 1020, Station 28 107 Tunnel Mountain Drive Banff, Alberta T0L 0C0 Tel (403) 762-6180 or (800) 565-9989 Fax (403) 762-6345 email@example.com http://www.banff.org ****************************************** 15. [Event] DEAF98: The Art of the Accident Rotterdam, The Netherlands November 17 - 29, 1998 The Dutch Electronic Art Festival is a bi-annual international and interdisciplinary event that deals with the inter-relations between art, technology and society. Under the title 'The Art of the Accident', DEAF98 explores the productive potential of rupture, friction, instability and unpredictability. Can we accept malfunction and accidents as inherent parts of the technical products we construct and use? How would this change our perception of technology? What would art which embraces the accident and integrates it into the creative process look like? DEAF98 includes exhibitions and installations, Internet, projects at specific locations in Rotterdam, a symposium, workshops, presentations, concerts and performances. In addition a book will be published, manifesting in yet another way the crossover between art, architecture, science, technology and society initiated by the festival. DEAF98: The Art of the Accident In our world, accidents are an everyday part of reality. The things we produce have a tendency to malfunction as much as they are capable of functioning properly. We try to predict and control things; yet, we are often surprised by their creativity to malfunction in a great variety of ways. Such accidents are only perceived as a tragedy if the assumption is that a stable situation, a safe product, a regulated function is suddenly thrown into an uncontrolled transition. Accidents only happen from the perspective of an illusion of safety and control. Misfortune and failure are not signs of improper production. On the contrary, they indicate the active production of the 'accidental potential' in any product. The invention of the ship implies its wreckage, the steam engine and the locomotive discover the derailment (Virilio). The accident is the ultimate functioning of a product. DEAF98 explores what an 'ars accidentalis' might be. The festival presents and discusses accidents and their preferred environments in such areas as art, sound, architecture, urban planning, economy, and electronic networks. It investigates interactive machines, virtual environments, acoustic spaces and hardware and software projects for their 'accidental' potential. DEAF98 is not looking for conclusive answers. It investigates the project in the face of failure. Exhibition (Tue 17 - Sat 29 November) The DEAF98 Exhibition presents electronic art projects that facilitate encounters and interactive experiences with aspects of an 'ars accidentalis'. The artworks deal with earthquakes and wars, with airplane crashes and the disappearance of horizon and linear perspective and with the incompatibilities of physical and virtual spaces. The exhibition includes new works by, amongst others, Mark Bain (USA), Perry Hoberman (USA), JODI (NL/B), KIT (GB), Knowbotic Research + cF (D/A), Gunter Krueger (D), Seiko Mikami (J/USA), Debra Solomon (NL), Tamas Waliczky (H/D), Aaron Williamson (GB). DEAF98 Symposium (Fri 20 - Sat 21 November) The DEAF98 Symposium is a two-day conference that deals with the theme of the festival, 'The Art of the Accident'. The symposium includes lectures and discussions by an international panel of theorists, artists, architects and scientists and is moderated by Bart Lootsma (Architectural Theorist, NL). Participants of the DEAF98 Symposium include: Lieven de Cauter (B), Perry Hoberman (USA), Greg Lynn (USA), N. Katherine Hayles (USA), Steve Mann (CDN), Brian Massumi (AUS), Marcos Novak (USA), Lars Spuybroek (NL) and Knowbotic Research + cF (D/A). transArchitectures (Tue 17 November - Sun 12 December) The term 'transArchitectures' (Marcos Novak) stems from a discussion between architects and designers. Influenced by their experience with computer technology during the design process they are developing new concepts of time, space, shape, structure, construction, etc. It is about simultaneously practicing architecture and media, combining design and machine, and about the shift from 'form and space' to 'process and field'. These concepts and designs have been discussed at length at two previous transArchitectures conferences held in Paris in 1996 and 1997. transArchitectures 02 + 03 consists of an exhibition of large prints and monitors at the Nederlands Architectuur instituut with work by, amongst others, Bernard Cache (F), Greg Lynn (USA), NOX/Lars Spuybroek (NL), Kas Oosterhuis (NL), Reiser + Umemoto (USA), Karl