#070 Feb/Mar 1999


#70 February - March 1999

*Editorial * Notes from HQ * Announcements * Membership Info *
* Article * Jobs and Calls *1999 ISEA Calendar (separate attachment)

Welcome to the first issue of the ISEA Newsletter for 1999 ! You will find
an article about ISEA98 and other events written by Pauline van Mourik
Broekman that appeared in the last edition of MUTE Magazine. We would
greatly appreciate receiving your feedback through the ISEA-forum Listserv
(isea-forum@uqam.ca) on the issues raised in this piece.

As recent discussions in Rhizome Raw affirm, a comprehensive database
relating to electronic art events, conferences, symposia, and calls for
projects does not seem to exist in any centralized form. As a remedy to
this situation, we are pleased to introduce the 1999 ISEA Calendar in the
pages of this newsletter (sent as a separate file by email). In its current
form, it is probably not nearly as exhaustive as it should be, and
following this INL, it will be updated very regularly on the ISEA website
and via future newsletters. We encourage you to consult it frequently so
that you will have ample time to submit your projects and plan your year.
Of course, if you are planning an event or have knowledge of others that
are not in the Calendar, please don't hesitate to let us know !

Finally, I would simply like to say that I am delighted to be joining the
ISEA HQ team. You can be sure that as both the new editor of INL
(previously in the very capable hands of Isabelle Painchaud) and as
International Research and Development Officer, I'll endeavour to provide
you with the most stimulating and current information in the realm of art
and technology.

Katarina Soukup



I've heard a lot of rumours flying about recently about ISEA, both good and
bad: ISEA is elitist; ISEA is a closed circuit of academics. ISEA is out of
touch... ISEA is the way of the future; ISEA is the cutting edge of
electronic art; If ISEA did not exist we would have to create it, etc.

Well, thankfully we do exist and we are changing, as we must, not only to
adapt to the times but also to prepare for a clearly undefinable future.

In reading Pauline van Mourik Broekman's article in the most recent issue
of Mute magazine (enclosed in this issue) on the phenomena of "festival
mania" in Europe and in particular about ISEA 98, I was struck by the
fragility of our existence and how this 'fragility' is often what makes for
spirited organisations, be they underground or high in an office tower.

However in the fleeting world of electronic art few institutions or
movements are able to regularly keep their ear to the ground, so to speak,
and IMHO this is one of the greatest assets of ISEA. Having been active,
questioning and presenting cutting edge work over a ten year period gives
us (whoever "we" are) a unique perspective on the community. But where do
we go from here?

Pauline asks some tough questions: "Is there a conflict between the
'systematic and scientific' approach ISEA is attempting to muster and the
experimental ethos it sees as integral to its identity? And are its other
aims - "the promotion of communication between organisations and
individuals active in the field of the electronic arts"; "the promotion of
interdisciplinary cooperation, between aesthetic experts and
scientific/technological experts" - likewise dependent on stable,
administrative and financial structures which are mutually exclusive with
the cultural nomadism - and radicality - it prides itself on?"

These questions and others will be addressed when the ISEA Board of
directors will meet in early March in Montreal for a 3 day "summit"
meeting. This meeting will conclude with the adoption of a long term
business plan for ISEA as an organisation and will kick off a fundraising
and promotional campaign in the spring and well into the summer. The ISEA
Board has decided to take the bull by the horns as it must.

Pauline goes on to comment on the apparent fragility of ISEA : "If one
analyses both the history and the current state of ISEA, in reality it is a
very frail organisation that still needs to score a major breakthrough if
it wants to survive. Its struggles are very similar to those of äda'web
[http://www.adaweb.com] for instance, as the help first
provided by the Canadian and Quebec governments and then by the Daniel
Langlois Foundation has been temporary. In fact, as an organisation ISEA
still faces its greatest challenge yet: it needs both to reinforce its
"raison d'être" and to stabilise its financial means at the turn of its
first ten years of existence."

This "raison d'être" will also be on the table in March (and beyond) and
will continue to haunt and enchant us: the question being part of the
answer. Maybe the "breakthrough" Pauline refers to might be the very
existence of an engaged ISEA for another 10 years!

