#069 Nov/Dec 1998



#69 November - December  1998


Please allow me introduce myself. I am the Interim Director (part time) of
the ISEA HQ as of October 98. My job is to give Alain Mongeau and the HQ
staff a hand in running the various activities of the HQ until March 99.

I was Alain's assistant program director and responsible of the
electroacoustic music series at ISEA 95 and have followed with interest the
evolution of ISEA since then. I am impressed to see that ISEA has come such
a long way in such a short time and am proud that Canada is one of the
leading countries in this field.

My professional activities have been principally in the fields of
electroacoustics, interdisciplinary production, acoustic ecology, the media
arts and in service organisations such as the Canadian electroacoustic
community (CEC) and the World Forum for Acoustic Ecology (WFAE).

My life philosophy is to listen. Listening to people, the environment and
to myself. My philosophy as an administrator is to work in close and
respectful collaboration with my co-workers and clients. I also believe in
the principal of "less is more", whereas a professional organisation such
as ISEA, with its precious limited resources, must be careful to not
overload itself and to focus on its basic mission first and foremost and to
grow from there...

One of our challenges at the ISEA HQ is to filter through the complex
interdisciplinary web inherent to the contemporary electronic arts and
serve a sounding board and critical voice in the international community.
Of course, ISEA does this through its Symposium but we also do it through
our other activities : publications, lobbying, workshops, seminars, etc.
Please find included in this newsletter some vital information about what
is happening in the international electronic arts community, as well as
some critical comments on recent events and ongoing questioning of the ISEA
movement (which is a sign of health in any organisation, I think).

However, in spite of our best efforts, this is only a fraction of what is
really going on in the electronic arts community. Therefore we need YOU,
the membership, to help us keep a steady and useful flow of relevant
information going. Please inform us of your activities and concerns as we
diffuse them through the ISEA communication network :  newsletter, web
site, listservs, etc.. We will make a note of your concerns and interests
and try to make ISEA work better for the membership and the electronic arts
community at large.

This is a critical year for ISEA. We are moving into Daniel Langlois' new
media arts complex in March and there is much to do to ensure a smooth
transition. Among other activities, your board of directors has concluded a
virtual email meeting in early December in which they have taken some
important steps towards creating active tools to realise the objectives of
ISEA. The HQ will be keeping you in touch with these activities as they

Finally, I would like to thank Isabelle Painchaud, who is leaving the ISEA
staff at the end of January, for her extraordinary work as information and
administration Coordinator. She will be greatly missed, but I think will
always be close to ISEA.

Claude Schryer



Afrique Virtuelle/Virtual Africa (AVVA) is an international network created
under the aegis of OLATS/Leonardo
(http://cyberworkers.com/Leonardo/africa). Its main goals are to stimulate
contexts of ideas exchange between intellectuals, scientists and artists
originary from Africa and other continents. The working toolsare the web
and the new technlogies, the challenge being to establish a contact between
a real, ancient and contemporary Africa, in a virtual communication mode
and to develop original works using these technologies.

Starting from this initiative, ISEA HQ proposes an action plan and a
project orientaded on French-speaking countries. Afrique virtuelle
francophone 1998-2000 is shaped in parternship with Vues d'Afrique Festival
in Montreal (http://www.vuesdafrique.org), OLATS/Leonardo (for the
activities to be realized in France) and the group Metissacana, Dakar,
Senegal (http://www.metissacana.sn). The proposed activities are
articulated around these two axis :

1) the realization of web art workshops in Western French-speaking Africa,
coupling local artists with artists from other continents to create web art
projects (multimedia fictions, interactive tales, etc). This aspect
includes training, technological exchange and multilateral collective
creation concepts. The first pilot-project will be held in Dakar, February
1999. It addresses professionnal artists from various disciplines
(litterature, visual art, media arts, audio) in order to constitute a first
corpus of French language african fictions created specifically for the
web. The electronic works will be diffused publicly within the Montreal
Festival Vues d'Afrique in April 1999 and through the partners' web sites.

2) the organization of conferences/seminars in Quebec/Canada and France
bringing artists and theoricians around new creation and communication
forms and models in Africa. The first conference will be held in Montreal,
April 1999, during Vues d'Afrique. Under the general theme of "African art
and new technologies: challenges and developments", this conference wishes
to bring together african and international artists and experts, including
some participants from the Senegal workshop. This seminar as well as the
diffusion of the electronic works should also be used as a context of
awareness and networking on the emergent needs related to the development
of new technologies in Africa.

In parallel to the conference and with ISEA's collaboration, Vues d'Afrique
is programming the exhibit Afromedi@rt, a collection of contemporary
african media art organized by the nigerian/austrian group Cross Cultural
Communication (http://www.t0.or.at/~ccc). A second worshop/seminar is
proposed by OLATS/Leonardo and Foundation Sophia Antipolis, in Nice or
Marseille (France) during the summer of 1999.

Any ideas or suggestions relating to the above projects are welcomed !

ISEA2000 Update

Discussions are continuing with the public institutions in order to insure
the financial support of the event and to create strong cultural
connections. A steering committee has been put in place within the Ministry
of Culture, bringing together 6 representatives from different sections
that will follow the project. (Délégation au  Développement et aux
Formations, Mission de la Recherche et des  Technologies, Département des
Affaires Internationales, Délégation aux  Arts Plastiques, Direction de la
Musique et de la Danse, Centre National de la Cinématographie). The
committee also includes a representative from the General Direction of the
Cultural Affairs of Ile de France. It will meet at the beginning of
December to study the distribution of the support from the Ministry in
1999, and to discuss future collaborations to implement.
In addition, this project is followed by the interdepartmental Mission for
the year 2000, and the Paris 2000 Mission. These two missions, which
objectives are to define and support the cultural operations within the
framework of the national commemorations of year 2000, will start to
integrate ISEA in their communications with the media. This is a
significant lever to find private partnership. Consultations are talking
place with professionals (artists, researchers, intellectuals...) in order
to constitute a network of persons involved in the creation of ISEA in
France. These persons will refer to the first editorial and scientific
committee, formed last April, as well as on the spontaneous contributions
to come. A Symposium committee is being put together, and should start work
at the beginning of December. Starting from now, we are awaiting for your
feedback, propositions, suggestions or questions. We can be reached at the
ART3000 email address: art3000@calvanet.calvacom.fr.

Don't hesitate to contact us, we would be happy to exchange with you. We
are currently preparing a Web site to start communicating on ISEA. We would
be happy to receive information that will help us structure the project
(artists' files, key persons to contact, etc...) Therefore, don't hesitate!

Nils Aziosmanoff
ART3000 President


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.


REPORT by Mike Stubbs
(la version francaise suit)

Plastikman meets Rubberlegs
Re-defining New Media in Montreal
15-25 October 1998

Artists define new media by entering art into a festival of new media.

The festival director and committee define it by accepting it.

Nothing is definitive.

Someone will attempt to try, but not me.

A lot of CD ROMs,  a few websites, 10 live performances and combination
work represented through presentation defined a cracking programme at the
Festival of New Cinema and New Media of Montreal.
I'm tapping my foot to a techno beat as I write this on a  computer station
at the new media section of the FCMM.  Checking out  yesterday's snapshots
expediently imported by the web casting crew, I browse (window shopping)
some of the more technically sophisticated sites a site advertising web
design that looked like a TV advert and some streaming audio site linking
record labels.  One young artist suggested that the web is like a
supermarket   - - "you go there, get what you want and then get the hell
out" or " you go there for a pint of milk and end up with a trolley full of
fresh only's that you then try to consume in three days".

Hull Time Based Arts have recently finished presenting  'ROOT 98 - Lucid ",
our annual festival back in England, and now I have  a week to  take in
some new media as a jury member, here in Montreal. A team of Marie-Josée
Jean (Co-director Le mois de La Photo Montreal), Louis-Phillipe Demers
(President, Kunst Macchina) and myself have to decide during the week which
artwork/artist will be awarded the $2,000 prize.  This is the first time a
jury has been set up in the context of the Festival  - amongst the other
prizes of best feature, short, Canadian, all nice and easy to define...we
will be selecting from a diverse mixture.  Clearly it will not be for this
jury to judge what is new media and for this reason the commendations (not
prizes) could be awarded  to any of the formats included within the
programme - but my view is that the commendations are for the quality of
art - not the technology.

I 've just spent 3 hours  dancing to Plastikman  (alias DJ Richie Hawtin).
The morning after I find myself  jet lagged  and rubber-legged. Before I
danced I watched. I watched him spin his home made discs,  wringing sound
from the barest of clips, sending it into delay, leaving it looping whilst
cueing his next home-cut disc, Chicago, Detroit, Windsor all meet here,
minimal and  stripped down into a very live interactive performance - the
audience creeps  forward to watch a great craftsmen manipulate vinyl,
performer testing 3 or 4 different tracks before finally finding the new
beat which will fuse best - is this improvisation or live composition ?
Starting with a simple die, Richie casts a new tool, in the mixer / reverb
unit  -  instant audio sculpture -  formed, previewed and sent all within a
few seconds.  This solo improvisation  has more in common with improvised
jazz than techno. Mike Ink and Pole spring to mind but the live quality of
this performance has more in common with Miles Davis and Jeff Mills.  The
audience  ignored the  bobbing rotating cubes video projection overhead and
become transfixed by the acoustic magic happening around them.  The
audiences hunger for a beat or a groove is momentarily  satiated as Richie
releases a monster beat he has been previewing as a click or a crackle in
the delay unit, the audience explodes into dance.

Richie seems to love what he does and provides a human open performance
that is accessible and unreliant on a learnt or academic appreciation.  Raw
and essential.   Many new media artists have been massively influenced by
contemporary music or incorporate audio into their work. It is time that
audio art is acknowledged directly for exemplary work on the threshold of
two cultures:-dance culture and audio art.

The next  morning I order a beer at the bar and discuss the politics of non
governmental organisations with a newly met  friend.  Real World recordings
have presented a brief history of their activities in the music and design
industries over since its inception and how over more recent years they
have taken under their wing an increasing number of multi-media designers
and fine artists in addition to the impressive list of African and Asian
artists.  They recounted how hard it can be to track down some of the
African artists and bring them over to their recording studios in Bath,
whilst  Peter Gabriel said a piece to camera because he could not come to
Montreal !