Chu (USA), Adrien Sina (F), Decoi (F), Neil Spiller (GB), John & Julia Frazer (GB), Bernhard Franken (D), Ammar Eloueini (F). Digital Dive The Digital Dive is a space at DEAF98 for presentations and workshops about network projects. A series of online computers offer festival visitors the opportunity to explore selected 3D-online projects in a concentrated environment and to meet the artists who created these projects. Presentations, Panels & Performances A variety of scheduled programs explore specific aspects of the festival theme: - 'Why 2K', an evening hosted by Timothy Druckrey/USA, deals with interference and absurdity, wit and creativity, and looks at failure and accident as signifiers of folly, indiscretion and possibility. - V2's monthly 'Wiretap' program speculates about the possibility of an 'ars accidentalis'. - DEAF98 features the premier presentation on the 19th of November of ZKP5, the first international publication of the Nettime mailing list, an international online forum about media culture and net criticism. The presentation is combined with a panel discussion about the role that electronic networks play in the de- and reconstruction of the public sphere, and about the emergent social topologies they generate. - DEAF98 includes a series of live performances which combine sound art, music, dance and media in exciting, everchanging combinations. Cyberstudio The Cyberstudio is a conceptual exploration of new technology for theater producers and artists from different disciplines. Lantaren/Venster initiates the Cyberstudio in co-operation with V2_Organisation and V2_Lab. During DEAF98 (17-22 November), Diller & Scofidio will present the premier of their new multi-media performance, JETLAG. Publication The DEAF98 catalog book is more than a passive documentation of the festival, its projects and participants. It includes texts, interviews, descriptions and images and is presented as a project in its own right, dealing with 'The Art of the Accident'. The book thus becomes more than just a theoretical foundation for the festival. It has a synthesizing approach towards practice, criss-crossing between the other intersecting practices of the festival. Program subject to change. Main festival locations: V2_Building, Nederlands Foto Instituut, Nederlands Architectuur instituut, Lantaren/Venster, Nighttown and MAMA Showroom for Media and Moving Art. DEAF98 is made possible by: Goethe Institut Rotterdam, HGIS-Cultuur programma van het Ministerie van Buitenlandse Zaken en het Ministerie van Onderwijs, Cultuur en Wetenschappen, Mondriaan Stichting, Nederlands Architectuur instituut, Prins Bernhard Fonds, Rotterdam Festivals, Rotterdamse Kunststichting, Stimuleringsfonds voor Architectuur, ThuisKopiefonds, VSB fonds. DEAF98 is supported by: Intergraph Europe b.v. MCM video Co-operations: DEAF98 is realized in co-operation with several institutes in Rotterdam, including V2_Organisatie, Nederlands Foto Instituut, Nederlands Architectuur instituut, Lantaren/Venster, V2_Lab, Nighttown, MAMA Showroom for Media and Moving Art, AIR (Architecture International Rotterdam), Academie van Bouwkunst, ArchiNed and the architectural journal Archis. International partners include Ars Electronica Center, Linz/A; Zentrum fur Kunst und Medientechnologie, Karlsruhe/D; Hull Time Based Arts, Hull/GB; and Inter-Communication Center, Tokyo/J. Further Information: Detailed information about the festival program can be found on the website: http://www.v2.nl/deaf. Stay up to date by subscribing to the V2_mailing list through this website. DEAF98 V2_Organisation P.O. Box 19049 3001 BA Rotterdam NL Eendrachtsstraat 10 3012 XL Rotterdam NL phone: + 31 10 206 7275 fax: + 31 10 206 7271 e-mail: firstname.lastname@example.org ****************************************** 16. [Event] DOORS OF PERCEPTION 5: 'PLAY' Amsterdam, The Netherlands 26, 27 and 28 November 1998 FINAL PROGRAMME The Netherlands Design Institute is pleased to announce the final line-up for Doors 5: Play. The 38 speakers include Alan Kay, Mitchel Resnick, Charles Hampden Turner, Toshio Iwai, J.C. Herz, Will Wright, Stephen Heppell, Brenda Laurel, Nobuyuki Ueda, Bruce Mau and Danny Hillis. Conference chair is John Thackara. The sessions are: PLAY/TIME: the power of play GAME/PLAY: inside the games we play PLAY/SCHOOL: the design of play in learning PLAY/CHANNELS: media hybrids and experience PLAY/INC: beyond the infinite game in business DESIGN/PLAY: the shape of play to come As of today, we have sold 640 tickets; 310 are left. WEBSITE UPDATED Our updated-today website includes a booklist and links, a press service with downloadable pictures. http://www.doorsofperception.com