Meanwhile the ISEA HQ is buzzing with activity and promise. We welcomed
four new staff members in the last few weeks: Katarina Soukup (Research),
Natalie Melançon (Information), Emmanuel Sévigny (On-line) and Manon
Rousseau (Accounting). Eva Quintas (Projects) is in Sénégal to give a web
fiction workshop. Alain Mongeau (President) is in Europe to work on ISEA
2000, among other things.

We have been updating our web page [http://www.isea.qc.ca]  and have added
a new section on Virtual Africa [http://www.isea. qc.ca/africa], including
a "free zone", called SOUK, for individuals to submit content. Please
browse and participate. We are gearing up for the move to our new home in
Daniel Langlois' new cinema and media complex on St-Laurent boulevard in
the spring. This will put us at the heart of a state of the art new media
diffusion and production complex. A good place for ISEA to continue its

We are also (still!) working on our infamous "Members Portfolio"
[http://www.isea.qc.ca/members/membership. html] project, which is
operational but needs some beta testing to reach its fullest potential.
We'll send you all the details by email, including a friendly Users' Guide.
This project has been painfully slow to develop but should prove to be a
very useful promotional tool for ISEA members. Once the virtual gallery is
"open," the HQ will make it a priority to let the world know about its
existence... Our newletter is growing, with among other things more
editorial content and an improved calendar section. All the more reason to
join or renew your membership...

What else ? Of course, ISEA 2000 is coming along (only 22 months away).
ISEA HQ is in regular communication with Art3000, the ISEA 2000 organisers,
committees are being formed, etc. Soon we will announce the official dates
and theme of this pivotal symposium. Check the ISEA web page for details.

Closer on the horizon, INVENCAO [http://www.itaucultural. org.br/
invencao/ivenframe03.htm] is coming in August and should help establish a
stronger base for electronic art in Latin America and contribute to
critical thinking in the media arts.

Where  is ISEA going? In some ways the future of ISEA lies in its past - a
wealth of information and data about electronic art, a virtual history of
electronic art in the 1990's. This is yet another project for the ISEA HQ:
to organise the archives and make them accessible to members and to the
international community.

How do we convince funding agencies that this work is not only important
but essential?

Claude Schryer
Interim Director

la version française suit

As you read in the last INL, ISEA is launching its Afrique
Virtuelle/Virtual Africa project (AVVA) this month. AVVA is an
international network created under the aegis of OLATS/ Leonardo. With
AVVA, ISEA is in step with the beat of CyberAfrica! ISEA's project is a
three part endeavor which involves:

29 January to 24 February, 1999 (Dakar, Sénégal)

Facilitated by a team of Montréal artists, DAKAR WEB is a month-long series
of web art workshops for professional Dakar artists in various disciplines
(sound, visual arts and literature). The workshops will produce the first
body of French-language African fiction created specifically for the web.

Visit the ISEA web site daily to follow the events in Dakar, which will be
documented by photos and journal entries written by participants.

The Montreal team consists of Eva Quintas, Michel Lefebvre, and Catherine
McGovern. The workshops are made possible by the kind collaboration of
Metissacana Internet Café in Sénégal, la Biennale de Dakar, the Canadian
Embassy in Sénégal, as well as Aziz Abdoul Sall in Dakar and Mohammed
Haydara in Montréal.

On-line Web Projects & Collaborations

DAKAR WEB also wishes to stimulate 'cyber-collaborations' between artists
in Dakar and around the world through net-art projects. Your passport for
participation in this exciting and innovative project is the SOUK, an open
zone on the ISEA website where you can send your texts, images, ideas and
other comments. SOUK is the term for "market", an active and colourful
public sphere in many African societies. In the spirit of the SOUK, we open
up this part of the AVVA project to web-collaborations between artists in
Sénégal and around the world ! Join CyberAfrica by participating in SOUK !

Send your ideas to : africa@isea.qc.ca

April 1999, Montreal (Canada)

This one-day colloquium will bring together international African artists
and experts to discuss the various challenges, issues, and strategies
related to the development of new technologies in Africa. We are very
pleased to announce that Olu Oguibe (Nigeria/USA) and Akram Zaatari
(Lebanon) will be moderating the two main sessions on art theory and art
practice respectively. Visit the ISEA website for the finalized programme
and list of participants in the weeks to come. Organized by the Canadian
curator, Sylvie Fortin, this col-loquium will occur in tandem with the Vues
d'Afrique Film Festival and the Afromedi@rt exhibit.