Metamkine  performed with celluloid and analogue projections last night -
flagging projectors, making loops and using coloured filters across the
projector lens they accompany an audio track to make a dramaturgy of the
smashed mirror - the story they told last time I saw them in London - the
raw grainy imagery and mechanical tech form of  film projectors are
charming. Metamkine  know what it is they are doing and have not caved into
electronics - or have not  experimented enough with the form and possibly
content of what they are doing.  Providing a long cold experience,
relentless,  hypnotic yet already tried and tested - there is little
'happy' here - but why should there be ?

Vuk Cosik showed 'real ascii',  a spoof new programme along with other
influential web based artists dominating the contemporary arts media
festival circus this year.  Showing fake history and other "archaeologists"
findings.  Vuk also presented Gebhard Sengmuller's promo for his new trash
peg format  data recording system 'vinyl video'.  I know what I write will
make it sound good here - fakery and intervention always sounds good and
makes good folklore.  I want to make a special award  to Vuk of 2,000 ASCII
dollars for Best Media Archaeology.

In the background David Rokeby is providing a constant flow of surveillance
imagery bringing  attention to how we are watched all the time, but hang on
a minute that girl on the street looks cute and what's that man doing with
that dog......I watch the piece again and it grows on me - having studied
it and tried to work out rationally what is happening, I give up and take
it as a perception extender.  This is about time and space and inside
outside.  Border Control is an installation I saw at Ars Electronica
earlier this year made in collaboration with Paul Garrin.  A checkpoint
charlie automatic person recognition and  tracking system for weapons. It
graphically displays what is possible and might not be out of place at a
military fair.   The response of the audience is ambiguous and I am not
convinced that context within which these technologies 'speak' is fully
explored, considering the chilling nature of the implications.

Later I will chat with David about  the paradox of "the necessity for
surveillance in our society and how useful it is in minimising inner city
crime."  He agrees that the discussion is no longer about whether
surveillance is bad and it becomes apparent that he is struggling through
with a complex set of issues regarding data tracking and market profiles
which will look at the subtler actualities regarding information and
surveillance and remote agents.  I look forward to seeing his new work.

Constance De Jong presented 'Fantastic Prayers' a solo  performance
utilising video, CD Rom and the spoken word,  full of metaphor on issues
surrounding the body and skin.  With headset mic in an 80's New  York
style, she has collaborated with musician Stephen Vitello, sculptor Dan
Graham and Video artist Tony Oursler.  Constance demonstrated why multi
media should be meshed. More browsing in the CD ROM section.

A lounge set up with several Macs made available the individual works of
artists delivering artworks on this outdated storage format.  It so
difficult not to group them all as one, I did watch them all as individual
artworks (having followed some of the net criticism of selection processes
at Ars Electronica recently) but its difficult to guarantee  every path has
been explored ?
I  liked the humorous one best.  It was only later after lobbying from
Marie Josée, that I watched the entirety of 'The best of Connanski' and yes
it was funny. But that line about cutting off a women's clitoris  seemed a
bit strong and I was surprised that it was finally Marie-Josée arguing most
strongly for the work, maybe women are cooler in Quebec about these kinds
of things than they are in England ?  or maybe she did  not get through all
Connanski's questions to get to see that clip ? (the work is frustrating
test).  Alex Mayhew said during his presentation that he thought the best
CD ROMs were the most linear - "why waste time scripting stuff which people
may never find?" when he demonstrated and talked us through his beautiful
CD ROM, Ceremony of Innocence produced by Real World.  Clever scripting and
good one line tricks like the lizard making hole and climbing through - but
tedious having to read all those romantic letters (it is based on a book).
CD's make nice stocking fillers and will become cult collectibles in the
future - they are marketed as records or conventional artefacts but there
real strength is as a playground for high speed multi player web work where
real interaction may take place in the future.

Masse de Terre  a music video performance by Michael Chion took the form of
a liturgy combing an electro acoustic soundtrack with video projection
(some pre-recorded some live like the toy glockenspiel). If the work was a
"subversion of mass" then it was a  little difficult  to penetrate, which
then begs the question, should one have to understand the terms of
reference ? The audience seemed to hate it - but maybe that was the
intention, in the bar someone commented "is it pompous nonsense or
nonsensical pomposity for fucked up Catholics".  This made sense somehow in
relation to the video masturbation, lots of squiggly electronic effects
form the worst of 80's video art.  Formally a mess, technically inept but
refreshingly unfriendly:- Rhythmless 'anti-entertainment' or conceptually
half formed ?

If one heard the performance of "Symphony no 1 for printers" without seeing
the sound source - you might have a dance about - nice complex techno
rhythms, played on  a bank of 16 desktop PCs conducting a similar bank of
dot matrix printers. The work was fresh, pure and unpretentious:- Great
rhythms and quality music - arrived at through a compelling low tech route
- dramatic in expectation and surprising in its simplicity. The machines
are administered but I know with time they will develop more creatively as
they learn to multi task and develop a more complex longer working day.   I
hope the Best Canadian award helps to develop the work and solves some of
the conflicts these young artists are facing regarding future direction -
the seemingly mutual exclusiveness of  art and money.

Steina Vasulka performed 'Violin Power' . The re-manipulation of herself in
time and the dissection of  the falling dancing man are very strong
sequences and I would love to see them focused and developed  to the
exclusion of some other elements. Steina is a truly important artist - she
is owed lots for her input to media art through the formation of the
Kitchen in New York and seminal video work with Woody, her partner for many
years. As an individual she represents so many threads of media art history
and is still committed to making art.

David Shea performed live audio to 'Dial History';  a feature length found
footage film. I've seen it  on video but not with a live soundtrack before
a mesmerised audience of 200. Why were they mesmerised ?  Exploding images
of crashing airliners, a highjacker in his dying moment, a geeky kid saying
how much he enjoyed being held hostage ? Dial History flattens out history
- de-contextualises death and floats between a semi- Buddhist statement
about our transitory nature and 'cool' gallery based art film...would
someone contest this please?

A-Live provided a four on the floor techno set straight out of the
sequencer with related 'rave'  visuals. Dull predictable pre-recorded and
too loud, even for me.  Four or five people danced badly to the 4/4 beat.
The video image was always central and mostly colourful. Most interesting
when the sound and image connected and shared a relationship not just the
same time code, but then I remembered some of those experimental films by
Fischinger or  Garrard...at this point I decide to argue strongly in favour
Plastikman winning the prize.

The new media section of the Festival was very well organised, very social
and excellently programmed in terms of transition between formal programme
and club night, this was reflected in the diversity of  people attending
this section of the festival. The webcast was the best I have seen in terms
of efficiency and refresh rate (despite technical problems) and that could
only be a product of a great working team and volunteers putting their
heart into making it all happen and on time.  I'd like to take this
opportunity to thank everyone who produced the festival for doing so and
Alain Mongeau for inviting me to have the opportunity to concentrate on and
enjoy so much new work.

Mike Stubbs


The International Jury of the third edition of
"L'IMMAGINE LEGGERA - Palermo International Videoart+Film+Media Festival"
held in Palermo (Italy) October 2 through 10, and composed by:
Robert CAHEN (France),
Lars Henrik GASS (Germany),
Marina GRZINIC (Slovenja),
Sandra LISCHI (Italy),
Paolo ROSA (Italy),
has decided to award the following prizes and appreciations:

First prize (endowed with 10.000.000 Itl. lire) to:
"ICH TANK"  by David Larcher  (new version, France-Germany, September 1998,
international premiere)

Second prize - sponsored by Planète (endowed with 5.000.000 Itl. lire) to:
"A BOX OF HIS OWN" by Yudi Sewraj (Canada 1997)

Third prize (endowed with 2.000.000 Itl. lire) to:
"WHAT FAROCKI TAUGHT" by Jill Godmilow (USA 1998)

Special prize of the Jury (no cash prize) to:
"IN MY CAR" by Mike Hoolboom (Canada 1998)

Two honourable mentions (no cash prize) go to:
"S.O.L." by Robert Suermondt (Belgium 1997), and
"NOCTURNE" by Yervant Gianikian, Angela Ricci Lucchi (Italy 1997)

The Prize of the Audience (promoted by the film magazine "Ad occhi
aperti"), has been awarded to: "THE TRANSLATORS" by John Zeppetelli (Canada

The Jury for the Italian videos, composed by Simonetta CARGIOLI, Bruno DI
MARINO, Alessandro VIANI, has tributed the following awards: Fearless Award
to: "SETTE MELE BEN LUCIDATE" by Giuseppe Stassi (Italy 1998) Volcano Award
to: "IL REGNO" by Paola Lo Sciuto (Italy 1997) Honourable mention to:
"SYRENA" by Mariano Equizzi (Italy 1998)

The award for the best Artist's CD-Rom has been decerned to: "INTERZONA
*654Mgb* v.1.1" by Toni Serra (Spain, 1998)

The Jury of the competition for Italian experimental Radioplays, composed
by Pinotto FAVA, Otello URSO and Paolo CANTARUTTI, has awarded its prize
(endowed with 1.000.000 Itl. lire) to: "MOLTO CORTO (QUELLO CHE E' MORTO)"
by Massimo Toniutti (Italy, 1998)

Palermo International Videoart, Film and Media Festival
3rd edition: October 2 - 10, 1998
Festival staff: Alessandro RAIS (director), Marcello ALAJMO, Ignazio PLAIA,
Maurizio SPADARO
voice: +39-091-6961740, +39-0339-2103962
fax: +39-091-6111682
e-mail: 00253aaa@mbox.infcom.it

Book Publication: The Art of the Accident

On the occasion of DEAF98, V2_ Organisation and NAI Publisers are
publishing a book that is more than a catalogue of the festival, its
exhibition projects and participating artists. The fully illustrated book
takes a synthesising approach towards the intersecting practices present in
the festival, outlining the basics of an ars accidentalis.

The Art of the Accident also includes essays and interviews by: N.
Katherine Hayles (USA), Perry Hoberman (USA), Knowbotic Research+cF (D/A),
Steve Mann (CDN), Brian Massumi (AUS), Humberto Maturana (CHI), Marcos
Novak (USA), Dick Raaijmakers (NL), Lars Spuybroek (NL), Otto E. Roessler
(D), and Paul Virilio (F).