REGISTRATION online at http://www.doorsofperception.com Phone: +31 20 420 1711 Fax: +31 20 626 5845 Email: email@example.com GENERAL INFORMATION Phone: +31 20 420 1711 Fax: +31 20 626 5845 Email: firstname.lastname@example.org THE NETHERLANDS DESIGN INSTITUTE Phone: +31 20 551 6500 Fax: +31 20 620 1031 Email: email@example.com See you in November at Doors 5: Play! FYI: "SPEED" BOOK PUBLISHED THIS WEEK A book inspired by Doors 4: Speed has just been published. Contibutors include JG Ballard, Paul Virilio, Robert Musil, Susan George, Peter Wollen, Wolfgang Sachs and Ivan Illich. Its editors are Jeremy Millar and Michiel Schwarz. Published by the Whitechapel Art Gallery and The Photographers' Gallery,London, in association with Macdonald Stewart Art Centre and the Netherlands Design Institute. 180 pages, 112 illustrations, ISBN 0 907 879 543 ****************************************** 17. [Event] IN (BETWEEN) THE IMAGES Moving Images in Their External And Internal Expansion Graz, Austria December 4 to 6, 1998 ALEX ADRIAANSSEN, V_2, Rotterdam, STUDIO AZZURRO (I), PIERRE BONGIOVANNI, Centre International de Creation Video, Montbelliard, BARBARA BORCIC, Soros Center, Ljubljana, JANET CARDIFF (CAN), SHU LEA CHEANG (USA), CHRIS DERCON, Museum Boijmans van Beuningen, Rotterdam, TIMOTHY DRUCKREY (USA), KEN FEINGOLD (USA), RUDOLF FRIELING, Zentrum fur Medienkunst, Karlsruhe, PERRY HOBERMAN (USA), PIERRE HUYGHES (F), MARGARETHE JAHRMAN (A), O.K Centrum fur Gegenwartskunst, Linz, DAVID LARCHER (GB), MALCOLM LEGRICE (GB), DIANA MCCARTY, Intermedia Department, Akademie der bildenden Kunste, Budapest, SIMON PENNY (AUS), NICOLAUS SCHAFFHAUSEN, Frankfurter Kunstverein, BILL SEAMAN (USA) and MIKE STUBBS, Hull Time Based Arts, Hull. At present, it is not only in the fields of film/media/art that the concept of the image is at the centre of numerous debates, but it also increasingly appears to be a focal point of analyses which reflect society as a whole. The re-definition of the concept of the image in connection with technological developments in image production, manipulation and presentation have undoubtedly enhanced this "explosion" of figurativeness. The international conference "In (Between) the Images" is explicitly focused on central paradigms of the contemporary, apparently more and more hybrid production of moving images - both analogue and electronic/digital images -: not in the sense of a technology-oriented discourse, however, but also with regard to new types of (also social) dispositives as are produced by such image formations. The phenomenon of the (internal and external) disclosure of image spaces, which can be traced in many pieces of artistic works, as well as the multiplying of perspectives and the increasingly experimental relation to the spectators will be explored from various main perspectives which will deal with both theoretical bases and, primarily, aspects of spatiality and perception, i.e. an appropriation of bodies and spaces by images: What kinds of images are these, what kinds of interpretations and spaces of perception do the various forms of screens and image spaces refer to? What new type of "aesthetics of behaviour" is depicted by these new image spaces? How to define those - conceptual, fictitious - image spaces which appropriate media-based moving images, turning the spectator into a "spect-actor"? Do these complex levels of images - layered against and towards each other - still aim at the production of meaning, do they tell stories? What are the consequences of all this for production and mediation? In theoretic lectures and debates, in the presentation of current projects and in the thematisation of the aspects of production and mediation, these questions will, among others, be the main focus of the conference. Thus, "In (Between) the Images" aims at the eminent modification of interpreting procedures and perception spaces - a modification which turns images and spaces into fluctuating constallations where the border between images and spaces can no longer be defined as a surface and where image and spectator do not seem to be in any hierarchical relation but rather to revolve around each other. Info: art.image - Hallerschlosstrasse 21, A-8010 Graz Tel.: ++43 316/ 356155, Fax: ++43 316/ 356156 e-mail: firstname.lastname@example.org http://www.thing.at/art.image "art.image" is a member of the European Coordination of Film Festivals and of the coordination office of Transeuropean Network of Architecture-Related Institutions (TENART). - art.image - Hallerschlossstrasse 21 A-8010 Graz tel. +43-316-356155 fax +43-316-566156 http://www.thing.at/art.image PLEASE