(French version)

Comme vous l'a fait savoir le dernier numéro du bulletin, ISEA lance son
project Afrique Virtuelle/Virtual Africa (AVVA) ce mois-ci. AVVA est un
réseau international créé sous l'égide de OLATS, 
l'Observatoire Leonardo des arts et des techno-sciences. AVVA est un projet 
international qui met ISEA à l'heure de la CyberAfrique !

Le projet comprend trois volets :

1er-24 février 1999 (Dakar, Sénégal)

Des ateliers de création et de formation Internet s'adressant à des
artistes professionnels de Dakar oeuvrant dans les diverses disciplines de
l'audio, des arts visuels et de la littérature. Ces ateliers visent à
constituer un premier corpus de fictions africaines francophones créés
spécifiquement pour le web. Le projet souhaite également favoriser la
réalisation de projets d'art-réseau et la cybercollaboration entre les
artistes de Dakar et d'ailleurs.

Visitez le site web d'ISEA régulièrement pour suivre les activités à Dakar,
lesquelles seront documentées quotidiennement à travers textes et images
par les participant(e)s.

Les ateliers sont dirigés par trois artistes montréalais : Michel Lefebvre,
Catherine McGovern et Eva Quintas. Dakar Web à été rendu possible grâce à
la participation du cyber café Metissacana, de la Biennale de Dakar, de
l'Ambasade du Canada au Sénégal et des collaborateurs, Aziz Abdoul Sall à
Dakar et Mohammed Haydara à Montréal.

projets et collaboration web

Votre passeport de participation à l'AVVA se nomme "SOUK". Il s'agit d'une
zone libre sur le site web d'ISEA où vous pouvez prendre part à DAKAR WEB
en envoyant vos textes, images, idées et commentaires. SOUK signifie
"marchés publics" en Afrique, et c'est dans cet esprit d'activité
bourdonnante et colorée que nous vous invitons à communiquer et à
collaborer sur ce projet avec des artistes du Sénégal et du monde entier!
Participez à Afrique Virtuelle ! Joignez la CyberAfrique.

Envoyer vos idées à : africa@isea.qc.ca

Avril 1999 (Montréal, Québec/Canada)

Ce colloque d'une journée, rassemblera artistes et théoriciens africains et
les invitera à se pencher sur les enjeux, problématiques et stratégies en
ce qui concerne le développement des nouvelles formes de communication et
de création technologiques en Afrique. Nous avons le plaisir d'annoncer que
les deux sessions seront animées par Olu Oguibe (Nigeria/USA) et Akram
Zaatari (Liban). Visitez le site web d'ISEA dans les semaines à venir pour
de plus amples                renseignements sur cet événement, sa
programmation ainsi que les participant(e)s.

Organisé dans le cadre du Festival Vues d'Afrique de Montréal et coordonné
par la conservatrice canadienne Sylvie Fortin, le colloque sera suivi
d'activités complémentaires d'animation, dont l'exposition d'art médiatique
africain Afromedi@rt.


Artbyte Magazine

Artbyte, the magazine of digital arts, is now available to ISEA     members
at a 15% discount. The regular annual subscription rate (6 issues) is
$34.95, ISEA members pay $29.95.

Please contact ISEA HQ for more information on how to obtain your
subscription discount :  isea@isea.qc.ca


Artbyte Magazine

Artbyte, le magazine des arts électroniques, est maintenant offert aux
membres d'ISEA avec un rabais de 15%. L'abonnement annuel pour 6 numéros,
d'ordinaire 34,95$, est offert aux membre d'ISEA pour seulement 29,95$.

Pour plus d'informations ou pour obtenir votre formulaire d'abonnement et
bénéficier de cette offre, contactez : isea@isea.qc.ca


You are invited to visit MASSAGE v3.0 for a stimulating rubdown on media,
art and culture. In this issue Katarina Soukup describes Radio Bicyclette,
a mobile memory machine performed on the streets of Montreal in August
1998; Marjectica Potrc reflects upon the nature of architecture, ruins &
human nature; Joseph Schaub reads Linda Kaufmann's Sick Boys and Bad Girls
through the prism of the Starr Report; and Tim Nohe hears echoes of a
complex Futurist past in p22's IL Futurismo: Soundtrack to a Font.