Articles about the projects of the DEAF98 exhibition and other programmes,
including: Mark Bain (USA), Calin Dan (RO/NL), Masaki Fujihata (J), Perry
Hoberman (USA), JODI (NL/B), KIT (GB), Knowbotic Research+cF (D/A), Gunter
Krueger (D), Seiko Mikami (J/USA), Debra Solomon (NL),  VinylVideo/Gebhard
Sengmuller (A), Tamas Waliczky  (H), Herwig Weiser (A/D), Aaron Williamson
(GB), Bureau of Inverse Technology (USA), Association of Strategic
Accidents (D), John Bain (USA), programm 5 (D), Karoly Toth (HU/NL), Zoltan
Szegedy-Maszak + Marton Fernezelyi (HU), and Timothy Druckrey (USA).

Documentation of the transArchitectures 02 + 03 at the Netherlands
Architecture Institute with works by: ABB/ TUD B. Franken (D),
Arakawa/M.Gins (USA), Asymptote (F), Maurice Benayoun (F), Objectile/Cache
Beauce Hammoudi (F), Karl S. Chu (USA), CyberNetiK[A] (B), Decoi (F), degre
zero (F), Neil Denari (USA), Dunne + Raby (GB), Ammar Eloueini (F), John &
Julia Frazer (GB), Christian Girard (F), Gregoire Kligerman Petetin (F),
LAB [au] (B), Greg Lynn (USA), F. Meadows/ F. Nantois (F), Ben + Laura
Nicholson (USA), Marcos Novak (USA), NOX/ Lars Spuybroek (NL), Kas
Oosterhuis (NL) Reiser + Umemoto (USA), ROCHE, DSV & Sie (F), Philippe
Samyn (F), Nasrine Seraji (F), Adrien Sina (F), Neil Spiller (GB), Bernard
Tschumi (F/USA).

The book The Art of the Accident can be purchased or ordered at every
bookstore in the Netherlands, at the Netherlands Architecture Institute
Rotterdam, and at V2_Organisation, Rotterdam. During the DEAF98 festival,
at all other festival locations.

256 pages full colour, price: HFL 49,50 (during the festival, on location,
HFL 45,00 with discount coupon)

Published by NAi publishers and V2_Organisation
ISBN 90-5662-090-8

Check the DEAF98 website for text excerpts: http://www.v2.nl/deaf (projects)

Further information:

Eendrachtsstraat 10
3012 XL Rotterdam
T ++31 10 206 7275
F ++31 10 206 7271
URL: http://www.v2.nl/deaf

Birmingham's Centre for Media Arts is looking for a Director with the
skills to develop creative opportunities in the digital & media arts &
cultural industries.

Experience of creative project development & management, fund raising, and
income generation in the media necessary.

Purpose of Post
The Director is responsible for the strategic and creative development of
Vivid in conjunction with the staff, the management committee and  funders.
The Director co-ordinates the planning, realisation and  promotion of the
activities of Vivid.

Therefore the key role of the position is the Strategic and Creative
Development of VIVID :

a) To work with the management committee, staff, funders and other partners
to plan Vivid's future development through the production and
implementation of a rolling three year artistic and business plan.
b) To develop creative and innovative projects that fulfil Vivid's aims and
c) To produce and implement an income generation strategy and develop
relationships with existing and new funders and sources of income.
d) To develop appropriate partnerships with other organisations and individuals

For full details, and a copy of the application form go to :
or email vivid@waverider.co.uk or via the address / tel.no. below

It should be pointed out that Vivid will increasigly be involved in
producing its own new media projects, and developing new practice. This is
perhaps not reflected in the current website. If you want to actually speak
to someone here, then ask for either andy robinson (digital and photo
co-ordinator), or Colin Pearce (Chair of directors).

Andy Robinson
Unit 311f
The Big Peg
120 Vyse Street
B18 6ND

Tel. 0121 233 4061
Fax. 0121 212 1784
email. vivid@waverider.co.uk

two new members of staff please circulate the information below:

(£22k - £25k)

(£18.5k - £21k)

As a leading agency for the commissioning, presentation, servicing and
support of artworks using existing and emerging technology, FACT has a
successful and impressive track record of initiating and producing major
international projects including VIDEO POSITIVE and ISEA98, as well as
operating MITES (the Moving Image Touring & Exhibition Service).

These two new posts are key to FACT's next exciting stage of development
including  the staging of VIDEO POSITIVE 2000 and the development and
completion of the FACT CENTRE - a centre for moving image media in

GENERAL MANAGER will be responsible for financial control and planning,
human resource management plus business development and planning issues.

PROGRAMME CURATOR will have principal responsibility for curating, project
managing and organising an international programme of exhibitions and
events throughout the UK including the VIDEO POSITIVE biennial in
Liverpool, scheduled for 2000.

We are looking for dynamic and ambitious individuals who can work
energetically and enthusiastically on multiple projects.

For further details, please send an A4 SAE (49p) stating the reference
number for the post to:

Laurie Hunte,
Bluecoat Chambers, School Lane,
Liverpool L1 3BX

Deadline for receipt of applications: THURSDAY 17th DECEMBER 1998
Interviews scheduled for: week beginning MONDAY 11th JANUARY 1999

The Foundation for Art & Creative Technology [FACT]
[The UK's leading development agency for video and electronic media art]

Volcano Programme

Poole Arts Trust have been awarded Lottery funding from the Arts for
Everyone department to develop an innovative new programme of visual arts
(specifically photography and new media).

A freelance Project Leader is required to manage and develop the programme
on behalf of Poole Arts Centre.  The programme, which will focus on
photography and new media/digital technology will pilot a new direction for
Poole Arts Centre, and for arts and community development across the
borough of Poole.  The programme is comprised of 3 major commissions, a
participatory arts programme, a small exhibitions programme, a training
programme and 3 arts festivals.  It specifically targets new audiences for
the visual arts, particularly young people, people with disabilities,
culturally-diverse groups, students and workers.  In addition the programme
aims to develop strong partnerships between local authority service units,
local industry, local further and higher education institutions, artists,
and the community.


1. To manage and develop the Volcano programme, with the support of the
Project Team and Project Steering Group.

2. To create partnerships and develop new links with local industries,
higher education, local authority service units and other relevant
organisations and individuals.

3. To support the work of artists undertaking the commissions.

4. To develop a series of participatory arts programmes, which meet the
needs and aspirations of target groups and individuals, and to support the
work of the artists delivering projects.

5. To develop a Website for Poole Arts Centre in conjunction with artists
and participants of the Volcano programme.

6. To make presentations about the project to potential partners and other

7. To access additional resources for the Volcano programme,  through
business sponsorship,  grant aid, income in kind and other fundraising

8. To make verbal and written reports to the Project Team, the Project
Steering Group and the Arts Lottery Board.

9. To manage the Volcano budget with the support of the Finance Officer

10. To carry out basic administration of the Volcano Programme

The post will be supported by a steering group, an internal project team
within Poole Arts Centre and The Borough of Poole's Local Arts Development


You will be a creative thinker and an excellent facilitator. You will be
experienced in arts management with an understanding of the needs of
artists, and the needs of the potential target groups.  You will be able to
demonstrate awareness of the issues involved in developing the arts with
new audiences, particularly in disadvantaged areas.  Well-organised,
efficient and imaginative,  you will enjoy communicating with a wide range
of people.  You will be able to demonstrate an enthusiasm for contemporary
visual arts, photography and new media/digital technology.


Essential: a knowledge of new developments in contemporary arts,
particularly photography and new media / digital technology a knowledge of
arts in education, participatory arts, disability arts, youth arts,
public/commissioning arts experience in organising exhibitions experience
in fund-raising and applying for grants/sponsorship.
Experience of Microsoft Office and related software experience and
understanding of the Internet

Desirable: experience of working in disadvantaged areas
curatorial experience
own transport
practical experience of participatory arts


The fee for the position is 12,000 GBP per year for approximately three
years until December 2001. (To be paid in monthly instalments of 1000 GBP).
You will be expected to work approximately 3 days per week, although this
may fluctuate substantially in accordance with the requirements of the
programme.  Hours are flexible with some weekend and evening work expected.
This is a freelance contract and you will need to make your own Income Tax
and National Insurance contributions.  Reasonable travel expenses will be
agreed. There will be a three month probationary period with one months
notice period.

Poole Arts Trust operate an Equal Opportunities policy.


Send a CV and letter of application, including 2 references, to:
Alistair Wilkinson, Programme Director, Poole Arts Centre, Kingland Road,
Poole, Dorset BH15 1UG.

Your letter should indicate what you feel you can offer the project with
reference to the person specification and the experience and skills
indicated.  Please also indicate your availability to take up the role.
Please contact the above on 01202 665334, if you would like to have an
informal chat about the role prior to application

Deadline for receipt of applications: 		15 January 1999
Shortlisted candidates will be informed by: 	22 January 1999
Interviews will be held on: 			29 January 1999

Successful applicant to start as soon as possible.

The School of the Art Institute of Chicago

Animation/3D Visualization.  Full-time, tenure-track, rank open.

The School of the Art Institute of Chicago seeks practicing artist to teach
and help expand animation courses in art & technology and filmmaking.
Animator-filmmakers, 3D animators, and real-time 3D Visualization artists
are encouraged to apply. Ability to work with beginning and advanced
students.  School's open curriculum nurtures experimentation and
interdisciplinary work in art & technology, film, video, sound, painting,
sculpture, etc. AA.EOE.WMA..

Send letter of application; resume; statement of teaching philosophy;
sample of work; names/addresses of 3 references and self-addressed, stamped
envelope by February 1, 1999 to: Animation Search Committee/em3, SAIC,
Dean's Office, 37 S. Wabash, Chicago, IL  60603.

The School of the Art Institute of Chicago

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/em3, SAIC, Dean's office,
37 S. Wabash, Chicago, IL 60603.


1. [Call for Participation]
Tábor, Czech Republic
August 20-24, 1999

2. [Call for Works]
New York City, April 1999
Deadline for submission: February 1, 1999

3. [Call for Participation]

4. [Call for Submission]
Seattle, WA/Los Angeles, CA
February 1999
Deadline for submission: January 1, 1999

5. [Call for Papers]
Piran, Slovenia,
April 8-10, 1999

6. [Call for Submission]
Online Exhibition

7. [Call for Works]
SF Art Commission Gallery

8. [Call for Papers]

9. [Call for Works]

10. [Call for Submission]
LIFE 2.0 International Competition
Madrid, Spain
Deadline for submission: January 15, 1999.

