#068 Sep/Oct 1998



#68 September-October 1998
					* CONTENTS *


* 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 !


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
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
They will soon be available on our Website.


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


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 **


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 :

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 !


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

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
isea@isea.qc.ca. Elles seront bientot disponibles sur le site internet


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.


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 **


Mediamatic Magazine

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:  isea@isea.qc.ca


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.


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 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.

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

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...


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

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.

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

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

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.

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.

by James Faure Walker
Published with the kind permission of CGI magazine (Computer Generated

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

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.


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

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

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
Nottingham Trent University
Clifton Lane
Nottingham NG11 8NS
Tel: +44 (0)115 9486360
Fax: +44 (0)115 9486364
email: trace@ntu.ac.uk
Arts Council of England
Visual Arts Department:


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:


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.


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

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

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,

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.


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: andrea.davidson@artscouncil.org.uk

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: matt.digitalarts@architechs.com

Closing date for applications: October 9th 1998

Matt Locke
Artistic Director
a new digital arts research facility opening late 98
T:+44 (0)1484 431289
F:+44 (0)1484 513739


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.

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


1. [Call for Proposals]
Pittsburgh, PA, USA
Deadline for entries: October 30, 1998.

2. [Call for Pre-Proposals]
Tucson, AZ ,USA
Deadline for entries: October 30, 1998.

3. [Call for Works]
Novi Sad, Yugoslavia
Deadline for entries: November 1st, 1998

4. [Call for Proposals]
ITAU Cultural Institute, CAiiA-Star, ISEA, LEONARDO
Sao Paulo, Brazil
Deadline for submission of abstracts: November 30, 1998.

5. [Call for Papers]
presented by Alt-X and trAce, UK
Deadline for entries: December 31st 1998

6. [Call for Papers]
Newcastle, UK
Deadline for entries: January 1st, 1999

7. [Call for Participation]

8. [Call for Proposals]
" Digital New Wave "
Rotterdam, The Netherlands

9. [Call for Participation]
Dooley Le Cappellaine
New York, USA

10. [Call for Participation]

11. [Event]
Research Triangle Park, North Carolina, USA
October 18 - 23, 1998

12. [Event]
October 17 - November 1, 1998
Tokyo, Japan
October 17 to November 1, 1998

13. [Event]
A One day Conference exploring the issues of Language, Identity and New
November  7th 1998
London, England

14. [Event]
aka Stuart Cosgrove Tells All
The New Media Institute at The Banff Centre for the Arts, Canada
November 14 & 15, 1998

15. [Event]
Rotterdam, The Netherlands
November 17 - 29, 1998

16. [Event]
Amsterdam, The Netherlands
26, 27 and 28 November 1998

17. [Event]
Moving Images in Their External And Internal Expansion
Graz, Austria
December 4 to 6, 1998

18. [Event]
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

URL's and inquiries should be sent to expca@juno.com.
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

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 <center@u.arizona.edu> 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 <center@u.arizona.edu> 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

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

Jevrejska 4/1
21000 Novi Sad
tel/fax: +381 21 621-308
email: videomed@fodns.opennet.org
4. [Call for Proposals]
ITAU Cultural Institute, CAiiA-Star, ISEA, LEONARDO
Sao Paulo, Brasil
Deadline for submission of abstracts: November 30, 1998.

thinking the next millennium

A conference presented by the ITAU Cultural Institutein collaboration with
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.

(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: isea@isea.qc.ca
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: instituto@itaucultural.org.br
5. [Call for Papers]
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:

The trAce/alt-x International Hypertext Competition is organised by:

P.O. Box 241
Boulder, CO 80306

Nottingham Trent University
Clifton Lane
NG11 8NS
phone ++ 44 (0)115 948 6360


* 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]
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.


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.


*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.


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.


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:

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.


(Please print off and complete)

Tel No. (including STD code)..................................
Fax No. (including STD code).................................
Email .............................................................


(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.


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: lorna.kennedy@unn.ac.uk.

Further details will be available from mid-September at the Cyber  Society
web site:

7. [Call for Participation]


* 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:

* 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

We are going to finish the program with an 11 hours webcast!
Announced in due time. You can also contact our staff:


And join the MP&G_11h.dbh! mailing list
(with an empty email without subject to mp3_11h_650mb-subscribe@makelist.com)

8. [Call for Proposals]
" 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

Exploding Cinema/International Film Festival Rotterdam
Kruiskadehof 36 B
3012 EJ, Rotterdam
Phone 31.10.4118080 Fax 31.10.4135132

9. [Call for Participation]
Dooley Le Cappellaine
New York, USA

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.


10. [Call for Participation]

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.

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.

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 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.

For more information, please contact:

Sue Thomas (Director of trAce)			tel: +44 (0)115 9418418 x3551

Jennifer Spencer (Director of Corporate Affairs) 	tel: +44 (0)115 9486541

Kate Dawson (Press & PR Assistant)		tel: +44 (0)115 9486589

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:

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.

-- 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.

-- 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.

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
ebert@umbc.edu 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; artlab@cast.canon.co.jp

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]
A One day Conference exploring the issues of Language, Identity and New
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

* 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

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

* 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

*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.
 - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - -
'Desire by Design' Body, Territories and New Technologies
Publishers I.B.Tauris - in the University of Westminster
Fyfee Hall, 309 Regent Street, London W1
 - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - -
 - -

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.

There is a ramp access available to the left of the Regent Street front
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:
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

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.

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.

(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,
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).

(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.


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.


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

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.

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: deaf@v2.nl

16. [Event]
Amsterdam, The Netherlands
26, 27 and 28 November 1998

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.

Our updated-today website includes a booklist and links, a press service
with downloadable pictures. http://www.doorsofperception.com

online at http://www.doorsofperception.com
Phone: +31 20 420 1711
Fax: +31 20  626 5845
Email: registration@doorsofperception.com

Phone: +31 20 420 1711
Fax: +31 20  626 5845
Email: info@doorsofperception.com

Phone: +31 20 551 6500
Fax: +31 20 620 1031
Email: doors@design-inst.nl

See you in November at Doors 5: Play!

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

17. [Event]
Moving Images in Their External And Internal Expansion
Graz, Austria
December 4 to 6, 1998

Centre International de Creation Video, Montbelliard, BARBARA BORCIC, Soros
Museum Boijmans van Beuningen, Rotterdam, TIMOTHY DRUCKREY (USA), KEN
FEINGOLD (USA), RUDOLF FRIELING, Zentrum fur Medienkunst, Karlsruhe, PERRY
MCCARTY, Intermedia Department, Akademie der bildenden Kunste, Budapest,
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: art.image@thing.at

"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


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)
- 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

For further information:
Arch. Marco Brizzi
phone: +39 (0) 55 666316
fax: +39 (0) 55 2347152
email: image@architettura.it
web: http://www.architettura.it/image

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: isea@isea.qc.ca
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.

To subscribe, send a message to:
listproc@uqam.ca, 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: isea@isea.qc.ca - http://www.isea.qc.ca

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