In the Project Room EMMA -- those wily tricksters from Buffalo, NY turn
canned music on its head with Pirate Radio Muzak. Readers will also find a
link to Funding Atanarjuat an article by Marie-Helene Cousineau which
appears on the Igloolik web site.

MASSAGE v3.0 requires Netscape 4.0+ or I.E. 4.02 or higher (although we
recommend Netscape) and QuickTime 3.0.
Laura McGough, Co-Director

by  Pauline van Mourik Broekman
(reprinted with permission from Mute Magazine)
La version française suit

It has become commonplace to describe the array of electronic and media art
festivals held throughout Europe today as a travelling       circus.
Suggesting dazzling but ultimately superficial entertainment with only a
fleeting relevance for its viewers this moniker of the moment also conjures
up a repetitive presentation of the same things over and again,
irrespective of locale. Certainly, were you to follow it, your hectic
festival itinerary would span much of Europe and as much of the annual
calendar. From Linz to Rotterdam, Gwent to Osnabrück - after a slow start
in springtime the show peaks, finally, during the late autumn months when
the "major" festivals occur in quick succession. Then the proverbial tents
are dismantled, horses and elephants are safely tucked away in their
stables and the ringmasters start to gear themselves up for another year of

Irrespective of location or host organisation, their ambitious thematic
scope, growing global reach and loyal band of attendees ensure that events
like ISEA, Ars Electronica, EMAF, DEAF, Consciousness Reframed, CyberConf
and Viper, to name but a few (some annual, some bi-annual and others more
irregular), continue to act as prime catalysts for debate. Importantly,
these festivals also function to showcase recent international work to the
respective local audiences while, vice-versa, providing different frames of
reference for, and analysis of that work. Nothing newunder the sun, you
might say:    in this, the festivals are no different, more or less context
sensitive (or indeed compromised) than any other type of "travelling
circus", be that a trade fair, contemporary art biennial or academic
congregation. Perhaps their damning nickname is but a jocular swipe aimed
at "technology-heavy" shows and a tiny group of professional
travellers ?

However, lately it has felt like there is something rotten in this
electronic state of Denmark. Notwithstanding the gradual process of
development each event may have undergone, a more general and profound
process of evaluation is going on - both on the part of the host
organisations themselves and their most devout publics (not to mention the
'general public' in whose name the larger events are, by definition, put
on). As with the other cultural "circuses" (Manifesta and the Berlin,
Venice and Sydney biennials come to mind) questions are being asked as to
the usefulness, continuing relevance and ultimate beneficiaries of a
year-in year-out wagon trail of bonanzas :     is there really anything
more profound to all this than the sophisticated management of
international, or rather Western, cultural industries? Are regional, local
audiences not only attending these events but also getting anything out of
them in the longer term (taking part in the panel 'Biennials: Hope or
Hype?' at recent ICA symposium Beyond the Artist, Manifesta co-curator
Robert Fleck for example commented that, of the already small [c. 13.000]
audience that actually visited the Manifesta2 exhibitions, only a fraction
[c. 3.000] resided in the host city of Luxembourg - attributing the
relative size, and motivation for attending, of the visiting audience
largely to professional factors). When arguing for the necessity and good
of the biennials, the festivals, the symposiums, what is being assumed
about the desires of local and visiting audiences? What is being assumed
about the ways in which cultural production and consumption works?

The last five years have seen the ascendance of informal and discursive
resources like electronic mailing lists that are year-round and cheap
(although dependent, of course, on not so cheap technology and access
infrastructures). Feeding off the dispersed and often invisible offshoots
of local public and private economies, culture and technology related lists
like Rhizome, nettime, Syndicate, Faces, re::code and Xchange in
conjunction with a rambling series of small but closely associated events
have provided compelling ancillary environments - and counterpoints - to
the larger 'electronic art' festivals. More conspicuously, and by virtue of
their deeper integration into everyday life, they have provided
alternatives to the attempts by organisations like ISEA, the International
Society of Electronic Arts, to act as community builders.