11. [Call for Submission]
Museum of Contemporary Art in Helsinki, Finland
Deadline for submission: February 1st 1999

12. [Call for Scores]
ISCM World Music Days 2000
29 september - 8 october
Deadline for submission: March 1st 1999

13. [Call for Entries]
Paderborn, Germany
February 23-26, 1999.
Deadline for submission: January 15, 1999

14. [Call for Participation]
Rio de Janeiro, Brazil
March 1999

15. [Call for Works]
Musee d'art contemporain de Lyon France
February to April 1999

16. [Call for Works]
Ljubljana, Slovenia
May 1999
Deadline for submission: February 8, 1999

17. [Call for Works]
Ottawa, ON Canada
Deadline for submission: January 15, 1999

18. [Call for Works]
Seattle, WA, USA

19. [Event]
London, UK
15-18 April 1999

20. [Event]

1. [Call for Participation]
An Arts Festival of Cross-national Interdisciplinary Collaborations

Reflections on Adopted Cultures from Im/E/Migrants, Refugees, Extra-legal
and Resident Aliens, and Others making their Homes on Foreign Soil
Cultural Exchange Station in Tábor, Czech Republic August 20-24, 1999

As world borders grow, change or disappear, the results are evident in
movement: here to there, near to far, inside to outside. This is not a new
occurrence, nor is it strange, yet foreigners remain strangers. Through At
Home' Abroad we will take a look at our societies from the Other side by
discussing and witnessing the experiences, rejections, losses, gains and
illusions  of these social voyeurs, these uninvited viewers. We will debate
the placement of foreigners into non-participatory social categories and
offer their descriptions  as integral contributions to understanding our
societies as a whole. Through the process of collaboration the artists
themselves will also investigate the similarities and differences of their
adopted cultures.

CESTA's festival parameters of cross-national interdisciplinary
collaborations represent the center's commitment to developing
communication through creative expression.  We base our selection of
artists on a review of applications resulting from our annual open call.
Interested artists submit a prepared concept that fits the festival
parameters or request CESTA to connect them with potential collaboration
partners. For At Home' Abroad participants must join or present a
collaboration group in which the members:

1) currently live in a country in which they are considered "foreign"
2) are using different artistic media
3) create a large portion of the work(s) exclusively for At Home' Abroad

We do not accept consecutive year applications from previous CESTA festival
participants. For more information or an open call application form for At
Home' Abroad, please contact CESTA.
CESTA is an international non-profit center committed to the development of
cultural understanding and tolerance through the arts.
CESTA was founded in 1993 in the southern Bohemian city of Tábor, Czech
Republic. For the past four years our association has pursued the
development of this center through community events and annual arts
festivals of cross-national interdisciplinary collaborations. Housed in a
century-old mill, the project serves as a resource center for local and
regional artists, and exhibition and performance space for festival
participants and visiting artists.

CESTA Novakova 387, Tabor 39001, Cech Republic tel: +420-361-258-004 email:

2. [Call for Works]
New York City, April 1999

First annual festival featuring film, video and digital animation from
around the world.

Deadline: February 1, 1999
Early Deadline: January 4, 1999

For entry form or information, call, fax, write or e-mail your name,
address or e-mail address to:

New York Animation Festival
PO Box 1513
Peter Stuyvesant Station
New York, NY 10009

Tel: (212) 982-7781
Fax: (212) 260-0912
E-mail: NYAFest@yahoo.com

3. [Call for Participation]
Help fill the Strange Case with art!

You are one of a number of dispersed and diverse individuals, invited to
gather in a virtual place to draw, paint, collage, montage. The resulting
artworks will be distributed by hand to other individuals. The art makes
random connections between one network and another: between the electronic
and the social, from the telematic to the personal.

Please alter Polaroid images of the Strange Case: maybe you would like to
put something in the case, decorate it, obliterate it, whatever. Download
the images via your browser. You will need graphics software, for example
Photoshop, Paint Pro, GraphicConverter, to make your marks. Once your work
is complete, simply send me an e-mail, with the altered image(s) attached.

To take part, visit http://www.cryptic.demon.co.uk/case.html

Contributions will be archived on this site for all to see. I will collate
the altered images after one month, output to a laser printer, and place
them in the Strange Case.


At the opening of the exhibition, I will invite people in attendence to
take an image from the Strange Case. The location will hopefully be
Rotterdam, during this year's Dutch Electronic Art Festival. No money will
change hands, this is a non-profit project, concerned solely with exchange
of ideas. All participating artists will be credited.

Gulp! Gallery

This project is included in the programme of Gulp! a travelling free space
in operation since 1995. For further details, consult the web site:

"All that is comes from the mind"

Chris Byrne, Kaleidoscope

The Strange Case of Art

Variant Magazine on the web:

4. [Call for Submission]

Powderkeg Contemporary Performance is now accepting submissions of
contemporary video work that is 20 minutes or under in length.

The exhibition will take place in February in Seattle, Wa and in Los
Angeles, CA in late Spring of 99.

Please send all submissions to:
1122 E Pike St #443
Seattle, WA USA

The deadline for submissions is January 1, 1999, but the sooner the better.


- each piece submitted should be under 20 minutes
- all work should be on 1/2 inch VHS or S-VHS tape
- a $5.00US processing fee should accompany your work (the amount of videos
you would like to submit is unlimited. The $5.00US fee is per artist, not
per submission and is strictly to offset the costs of the venue and
necessary equipment for the event, as well as the needed facilities to
convert the European format submissions to NTSC)
- if you want your work returned, please send a SASE with appropriate postage.
- if you want more detailed information concerning the event and or
selection process, then send a letter of specific request and a SASE.

If enough funding can be generated by local arts organizations and
submission fees then the panel will select two artists to travel to Seattle
for the opening of the exhibition and present an informal lecture about
their work.

questions: thepowderkeg@hotmail.com

5. [Call for Papers]

Piran, Slovenia, April 8-10, 1999

The European Institute for Communication and Culture and World Association
for Christian Communication will hold a colloquium in Piran, Slovenia on
media ownership and control in East-Central Europe. With the end of the
communist utopia at the turn of the 1980's, East-Central European countries
have been undergoing fundamental changes -- in politics, economy, as well
as social consciousness. The media followed suit: A few thousand newspapers
and magazines changed their owners, many went out of business and even more
new ones were launched. Dozens of commercial radio and TV stations have
appeared on the market. Nowhere in the world were these changes more
dramatic than in East-Central Europe. While the process is still far from
complete, there is no doubt that these region has
the richest experience of democratisation and its impact on the mass media.
The abstract debates about the ideal relationship between the media and
democracy have a concreteness and an urgency which are is sometimes lacking
in discussions about more stable societies, either democratic or
dictatorial. These processes of democratisation have taken place more or
less at the same time as the growth of new media, and have clearly
influenced both governments and citizens in their thinking about the role
and functions of the media. The questions of commercialisation,
ideologisation, objectivism, politicisation, private ownership, monopoly,
state control, the role of church and, generally, the relationship between
the mass media and democracy are hotly debated topics, both by scholars and
by political and social actors. This colloquium will address those themes.

We welcome papers that look at the experience of the media and
democratisation, and the new media and democracy, in both East-Central
Europe and other regions to enable a comparative perspective. We are
interested in detailed country studies, comparisons of two or more
countries either within the region or between regions, and attempts to draw
more general theoretical lessons from the concrete experiences in question.
As is always the case in Colloquia organised by or with Euricom, we do not
intend to prioritise any particular approach or method. We welcome papers
from any perspective, or employing any methodology. It is one of the
strengths of the kinds of gathering we organise that these differences can
be debated and discussed in an open and friendly way, to the benefit of all

Abstracts due: January 1, 1998
Papers due: April 1, 1998

Abstracts of approximately 250 words should be submitted to:
Slavko Splichal, University of Ljubljana, Faculty of Social Sciences,
Kardeljeva pl. 5, 1000 Ljubljana, Slovenija. Fax: +386 61 721 193.
E-Mail: slavko.splichal@uni-lj.si

6. [Call for Submission]
Submissions are requested for an online exhibition My First Web Page.

Curators will comb through the virgin net projects of self-professed
artists AND non-artists. Pages focused on personal hobbies or experiences
as well as first web pages demonstrating art, programming or underground
talent are welcome.

URLS or files (appropriate if the first web page is no longer online)
should be sent to Heath Bunting (mailto:nov98@irational.org) and Rachel
Greene (mailto:rachel@rhizome.org).

Rachel Greene and Heath Bunting

7. [Call for Works]

Seeking media works (video, photography, film, CD-ROM, sound, web) relating
to collective disquiet and fear in contemporary society for an exhibition
scheduled for
Fall 1999.

Themes particularly related are:
Fear and Anxiety (the state of unease as the Zeitgeist of the times)
Fear and the Family
Fear and Authority
Fear and Technology
Fear and the 'Other" (fear of invasions)

Send proposals or for a prospectus to:
Rupert Jenkins, Paula Levine,curators,
SF Art Commission Gallery, 25 Van Ness Avenue, Suite 240, San Francisco CA

8. [Call for Papers]
Convergence: The Journal of Research into New Media Technologies

Special issue on young people and new media technologies guest-edited by
David Buckingham and Julian Sefton-Green

The Winter 1999 issue of Convergence will be devoted to the theme of young
people and new media technologies. Debates on this issue typically invoke
contrasting visions of the future. On the one hand, there are those who
celebrate the autonomy of the new generation of 'cyberkids'; while on the
other, there are those who lament the decline of traditional notions of
childhood into a technological dystopia. Young people are the key target
market for a range of new media products and marketing; they figure in
disputes over the place of technology in redefining domestic and public
spaces; and they are apparently the
most ready to grasp the cultural possibilities offered by new digital
media. Developments in this field also reflect the changing nature of
'education' and 'entertainment' and of the relationships between them. Yet
research is only just beginning to assess the significance of computer and
on-line games, both in themselves and in terms of their influence in other
forms of cross-media output; and we still have a long way to go in
realising the potential impact of new media in bringing about new kinds of
teaching and learning. We welcome submissions relating to the cultural,
educational, economic and political dimensions of this field, particularly
those based on empirical research into young people's uses of digital media.