NOTE OUR NEW E-MAIL ADDRESS: email@example.com ****************************************** 18. [Event] "image|architettura in movimento" International Festival for Architecture in Video Florence, Italia 9-13 December 1998 Organized with the collaboration of the Faculty of Architecture at the University of Florence, Department of Processi e Metodi della Produzione Edilizia, as well as the Regione Toscana the Provincia and the Comune of Florence, supported by Autodesk, image|architettura in movimento is an international festival expressly dedicated to the exhibition and comparison of videos and multimedia systems intended for understanding the screen as an informative tool for past, present, and future architecture. The Festival will open a window wide onto the world of architecture, by providing an opportunity to see and compare the work of students and architects from many countries, verifying the didactical possibilities of the digital. Besides the projections of the selected video works, the 1998 edition of image|architettura in movimento will offer meetings with specialists in audiovisual communications, architectural designers, digital movie production designers, as well as an interactive exhibition of CD-ROM and Internet sites, specifically dedicated to architecture. This year's events will contain the following sessions. Participation is free of charge and open to architects, students, authors and production houses for video and multimedia: - Video and Film for Architecture: for general videos on architecture. - Student videos: for videos about architecture created by students. - Professional videos: for videos about architecture created by (or for) architects. - Design: for videos dedicated to design. - Architecture and Environment: for videos dedicated to the relationship between architecture and environment and to bioarchitecture. We welcome your participation in the 1998 edition of image|architettura in movimento as well as any contribution of your recent discoveries: please send tapes (VHS or U-Matic copies, preferably PAL system) and CD-ROM, with a biographical note about the author(s), a complete address, phone and email, and a description of the work. It is necessary that each submission should include one ore more images. The Festival reserves the right to publish any contributions in an illustrative catalog of the selected works, which will include the names of participants, descriptions and photos of their work as well as a brief biographical note. In addition, The Festival also reserves the right to display all submitted works free of charge and no submissions or materials will be returned to the authors. All submissions must be received by 30 October 1998 at the following address: image|architettura in movimento via Scipione Ammirato, 82 50136 Firenze Italia For further information: Arch. Marco Brizzi phone: +39 (0) 55 666316 fax: +39 (0) 55 2347152 email: firstname.lastname@example.org web: http://www.architettura.it/image Press: Lorenza Berengo phone/fax: +39 (0) 55 290260 ****************************************** Editor: Isabelle Painchaud / Translation: Eva Quintas Collaborators: Maria N. Stukoff, Eleanor Muirhead and Gina (ISEA98 Terror), Wim van der Plas, James Faure Walker, Mark Waugh. ______________________________________________________ ISEA, P.O. Box 508, Succ. Desjardins, Montreal (Qc), H5B 1B6, CANADA Phone: (514) 281-6543, Fax: (514) 281-6728 Email: email@example.com URL: http://www.isea.qc.ca ___________________________________________________________________ ISEA Board Members: Nina Czegledy, Kathy Rae Huffman, Tapio Makela, Amanda McDonald Crowley, Alain Mongeau, Cynthia Beth Rubin, Thecla Shiphorst, Atau Tanaka, Wim van der Plas. ___________________________________________________________________ ISEA LISTSERV: To subscribe, send a message to: firstname.lastname@example.org, no subject, with the message in the body: "subscribe ISEA-forum first name last name" =================================================================== 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: La Fondation Daniel Langlois, Ministere de la culture et des communications du Quebec, Montreal International, Ministere des Relations Internationales, Ministere des Affaires Etrangeres, ANAT, FACT, Leonardo, SAT, Universite du Quebec a Montreal, Public Domain. =================================================================== end of newsletter - ISEA- 307, Ste-Catherine O # 760.- C.P.508, Succ. Desjardins - Montreal Quebec H5B 1B6 Canada - Tel:1-(514) 281-6543 - Fax:1-(514) 281-6728 - email: email@example.com - http://www.isea.qc.ca
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