One of the missing links between these smaller networks and events and the
larger ones is their relationship to audiences and audience numbers:
whereas many thousands will visit the festivals, in the main related lists
are subscribed to by hundreds. Likewise, whereas information about the
former is accessible in a multiplicity of contexts, the lists and their
associated events can seem inaccessible and dependent on intensely codified
discourses. Yet, rather than act in a process of mutual fortification, nurture 
and dialogue as it has done elsewhere in this cultural landscape, here the e
mergence of one structural matrix seems to be endangering the life of

Depressingly, the one achievement on which utter consensus does exist is
the festivals' capacity - out of hours that is - to act as productive,
pressure-cooker style meeting places: compact, congenial and fun. Perhaps
we should never have wished for more, but this scenario does make one
wonder whether the events' still-sizeable budgets are being well spent and
whether the high-flying dictums about audience participation, "outreach",
global discourses, interdisciplinarity and cultural collaboration (alive
and well in all but the least self- confident) can go on being made

Isn't there also a false opposition in the making whereby some notional
local community and public - translated, largely numerically, as either the
cringe-worthy "bums-on-seats" or the more polite "attendance figures" -
comes to determine the success of an event and justify its form and
continuing existence while more critical, and certainly more partial,
assessments of quality, radicality, diversity, thematic coherence and
public participation are consigned to the dustbin for being "politically
motivated" or elitist ? To be sure, this is an only slightly dressed up
version of the aged debate about elite and mass cultures, but it is
doubtful that such a binary opposition should still be quite so easily made.

This was well illustrated during the preamble and subsequent staging of
ISEA98, this year held in Liverpool and Manchester and entitled
Revolution/The Terror, in which both ISEA's own growing pangs and the
tensions inherent in putting on large-scale (electronic) art fairs were put
on full display. Arguments centred on prohibitive costs, a kowtowing to the
academy, vague and - for some - depoliticised treatment of themes as well
as a lack of overall coherence. They can be characterised by this, an
extract from an open e-mail Diana McCarty - co-moderator of the Faces
mailing list - sent to Lulu Jones, convenor of ISEA98 Liverpool panel
"Variant Architecture[s] within Cyber-celibacy" after Jones had dismissed
complaints about high prices as false radicalism:"I think you are partly
missing the point to assume that the critique is limited to the price of
attending ISEA98. Rather, I think it is the inherent paradox of an elite,
academic conference adopting the theme of revolution. Do we agree that the
realm of the revolutionary is that of those ideas/ things/battles which
will have an impact on the masses? If so, then the price issue becomes
understandably problematic - it is a real barrier to the masses
participating in whatever discourse evolves during the event. The cost or
technology is neither a new issue, nor is it revolutionary in the circuit
of new media conferences (I believe we are all familiar with the discourse
of technology as an elite tool in the first place). Now we have an elite
symposium for an academic elite, just how revolutionary can ISEA become?
It seems that it might be more beneficial for ISEA to question its own
role, rather than paying lip service to the margins and then criticising
the margins for not being satisfied. ISEA (or its staff & organisers) does
not, by default, become revolutionary in addressing this theme any more
than it became a contentmeister last year when the theme was content."
(Faces, Diana McCarty: "Lulu Jones - comments on ISEA prices and starving
artists", 18/7/1998)

The number of ways in which each festival acts as a point of
crystallisation or refraction for local and international cultural politics
is impossible to enumerate here - each is subtly different on a myriad of
levels. Suffice it to say, though, that each, apart from setting its own
cultural agenda and programme with all the concomitant opportunities for
presentational experimentation etc., is also subject to processes of
instrumentalisation. Since it would not only be onerous, but also
counterproductive to analyse the lot, rationale and history of "festivals"
tout court however, it might instead pay to look at ISEA, for the UK this
year's biggest circus, in isolation. The unique task it has set itself - of
being event-organiser, society and umbrella organisation of sorts demands
this doubly; it is an entirely distinct animal and much of the apparent
disgruntlement regarding this year's proceedings stems from the
expectations (and, incidentally, confusions) its self-declared remit have