Copy deadlines
Refereed research articles 30 April 1999
Debates 30 June 1999
Feature reports 30 May 1999

All proposals and submissions for this special issue to either:

Dr David Buckingham Reader in Education Institute of Education, University
of London, 20 Bedford Way, London, WC1H 0AL, UK. Tel: +44 171 612 6515, Fax:
+44 171 612 6177, E-mail: d.buckingham@ioe.ac.uk


Dr.Julian Sefton-Green, Media Education Development Officer, Weekend Arts
College, Interchange Studios Dalby Steet, London NW5 3NQ, UK. Tel: +44 171 284
1861, Fax: +44 171 482 4727, E-mail: sefton@home77.demon.co.uk OR

All other editorial inquiries, general proposals and submissions to: Julia
Knight/Alexis Weedon, Editors, Convergence, School of Media Arts,
University of Luton, 75 Castle Street, Luton, LU1 3AJ, UK.  Tel: +44 1582
34111, fax: +
44 1582 / 489014

9. [Call for Works]

I would really appreciate it if you could send me the URL of your:

- cyber (hypertext) literature projects
- net art projects
- theory of computer art

If it's not too much trouble it would be very nice if you could include
short description (or statement, or something similar) of the project.
Please try to be as short as possible (few sentences), use English language
and Slovene if you know it. (If you have some information about cyber
literature (like URL of on line literature magazines or mailing lists, ...)
I would appreciate if you send me this data also.)

Please send data to:

I'm one of the editors of slovene literature magazine called LITERATURA.
It's published in Slovene language only, but the magazine is now going on
line and soon there will be some parts translated into English.
Magazine covers poetry, fiction and theory of literature. By going on line
it will cover also hypertexts literature and theory and also there will be
part about net/web art (computer art).
In on line part of the magazine will be a page with links to hypertext
literature projects and to other net art projects and also to the theory of
net art/ computer art.

Best regards and thanks in advance

10. [Call for Submission]
LIFE 2.0 International Competition

This is a call for submission of art works to an international competition
on "art and artificial life." We are looking for works in electronic and
digital media that cross over with the field of a-life research. Artists
whose work uses digital synthesis techniques and whose conceptual concerns
are related to synthetic life and artificial evolution, are invited to
submit their pieces. The work may employ techniques such as digital
genetics, autonomous robotics, recursive chaotic algorithms, knowbots,
computer viruses, avatars or virtual ecosystems.

An international jury (Jose Luis Brea, Manuel DeLanda, Joe Faith, Rafael
Lozano-Hemmer, Sally Jane Norman and chair Nell Tenhaaf) will grant three
cash awards, with a first prize of US $5,000 (2nd Prize:$3,500 - 3rd
Prize:$1,500), plus seven honorary mentions to the most innovative
electronic art projects related to a-life. Furthermore, works that are
awarded a monetary prize or selected for an honorary mention will be
included in a "Best of LIFE 2.0" video which will be aired on specialty
television programs and circulated at festivals worldwide. Assessment will
be based on video documentation submitted along with an application form.
The deadline for submission is Friday, January 15, 1999.

The Life 2.0 International Competition is sponsored by the Fundacion Arte y
Tecnologia in Madrid, Spain.

For further submission information and the application form, please see:

For questions concerning eligibility of entries: Nell Tenhaaf, Artistic
Director <tenhaaf@yorku.ca>

All other inquiries:
Susie Ramsay <fat@telefonica.es>

11. [Call for Submission]
Webcast Project

Date: November 1998

Kiasma, Museum of Contemporary Art in Helsinki Finland, is seeking works
for possible inclusion for the upcoming SOUND BOX 2.0 web project.

SOUND BOX 2.0 is a RealAudio based experimental webcast, opening on Tuesday
April 6th 1999. Webcast will be online for a period of four months at the
following address: http://www.kiasma.fng.fi/soundbox/ .

SOUND BOX 2.0 will introduce different kind of works and aesthetics
concerning electronic music. SOUND BOX 2.0 is looking for fresh ideas,
works in which sounds and electronic means are used in imaginary and
interesting ways. SOUND BOX 2.0 will give the web audience a versatile
vision about the diversity and richness of international sonic art in the

40 works will be selected for SOUND BOX 2.0 webcasting. The selected works
are broadcasted as a nonstop stream, including text information about every
composer and work. Visitors can also make their own choices and select
whatever pieces they like. It is also possible to leave comments.

Each selected composer will receive a fee of 100 USD. Please be sure that
you own the copyright of the piece before submitting it. There will also be
a possibility that Kiasma, Museum of Contemporary Art will buy a few of
these works for its collection.

SOUND BOX 2.0 project is curated by composer Petri Kuljuntausta
(http://muu.autono.net/artists/kuljuntausta/), chairman of the CHARM OF
SOUND association.

Formats for submission:
- DAT, CD/CD-R, Mini-disc.

Please include:
- Written artistic statement about the submitted work and bio about
yourself and your previous work in diskette (Macintosh / PC).

DEADLINE for submissions is February 1st 1999 (postmarked).

Submit your work and diskette to:

Kiasma, Museum of Contemporary Art
Mannerheiminaukio 2
FIN-00100 Helsinki

The SOUND BOX Website at: <http://www.kiasma.fng.fi/soundbox/>

12. [Call for Scores]
ISCM World Music Days 2000
29 september - 8 october

The World Music Days 2000 will be held in Luxembourg from September 29 to
October 8.
In order to give as complete an overview as possible of the contemporary
music scene, the organizer intends that every national section and
associate member taking part in the submission process will be represented
in the festival program. Any piece composed after 1975 may be entered.
Entries must be accompanied by a recording, except for pieces composed in
1998 or 1999. Pieces written especially for the WMD 2000 should not last
more than 10 minutes, to enable the organizer to perform the largest
possible number of composers.

It is recommended that entries include works for the  usual ensembles:
symphony orchestra, chamber ensemble (sinfonietta), symphonic wind band,
string quartet, woodwind quintet, saxophone quartet, piano solo, piano +
solo instrument, etc.

During the entire duration of the World Music Days, "sound-installations",
video-art, music and film installations, electro-acoustic installations and
exhibitions will be on show and can be heard in the Forum d'Art
Contemporain in the centre of the city of Luxembourg. In all, there are 14
rooms with a total of 700 m2 for this purpose.

An International Jury will decide on the final program of the ISCM World
Music Days 2000. Beside the Orchestre Philharmonique du Luxembourg and
various Luxembourgish soloists, the performances will be assured by
established international ensembles.

1.Each National Section and Associate Member of the ISCM may submit up to
six works from at least two different categories as an official submission.

2. Composers including those from countries not affiliated with the ISCM,
may submit only one work. An entry fee of Hfl. 50,- (fifty Dutch guilders)
has to be paid by credit card, by international money order/mandat de poste
international (no bank cheques) or transferred by bank, referring to 'ISCM
World Music Days 2000'. If one wishes to pay by bank cheque, Hlf.25,- have
to be added.
If the entry is not paid to the ISCM Secretariate, Swammerdamstraat 38,
1091 RV Amsterdam, the Netherlands, the submission will be  disqualified.

3.Entries by publishers must be accompanied by a letter of consent from the

4.Only one submission per composer can be accepted, whether as a result of
national selection or individual submission. Preference will be given to
official submissions.

5.Equal attention will be given to all categories of music:
a. orchestra (with or without soloists, choir, electronic instruments)
b. chamber orchestra
c. music for ensemble with or without soloists
d. vocal music (choir and smaller vocal ensembles with or without instruments)
e. solo instruments (including organ) and/or voices
f. electroacoustic works
g. music theatre and music for dance
h. video (VHS, European format, not US), film, installation/ambient events
i. other categories

6. All submissions must be accompanied by the following materials:
a. short biography of the composer translated into english
b. proof of his/her nationality
c. contact address of the composer
d. a recording of the work (audio or video VHS; exception: pieces composed
in 1998 or 1999)
e. programme note to the work translated into english
f. year of composition and duration of the work
g. all necessary information/documentation relevant for judging by the
International Jury
h. submissions by individual composers or by publishers have to be
accompanied by a proof of payment of the entry fee.

7. Deadline for entries is 1 March 1999

8. All material should be sent to the following address:

Case Postale 828
L-2018 Luxembourg

9.The composers of the selected works must provide all the performance
material (including rental material and tape rental).

10.All entries will be treated with great care. The ISCM and organising
commitee however can not take responsability for the loss or damage of
scores, tapes or any other submitted material.

11.The submitted scores and material will only be returned if this is
expressly requested and the cost of postage or freight has been paid.
Delegates of the National Sections and Associate Members may collect
submitted material from their countries at the General Assembly.

12.All submissions which do not meet the conditions or deadline above will
not be considered.

Every effort will be made to record as many concerts as possible and to
make them available to the radio stations which are members of, or
affiliated to the European Broadcasting Union.

Financial conditions

The organizers of the ISCM World Music Days 2000 will bear the costs for
the performance of the works. In the case of a composer having special
requirements concerning the performance (e.g. specific performer or
conductor) the expenses must be covered by the composer, National Section
or Associate Member.

The organizer will inform composers in due time on the rehearsals of their
works and other relevant things.

ISCM World Music Days 2000
Artistic Director:  Marcel Wengler
Administrator: Luc Blasius
tel.: (+352) 22 58 21, fax: (+352) 22 58 23
email: lgnm@lgnm.lu
internet: http://www.lgnm.lu

LGNM (ISCM Luxembourg Section)
Case Postale 828
L-2018 Luxembourg

Fill in the "Method of Payment' form and send this form (eventually with
money or cheque) to: the ISCM Secretariate,
Swammerdamstraat 38,
1091 RV Amsterdam,
The Netherlands

add a copy to your entry which has to be sent to the ISCM Luxembourg Section




postcode / town:


Title of entered work:

[   ] I enclose the amount of Hfl. 50,- in cash money
[   ] I enclose a bank cheque of Hfl. 75,-
[   ] I will tranfer an amount of Hfl. 50,- to account no. 552532088 of the
ISCM in Amsterdam, at ABN/AMRO bank in Bilthoven, the Netherlands,
swiftcode ABNA 2NLA
[   ] I will transfer an amount of  Hfl. 50,- via international money order
/ mandat de poste internationale
[   ] I will pay an amount of Hfl. 50,- by credit card.
	Please charge my
	[    ] Mastercard [     ] VISA [    ] American Express
	Card #                           Expiry date
	Signature                        Date

Send this form (eventually with money or cheque) to the ISCM Secretariate,
Swammerdamstraat 38, 1091 RV Amsterdam, the Netherlands; add a copy to your
entry which has to be sent to the ISCM Luxembourg

13. [Call for Entries]

The 4th VRML Conference will take place in Paderborn, Germany (the first
time in Europe)  February 23-26, 1999.