ISEA started out as an interdisciplinary venture, aiming to bring people
involved in the electronic arts in touch with each other, showcase work and
break down the barriers that its founders, Wim van der Plas and Theo
Hesper, saw between existing computer related       conferences  (like Ars
Electronica, Siggraph, etc.). Its other aim was to break down the
'Enlightenment inherited' bifurcation between the sciences, arts and
humanities. The First International Symposium on Electronic Arts, organised
by the Dutch Foundation for Creative Computer Applications was held in
1988, in Utrecht, the Netherlands. Two years later, a proposal put forward
there - to develop an organisation that would structure "a systematic and
scientific approach to the problems and potentials of electronic art"
became a reality. Ten years hence and ISEA is a relatively small society
running on membership payments, a minimal amount of Canadian public funding
and an unspecified donation from Softimage's founder Daniel Langlois, a
benefactor who is broadly supportive of ISEA's potential role as a gateway
organisation for the electronic arts on a global level. ISEA's 'HQ', based
in Rotterdam between 1991 and 1996, now resides in Montréal.

Much like any society, ISEA aims to provide its constituency, a mix of
professionals working in the arts and sciences (although the former
predominate), with a variety of practical and theoretical resources. It
regularly publishes a newsletter, promotes dialogue and collaboration
between members and doubles up as the co-organiser of the annual
International Symposium of Electronic Art, festivals (including extensive
exhibition programmes) which it co-ordinates in collaboration with local
host organisations around the world (and which also function as platform
and outlet for the concerns and activities of its members, whose
participation is organised via a juried selection procedure). It does so in
a spirit of open dialogue and enquiry, the values of which are repeated
mantra-like in much of its literature.

So, is there a conflict between the 'systematic and scientific' approach
ISEA is attempting to muster and the experimental ethos it sees as integral
to its identity? And are its other aims - "the promotion of communication
between organisations and individuals active in the field of the electronic
arts"; "the promotion of interdisciplinary cooperation, between aesthetic
experts and scientific/technological experts" - likewise dependent on
stable, administrative and
financial structures which are mutually exclusive with the cultural
nomadism - and radicality - it prides itself on?

I posed some questions along these lines to Eddie Berg, director of FACT
(the Foundation for Art and Creative Technology) and, as such, of
Revolution98, the exhibitions and events component of ISEA98. In the drive
to get bums on seats, funding to cover all expenses, make sure events are
well co-ordinated and marketed, planned far enough in advance, properly
affiliated with partner organisations, etc. isn't something important being
lost ? Does the new culture      of 'expertism', aimed for so zealously by
cultural organisations of all hues, run counter to ISEA's - perhaps even
electronic art's - past ?      A totally different mode of participation
and/or viewing seems to exist at smaller, more informal, events and, while
people begrudgingly admit that these can be chaotic and exclusive - in
spite of their egalitarian aims (a good example being the manner in which
the Revolting temporary media lab [http://www.yourserver.co.uk/
revolting], held during Manchester's ISEA98, was perceived) their small
successes beg the question whether the awry ledgeraccount that pits
individual cultural experiences against Total Number of Cultural
Experiences Had isn't extremely problematic.

Eddie Berg remained optimistic. "I still believe in the blockbuster event's
ability to grab media attention, provide critical focus, attract audiences
and investment,"  he said, but added that he was wary of certain aspects:
"But size isn't everything. Good ideas and projects can get lost in the
cornucopia of openings, events, parties, press calls and the sheer scale of
the euro-standard art bonanza. You have to know what you want to see (or
hear). I'm not sure anymore if the big-event serves every artist's best
interests. I think we achieved a  little bit of the best of both worlds at
ISEA. Revolting was chaotic and irritatingly elitist, but probably held
some of the most insightful and interesting moments for many people. For
other people the big-event conferences often feels like a redundant, inert
exercise, with the same people talking about the same things to one
another. Meaningful exchange and dialogue occurs only in the spaces in
between. My personal jury is out on this one."

Sean Cubitt, consultant to Liverpool John Moores University's Revolution
symposium and co-ordinator of its 'Bio-architectures' panel, was more
fatalistic: "Me, I like a big blast once in a while. On the other hand,
given the annual round of annual events, and our experiences with
VideoPositive (a bi-annual video and new media festival also held in
Liverpool and co-hosted by FACT) I reckon biennials would be better. On the
other hand, the dinosaur bash is clearly ripe for the remaking, at
Documenta or Venice as much as in e-arts. Genuinely thematic shows/events
tend (only tend, mind you) to restrict the creativity of the curator. Which
may be fine in itself, but may well run after the contemporary development.
Permanent exhibition spaces like ZKM [Zentrum für Kunst und Medien
technologie, Karlsruhe, (http://www.zkm.de), without perhaps the medium
specificity and the canonical works but with a regular programme, in every
city in the world, with touring budgets to ensure genuinely global access
would be nice. Impossible, but nice. Nicer still would be the existing
global nets of art institutions and art publications noticing that the
ground has moved from under their feet. This is why London is so moribund
as an art city, a suburb of New York misplaced 2,000 miles west of SoHo."
Clearly, there is no love lost between Cubitt and a deluded London: "A good
question to ask is why London has no e-arts presence worth shaking a stick
at - it's because its scene is dominated by galleries with no interest at
all in anything they didn't learn at art school. Dead from the neck up."