This year, the conference, a collaboration between the VRML Consortium
(www.vrml.org), the Gesellschaft fur Informatik (www.gi-ev.de) and C-lab,
the R&D Institut of Paderborn University and Siemens AG (www.c-lab.de/)
will feature the VRML.ART expo.

DEADLINE  to submit projects:  January 15, 1999
NOTIFICATION:  January 25, 1999

Artists and designers   -   Art and design students

Projects can be submitted as:
Stand-alone VRML  --   Web-based VRML  --  Multi-user-based VRML
Multi-media VRML Work   --   VRML Objects and Environments

The VRML.ART expo features the ideas and  independent creations in VRML
from artists, and Web VRML design from commercial designers.  It shows the
status of  VRML based visual work done private, in companies and in schools.

A growing number of Art Schools and Art departments in Universities are
teaching students VRML based visual  work, commercial companies and
institutions are starting to implement 3D objects (in their 2D Web
representation), and artists are using VRML technology to express artistic
ideas and in communication environments.

The VRML.ART expo will be presented online, and also featured in a gallery
installation at the VRML 99 conference.  Works will be juried by Karel
Dudesek, Director of VGTV Laboratories (Germany) and Kathy Rae Huffman,
Independent curator and Associate Professor of Electronic Art, Rensselaer
Polytechnic Institute, Troy, N.Y. (USA)


Please specify the category, and provide a URL, title of project, contact
name, address, telephone, FAX, and email address.

Online submissions:
Submission authorizes linking to your 3D site, if selected. Online works
must run on max.150 MHz.   Please specify CPU power and OS which your work
is tested on.

CD ROM submissions:
Test CD ROMS before sending.  Please specify CPU power and OS which your
work is tested on.   Works with loading problems, or ëalertí messages on
VRML dashboard  will be automatically eliminated.  Return of CD ROMs is not

Student submission:
In recognition of the growing number of student sites and VRML activity,
ALL student works that load properly will be included in a special
VRML-student gallery. Class compilations are encouraged.  The name of
professor or instructor, a list of students included, school name and
course title should be included with each student entry.

Submit projects on or before January 15, 1999, to:

Karel Dudesek,  VGTV, Gl?singerstr 40c, D-21217 Seevetal (Germany)
Additional information: kdudesek@compuserve.com  or http://www.c-lab.de/vrml99/

14. [Call for Participation]

We are presenting you with an opportunity to get together with a group of
people who are composing and important panel which will be part of an art
exhibition on computers that will take place in march 1999 at Rio de
Janeiro,  Brasil.

There are six computer generated images on our site:

Our idea is that these images will come to suffer innumerable free
interventions from each participant. The metamorphosis that will be carried
out by this image should be sent to pobox: regvampi@iis.com.br .
If you prefer the traditional mail, you should sent your image to
caixa postal 64050,
Rio de  Janeiro  RJ,
CEP: 22012-920,
in the form of a print of A4 format, black  and white or color, signed by
you (if you wish) and it should be accompanied by a return address and the
information you want to disclose about your work, or  about computer art.
Your participation in this project automatically implies  that we have the
right to use the image you send to the  "ÔUANARTE" group.

Join us in an event that will reflect the feelings and the imaginary of
1999  so present already within us.


Guto Nóbrega e-mail: gutonobrega@pobox.com
Marcelo Frazão tel: 548 10 88 ramal 254 (SESC /  Copacabana)
Neide de S e-mail: neidsa@ibm.net
Regina Célia Pinto e-mail: regvampi@iis.com.br
Romero Cavalcanti
Rubens Ribeiro e-mail: rubensri@iis.com.br

15. [Call for Works]
COLLAGE JUKEBOX  2.0   http://www.imaginet.fr/manca/joy/collage


Musee d'art contemporain de Lyon France
11/02/1999  -> 11/04/1999
DEADLINE : 8/12/1998

Bar Wagram Nice
DEADLINE: 30/01/1999

Venez rejoindre les quelques 170 artistes qui participent deja au projet.
Envoyez vos contributions des maintenant.
Come to join the few 170 artists who take part already in the project. Send
your contributions now.

---> Jerome Joy, BP 74, 06372 MOUANS SARTOUX Cedex, FRANCE.
---> email: jj@cnap-villa-arson.fr
---> fax: 00 33 4 92 92 26 35

You are invited to take part in Collage JukeBox, a project of Jerome Joy.
Here is the advertisement of the new international project Collage JukeBox.
You are cordially invited to take part in this co-operative project of an
international edition in a new form: a juke-box. This project proposes new
investigations in the field of the sound, in music, visual arts and in
other disciplines. It is a project on the " fixed sound " or the " recorded
sound ". The original proposal of the Collage Project was two years ago, to
can listen to some new sound and musical investigations in knowing that the
majority of those are not broadcasted in the traditional networks, and to
find some inedite forms of presentation which come out off the beaten
tracks and which allow to put together some sound researches in visual arts
and musical ones. How the sound invests the contemporary languages today?
and which artistic activity and musical possible today?

The new project Collage JukeBox, after the project of the last year
CollageTV and the first version of JukeBox the last summer, uses the device
of a "true" JukeBox to become mobile and permanent. The edition consists of
evolutionary banks of  CDAUDIOs, growing progressively with new
contributions, and is representative of new sound investigations in art and
music. It is not a question of a collection carried out by collecting, but
of a project where we ask each artist to voluntarily take part and to send
what he or she desires. You can send to the postal address above your sound
and/or musical contributions (works, extracts, documents, etc.) on DAT, CD
or audio-cassette, each work must be less than 10 minutes. These
contributions are then burned on CD, are inserted in the JukeBox device and
are "playable" like tracks starting from the board of the Juke. Specific
works for this project of JukeBox are of course welcome and especially
desired. The participating artists keep the moral right and the copyright
on works sent. JukeBox is free and not-paying. The user chooses one or of
the selections on the board of the JukeBox according to the names of the
artists and titles' displayed, as on a traditional jukebox. All the
selected artists are named (quoted) into each presentation of the project
(publication, catalogs, etc). You can invite two or three other artists to
participate to the JukeBox project. The Collage title do not want to
indicate a selection and a esthetic reference according to this kind, but
this choice wanted to reveal this particular juxtaposition of different
varied processes and experiences around audio recording. The project
Collage JukeBox is permanent today and evolutionary, you can send your
contributions when you want. Each presentation of the project is a step of
this one, and contains the whole of the participations for a presentation
and it choosen date. Be inventive vis-a-vis of the jukebox!

Past events:
- 1996 "Collage Musiques d'Appartement", non-stop hi-fi dispositive in an
apartment open to the public .
- 1996 "Collage Musiques de Plein Air", non-stop sound-system dispositive
in a public place.
- 1997 "Collage TV", 38 TV-programs of 15 minutes each, white screen + sounds.
- 1997 "Collage Auditorium", automatic website.
- since 1998 "Collage JukeBox", jukebox. (version 1.0, Bregenz Austria,

11/02/1999  -> 11/04/1999
!!!!!!!! DEADLINE : 8/12/1998
Collage JukeBox will be presented during the event "Musiques en scenes"
with other projects of Janet Cardiff, Ian Car Harris, Philip Corner, Paul
Demarinis, Raymond Gervais, John Giorno, Joe Jones, Collage JukeBox un
projet de Jerome Joy, Alvin Lucier, Christian Marclay, La Monte Young,
Charlotte Moorman, Charlemagne Palestine, Peter Sinclair & GH Hovagimyan,
Michael Snow, Wolfgang Staehle, Doug & Mike Starn, Stephen Vitiello et Bill
I am sorry for the very short time for the reception of the new
contributions and the "montage" of the project, but I was informed myself
very late. All the artists will be quoted in the catalog. The JukeBox will
be presented in a user-friendly space especially arranged for this purpose
(with a bar), and not laid out into exhibition spaces.

Mars 1999
!!!!!!!! DEADLINE : 30/01/1999
Collage JukeBox will be presented into a traditional bar near the Nice 's

The number of participants have not ceased to increase since two years,
creating truly an experimental space in which meet as much the artists in
contemporary art, composers, musicians, etc. Since the Collage JukeBox
Version 1.0, you can find into the JukeBox pieces of these following

Annie Abrahams, Anna Adahl, Guenther Albrecht, Dominique Angel,
Pierre-Andre Arcand, Eric Arlix, Scot Art, Kenneth Atchley, Christophe
Ballange, Christian Banasik, Robert Barry, Frederic Beaumes, Vicki Bennett,
John Bischoff, Olivia Block, Blood on the Honky Tonk Floor, Lynn Book,
Xavier Boussiron, Steve Bradley, Pascal Broccolichi, Nicolas-Jaufre Bullot,
Warren Burt, Rosalie Calabrese, Rhys Chatham,Jeff Chippewa, Henri Chopin,
Michel Cloup, Philip Corner, Pierre Couprie, Courtis, Andy Cowton, Kurt
Dahlke, Lance Dann, D'Arcy Philip Gray, Sophie Decoret, Paul Demarinis,
Ernesto Diaz Infante, Dickyoucantrust, Kristie Drew, Chantal Dumas, Jean
Dupuy, Dust Breeders, Karlheinz Essl, David Fenech, Evelyn Ficarra, Rajmil
Fischman, Mike Frengel, Bernhard Fruehwirth, William Furlong, Rainer
Ganahl, Diego Garro, Marcus Geiger, Thomas Gerwin, Bob Gluck, Fred Gobin,
The Golden Gate Fils de Pute, G.R.A.M., Gilles Grand, Alex Grillo, Bruno
Guiganti, Martin Guttman, Claudia Hart, Hanna Hartman, Andrew Hauschild,
Christophe Havel, Nigel Helyer, Axel Huber, Sung Ho Hwang, Joseph Hyde,
Jalouxdemonsucces, Philip Jeck, Thorsten Jordan, Pierre Joseph, Jerome Joy,
Luc Kerleo, Martin Kippenberger, KlangKrieg, Imi Knoebel,
Koch-Schuetz-Studer, Thomas Koener, Jan Kopp, Charles Kriel, Peter
Kristiansen, Christina Kubisch, Petri Kuljuntausta, Eric La Casa, Diane
Landry, Heimo Lattner, Richard Lerman, Philippe Legoff, Thomas Lehn, Claude
Leveque, John Lever, Ludovic Lignon, Henry Lowengard, Marco Lulic, Erik M.,
Kenny Mac Alpine, Danny Mac Carthy, Andrew McKenzie / The Hafler Trio,
Arnaud Maguet, Eric Maillet, Don Malone, Jose Augusto Mannis, Maxime
Matray, Kaffe Matthews, Martin Meilleur, David Michaud, Micromega, Christof
Migone, Joachim Montessuis, Michael Morley, Antoine Moreau, Gianni Motti,
David Moufang - Move D, Florian Mutschler, Helene Myara, Maurizio Nannucci,
Yuko Nexus6 Kitamura, Jerome Noetinger, Ed Osborn, John Oswald, Frank
Edward Pahl, Jean-Louis Paquelin, Para-Noise Terminal, Gianantonio Patella,
Stacy Pershall, Christophe Petchanaz, Dominique Petitgand, Emanuel dm
Pimenta, Jean-Louis Poliart, Andrea Polli / Doorika, RadioActivists, Lee
Ranaldo, Maja S. Kjelstrup Ratkje, John Richey, Jocelyn Robert, Jean
Routhier, Jean-Philippe Roux, Sabdam, Philip Samartzis, Sam Samore, Claude
Schryer, Segovia/Vialard/Guiganti/Myara, Jarmo Sermila, Gemma Shedden,
Peter Sinclair / GH Hovagymian, Franck Slama, Isabelle Sordage, Ghislave
Sosnowski, Stephane Steiner, Axel Stockburger, Pete Stollery, Allen
Strange, Takahiko Suzuki, Taro Suzuki, Gauthier Tassart, Asmus Tietchens,
Pascale Tiraboschi, Kasper Toeplitz, Mark Trayle, Trio Erratum, Hans
Tutschku, Francoise Valery, Annette Vande Gorne, Jean-Luc Verna, Yann Vero,
Christian Vialard, John Voigt, Hans Weigand, Gregory Whitehead, Richard
Windeyer, Komminos Zervos, Heimo Zobernig

16. [Call for Works]
Ljubljana/SI, 3. - 9. 5. 1999

Selection process will take place between 25th November 1998 and 8th
February 1999.
The selection will be completed by 22nd February 1999 any material sent to
the below listed address will automatically become a candidate for festival
Any application that is not completed in full, or that arrives after the
final deadline will not be considered those candidates that have been
successful will be notified by 5th March 1999 all artists who have been
invited to join the festival will receive travel expenses, expenses for
lodging, food and a daily allowance for the time (three days) they are to
spend in Ljubljana artists will receive no monetary awards materials from
unsuccessful candidates will be returned to senders by 10th March 1999

application the application form consists of two parts
part one: general information
part two (different media): Relevant material

part one: general information
1. the media for which you are applying
2. surname and name of the applicant
3. address (street, town, country)
4. phone, fax, e-mail
5. date of birth
6. CV (education, grants, projects, awards, etc.)
7. information about the the creative personnel and contributors to the project
8. state where you have received information about the festival
All the information in answer to points 1 to 5 (including CV) should be on
a single A4 page.

For further information contact:
tel: ++ 386 61 1317010/ext. 266 (Cultural Department)
fax: ++ 386 61 319448 (addressed to Vdor21/Break 21)
Contact: Karla éeleznik
e - mail: karla.zeleznik@kiss.uni-lj.si

T   H   E      V   I   S   U   A   L      A   R   T   S

It is still the idea that matters most not the fact to whom or where it is
launched. Therefore the clinic of ideas could and could not be interpreted
as Klinieni center (The medical Centre) of Ljubljana.
It could be so because the exhibitions will be held at and around the
premises of KliniËni center. But we are not interested in health, health
service and its politics exclusively. The raid of creativity therefore
remains open for numerous themes related to the area of KliniËni center, of
which self-sufficiency stands as an allegory for a closed system.

We had in mind an exhibition space which is able to attract an audience of
all profiles and spur various associations such as masses, energy, drugs,
techno, life, death, birth, technology, science, fun and a wide range of
others, that haven't crossed our minds yet.

the selection will be made by Boötjan Hvala, Dunja Kukovec, Maja äkerbotTHE
CONTAIN: a description of the project intended for the festival (a sketch
of the work, measurements and a summary of the message the project is
intended to carry)


chosen location (interior or exterior) all media are welcome (paintings,
sculptures, installations, performances, video, internet, photographs...)
technical requirements (description of the materials inevitably employed),
in case the project is more demanding in technical terms state the
approximate duration necessary for  its setSOU CULTURA, vdor 21 / break
21,(THE VISUAL ARTS), Kersnikova 4, 1000 Ljubljana

F  A  S  H  I  O  N    D  E  S  I  G  N


priorities are innovative use of materials, patterns and forms, originality
of presentations (models) and basic concept we intend to select between 20
and 25 from all submitted the selected collections will be presented by
means of a collective fashion show at the end of which the three most
outstanding collections will be proclaimed the organiser of the collective
show will take full responsibility for the stage  presentation (light,
music, choreography, make-up, hairstyle) of the collection the selection
will be made by Mateja Benedetti, Monika Lorber, Vanja MeökoTHE SECOND PART
sketch of each complete outfit from your collection (not more than two will
be accepted) and each collection is understood to comprise 1 to 6 outfits,
each on A4, or photographs of already realised outfits. a technical sketch
of each model a description of the materials and the techniques employed to
make the outfits themselves, and all the decorative items (jewellery,
handbags...) a short description of the collection (4-10 sentences)

SOU CULTURA, vdor 21 / break 21, (FASHION DESIGN), Kersnikova 4, 1000 Ljubljana

L   I   V   E        P   E   R   F   O   R   M   A   N   C   E

The intention is to present the creative work of young theatrical artists,
provided that they don't work under the auspices of any state-funded
artistic institution or art school, but allowing students to present their
own autonomous projects.

projects which will be taken into consideration by the Festival must cover
the fields of either theatre, dance or performance art. (verbal dimension
of the project should not be put forward - an international aspect of the
festival is hoped to be achieved) the duration of individual project is not
limited strictly, dance performances can consist of several shorter
choreographies) the organisers of the festival will enable those selected
to perform in Ljubljana as well as in other areas such as Celje, Ptuj,
Maribor, Nova Gorica, Koper, Novo mesto, Izola) those selected will have
the opportunity to follow and take part in conferences which will take
place during the festival, and which will simultaneously serve as points of
exchange between Slovene and foreign artists as well as with the young
generation of theoreticians and critics. The selection will be made by
Primoû Jesenko, Nina Meöko, Karla éeleznik

a rough(i.e. uncut, unedited) video of the whole show + a notice of its
promotional material (reviews, theatre photos, press photos etc.)
technical requirements
audio visual requirements
stage dimensions and the preferred location of the performance
the number of the creative personnel with the functions of the individuals
clearly defined

SOU cultura, vdor 21 / break 21, (LIVE PERFORMANCE), Kersnikova 4, 1000

c   a   r   t   o   o   n       a   r   t
theme: peace
Peace as a state of mind, a tendency of mankind, peace to all people,
eternal peace, Nobel Prize for peace, absence of peace, the Russian space
station Peace.

the cartoons will be exhibited during the festival and published in a
special cartoon album the selection will be made by Matjaû Bertoncelj and
Martin Bricelj

an A4 copy of the original cartoon which can be up to 4 pages long, in
black and white and in English

M             U              S              I             C

The intention of the festival is to present creative, unconventional and
experimental work of the young musicians within a varied spectre of genres
and traditions. We wish to present artists whose music is different from
conventional aesthetic norms of the musical market and institutions.

we are open to all musical genres, which radiate with a fresh and
innovative feeling
projects that connect music with other media (film, video, theatre,
musicals...) are also welcome the selection will be made by Peter Kus,
Andrej Skaza, Ana Vipotnik
CONTAIN: studio or demo recording (as recent as possible and at least 15
minutes long)

VHS recording where applicable
exact technical requirements (description of instruments, staging, light,
amplification, other)
description of the setting, suitable for the performance promotional
material ( group projects, logo, media reviews, etc.

SOU CULTURA, vdor 21 / break 21, (MUSIC), Kersnikova 4, 1000 Ljubljana,

F                   I                   L                   M

We will try to find out how deep into the eye of the viewer can the film
images of the artists under the thirties penetrate. It will happen less
then one year before the arrival of the great 21 century. The intention is
to present both feature length and short films, either fiction,
experimental or documentary. Video art, music spots and TV programmes will
not be considered. Three films will be awarded, the winner will receive a
colour film reel Kodak (duration:60 minutes).

the selectors will pay special attention to films with an individual note
selection will be made by Boris PetkoviË-Oli and Nejc Pohar
CONTAIN: a VHS copy of the film: if the film is selected you will be
required to submit a copy on 35mm, 16 mm, or Beta.

information about the director and creative personnel technical information
pertaining to the production and specification of the original format in
which the film was made
synopsis photograph(s) from the shooting of the film any special
information relating to its projectionSEND THE APPLICATION FORM TO: SOU
CULTURA, vdor 21 / break 21, (FILM), Kersnikova 4, 1000 L

17. [Call for Works]


Available Light, an Ottawa-based collective which organizes screenings and
installations of experimental films, videos and other new media, is seeking
works to be part of upcoming screenings. They are especially interested in
projects done on or about obsolete technologies such as pixelvision,
regular and Super-8, 1" video, audio tape and 8-track tape, as well asworks
making use of found footage.

Other potential screening topics include: "Skin, Scars and Tattoos",
"Virtual Life", and works incorporating toys and domestic implements. They
are also seeking proposals for installations and performances; these
proposals must (if applicable) include a budget. Contact them by phone or
e-mail for info on the exhibition space. The installation will be on
exhibit from mid-March to mid-April.

Submission Deadline: ***January 15, 1999***

Include a SASE for return of materials, as well as how you can be contacted.
Submissions should be sent on video or audio cassette.
Rental fees will be paid as part of screenings.

Available Light c/o SAW Video Co-op
67 Nicholas Street
Ottawa, ON  K1N 7B9

Questions: please call (613) 238-7648 or e-mail

18. [Call for Works]
Seattle, WA, USA

Blackchair Productions' "Independent Exposure 1999" Program

Seattle video and film artist, Joel S. Bachar founded Blackchair
Productions in 1992.  Due to the overwhelming lack of independent-oriented
screening venues, Blackchair Productions began
the "Independent Exposure" microcinema screening program in 1996.  This
program, held every month at the Speakeasy Cafe has presented the works of
over 200 artists from 30 states, 65 cities and 11 countries and has gained
an enviable reputation in the network of microcinemas around the country as
well as around the world. 1999,  the fourth season of the program, will be
partially funded by the King County Cultural Arts Commission which means
the artists whose works are shown will be paid an honorarium, a gesture
that is practically unheard of in the independent film and video arts.
"Independent Exposure" is fast reaching a wider audience by being hosted at
other microcinemas throughout the world and has been seen hundreds of times
in 35 cities, 15 states and 13 countries!
Some of the hosting venues have been:
CinemaTexas (Austin, TX); The Knitting Factory (New York City);  The
Mansion Theatre (Baltimore, MD);  Arizona International Film Festival
(Tucson, AZ); Blue Sky International Film Festival (Las Vegas, NV);
Artistís Television Access (San Francisco, CA); Project304 (Bangkok,
Thailand); The Terminal Bar (Prague, Czech Republic); Prague Indies Fest
(Czech Republic); Volcano Film and Video Festival (London, UK); the Vrij
Media Cafe (The Netherlands) and The Soros Center for Contemporary Art
(Republic of Macedonia); Videomedeja Festival (Novi Sad, Croatia).
Arrangements are currently being made for screenings in Los Angeles,
Melbourne (Australia), France, Germany and Northern Ireland.  Additionally,
the program is netcast every month on The Sync (www.thesync.com).
Ultimately, Blackchair Productions, through their "Independent Exposure"
screening program and other advocacy efforts, hope to expose, promote and
distribute the independent video and film arts to the widest audience

For those interested, here is our 1999 Call for Works (which differs from
previous years):

Blackchair Productions is accepting video, film and computer-art
submissions on an ongoing basis for their monthly screening program called
"Independent Exposure."  1999 begins the program's fourth year and we want
to include you in the show!  Artists will be paid an Honorarium!  We are
looking for experimental, narrative, humorous, dramatic, erotic,
subversive, animation and underground works, but will review anything for a
possible screening.
Works selected will, in most cases, continue on to national and
international venues for additional screenings. Submit a VHS (or S-VHS)
clearly labeled with name, title, length, phone-number along with any
support materials including photos!
Also include a US$5.00 entry fee which will be returned to you if your work
is not selected! Include an SASE if you wish the work(s) returned. We will
get back to you!

Send submissions to: Blackchair Productions, 2318 Second Ave., #313-A,
Seattle, WA, 98121, USA.
Info/details: 206-568-6051, joel@speakeasy.org, www.speakeasy.org/blackchair

19. [Event]

The second SCHOOL OF SOUND, a four-day symposium exploring the use of sound
with moving images, will be held at the French Institute, London from 15-18
April 1999.

The unique symposium will take a comprehensive look at the structure and
evolution of the modern soundtrack, investigating the creative processes
which result in the synthesis of sound and the moving image in film, video
and multi-media.  Aimed at producers, directors, writers, editors,
composers, animators, multi-media artists and all those who suspect that
the soundtrack can be infinitely more than merely a tedious post-production
necessity, the School will present a rare amalgam of intellectual debate
directly linked to the audio-visual and entertainment industries.

In a programme of special presentations devoted to post-production, music
composition, multimedia and the business side of sound production, the most
influential and inventive practitioners and educators in the business will
explain their concepts for creating soundtracks.

Professionals, £385 + VAT; students, £160 + VAT; a limited number of
student bursaries available for UK residents.

Freelancers who live or work in Central London may qualify for a 50% rebate
of their fee from Focus Central London TEC. Call the School of Sound for

For information & application details,
tel/fax +44 (0)171 586 3056;
or visit www.audioarts.com/schoolofsound

Proposed speakers (subject to confirmation)

Laurie Anderson
An exclusive videotaped interview with the American composer/multimedia artist

Mike Figgis
Composer, musician and director of Leaving Las Vegas, One Night Stand and
the forthcoming The Loss of Sexual Innocence

Simon Fisher Turner
Noise and music composer whose credits include Blue by Derek Jarman

Michel Chion
Composer, theorist, filmmaker and author of Audio Vision: Sound on Screen

Roberto Perpignani
Italian film editor who trained with Orson Welles and worked with the
Taviani Brothers, Bertolucci, Zanussi and Mike Radford (Il Postino)

Randy Thom
Sound Designer who created the soundtracks for Contact, Wild at Heart, Mars
Attacks, Forest Gump, Return of the Jedi and The Right Stuff (Academy Award
for Best Sound)

Jocelyn Pook
Composer for drama, dance, documentary and theatre. Currently scoring
Kubrick's Eyes Wide Shut.

Peter Kubelka
Experimental film-maker, archivist and chef

Mani Kaul
Seminal Indian film-maker and cultural theorist

Paul Webster
Chief Executive of Film Four Ltd.

Piers Plowright
Former Producer of drama and documentary features, BBC Radio

Simon McBurney
Artistic Director, Theatre de Complicite

John Broomhall
Producer and Head of Audio, MicroProse UK, publisher of computer
entertainment software

Owe Svensson
Sound Mixer with Andrei Tarkovsky, analyses the soundtrack forThe Sacrifice

Christopher Frayling
Rector at the Royal College of Art in London; biographer of Sergio Leone

Andre Ktori
Digital artist, AudioRom

Nick Laviers
Head of Audio for video game producer Electronic Arts Ltd UK

Adele Kellett
Sound Designer, Electronic Arts Ltd UK

Mark Hall
Director of Cosgrove Hall Films animation studios

Christian Wangler
Sound recordist, producer

Keith Griffiths
Independent producer of fiction, documentary and animation,
Illuminations/Koninck (Institute Benjamenta, London, The Falconer and Radio

Richard Holmes
Producer of Shooting Fish and Waking Ned; Vice-Chair of Film at the
Producers' Alliance for Cinema and Television

Jake Milton
Musician/composer, speaking on the use of music technology in screen

Phil Parker
Screenwriter and Course Director, MA Screenwriting at the London Institute

Shoma A. Chatterji
Indian film critic highlights the use of sound in arthouse and mainstream
Indian cinema

Michael Chanan
Senior Lecturer at the London College of Printing analyses the work of
Latin American documentarist Santiago Alvarez

Chris Watson
Sound recordist specialising in wildlife sound for film; M.I.B.S., with
Jon Wozencroft Editor, Touch (A-V publisher); Tutor in Sound and Graphics,
Royal College of Art

20. [Event]
W3LAB announcement :: BETA-TEST


The [techne]W3LAB is an online installation of work devoted to the web
(web-based projects, networking experiments, performance, software design,
VRML, etc.), and will include a range of projects by an international group
of digital artists, as well as a "hyper.theory" section of texts by
contemporary theorists of electronic culture.

This exhibit is being presented through an organization affiliated with the
Program in Comparative Literature at Rutgers University called [techne].
Established in 1997, [techne] has held multimedia events, performances, and
lectures (including Mark Amerika, The Poool, and Floating Point Unit) on
the Rutgers University campus. The purpose of this online show is to foster
awareness of the variety and complexity of selected works on the web.

The show will run in two phases:

Phase I (fall 1998) will be a beta-test preview, and will be communicated
to the digital community via mailing lists and other information services.
It will focus primarily on web-based works.

Phase II (winter 1999) will be communicated to academic and art-based
networks and institutions, and will coincide with the annual Program in
Comparative Literature conference at Rutgers University, at which time the
show will be "installed" during the conference, along with multimedia and
networking performances. The conference, whose theme this year is "New
World (dis)Orders: Globalization, Culture, Identity," will take place in
late February, and will attract a multidisciplinary group of theorists from
around the globe. This phase will place equal focus on web-based works and
performance/performative works which make use of the Web.

Both phases will include ongoing discussions and distributions of issues
through the [techne] website [gsa.rutgers.edu/maldoror/techne/techne.html],
as well as other online nodes such as Rhizome [www.rhizome.org], Alt-X
[www.altx.com], and the show "The Shock of the View"
[http://www.walkerart.org/salons/shockoftheview/sv_front.html], presented
by the Walker Arts Center.

W3LAB participants include ::

net.art :: Mark Amerika & Jay Dillemuth, Diane Bertolo, Sawad Brooks & Beth
Stryker, Heath Bunting, Contempt Productions (to be confirmed), Vuk Cosic,
Critical Art Ensemble, DhalgrenMOO, Disinformation, Ricardo Dominquez &
Zhanga, Fakeshop, Floating Point Unit, i/o 360, I/O/D, Oz Lubling,
--meta--, Robbin Murphy, Nikolas, Thomas Noller, plumb design, Post-Tool,
Erwin Redl, James Roven, Alexi Shulgin, Yoshi Sodeoka, Eugene Thacker,
Helen Thorington & Marianne Petit & John Neilson, Annette Weintraub,
Arianne Wortzel.

hyper.theory :: Mark Amerika, Sawad Brooks, Steve Dietz, Kathy Rae Huffman,
I/O/D, Douglas Kellner, Arthur & Marilouise Kroker, Geert Lovink, Lev
Manovich, David Porush, Mark Poster, Rhizome, Steve Shaviro, VNS Matrix.

For more info see the [techne] website at
or contact Eugene Thacker at maldoror@eden.rutgers.edu

For info on the "Globalization" conference

[techne]W3LAB: works-in-progress/works-in-process

Editor: Isabelle Painchaud / Translation: Michel Lefebvre
Collaborators: Eva Quintas, Claude Schryer, Mike Stubbs, Nils Aziosmanoff.

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


Leave a Reply