When asked whether we can still talk meaningfully about the electronic arts
as an experimental and cross-disciplinary practice, as all of ISEA's
literature does, or whether the word has come to denote a rather more fixed
and stable category, ready for mummification in the museum, Cubitt offered
this riposte: "Sure there's a canon, and it is in the interests of ISEA to
promote both that canon - to get into the major galleries and collections,
and to criticise it, while promoting other artists who do not figure in
this way. It is naïve to believe ISEA members can alter the art world, or
indeed that they wish to. Personally, I am in favour of doing away with the
concept of art, or rather the professionalised institutional and discursive
structures that exclude from funding and discussion the vast majority of
the world's cultural activity." Cubitt's died-in-the-wool disdain of
cultural naïveté also stretches to those who complained about ISEA98's
depoliticisation of the notion of Revolution: "The word revolution has been
depoliticised by history, not by ISEA."

Meanwhile Peter Ride, director of Bristol based digital arts agency DA2 and
recently a nominee for ISEA's board, maintains that the seed of most if not
all ISEA's ills lies in the obfuscations and confusion surrounding the
relationship between ISEA the symposiums and ISEA the society: "ISEA needs
to make clear that it is separate from the local projects". In his eyes,
this would also open the way to the society becoming more pro-active:
"Officially, they're supportive and therefore too close to be critical." Go
to the ISEA website [http://www.isea.qc.ca], look at any of Wim van der
Plas's feedback to ISEA98 and this uneasy relationship becomes painfully
clear: swerving constantly between a kind of paternal, constructive support
and what seems like a nervous anticipation of the manner in which each
event might harm the 'franchise' and overall reputation of the
organisation, it makes for confusing reading.

Look at this situation from the host's perspective however, and the picture
changes again. After having paid $3000 "for the privilege" of using the
logo, as Eddie Berg expressed it (during last summer ISEA decided to
reinvest this yearly fee, usually $5000, in its newly formed diversity
fund), an organisation must be left both constrained and frustrated by the
reams of guidelines by which they have to abide. These 'symposium host
candidate' guidelines [http://www.isea.qc.ca/symposium/guidelines.html],
the various committees (including a new international advisory committee -
IIAC - and the one for cultural diversity mentioned above) are no doubt
precisely what ensures the society's currency and internationalism in its
own eyes. They also bolster its accountability and "social democratic"
style of governance, if that is the appropriate word. But it remains
difficult to tally the high level of bureaucracy they can only engender
with Wim van der Plas's recent comment that the continuing success of ISEA
rests on its capacity to remain fluid, nomadic and pluralistic in its
approach; that it will otherwise "run the risk of petrifying into a
traditional structure as has happened with so many other events of this
nature." On top of that, it would be naïve to think that the guidelines and
committees, whose flavour comes across as more indebted to academic than
artistic contexts, don't have implicit values. It is for example a
specifically academic structuring principle that Andreas Broeckmann,
co-organiser of V2's Dutch Electronic Art Festival DEAF [http://www.v2.
nl/DEAF] and a slightly exasperated observer of ISEA's activities, sees as
the unacknowledged centre of gravity of the organisation: "They fail to
recognise the encompassing role that they could be playing for the global
electronic arts community, and instead they are an academic club."

For his part Alain Mongeau, chair of ISEA since 1995, is bemused by ISEA's
current reputation: "The tendency to categorise ISEA and the ISEA symposium
as the 'elite' has appeared only recently ... I think it is a perception
that has evolved in relation to very polarised local politics in the UK ...
If one analyses both the history and the current state of ISEA, in reality
it is a very frail organisation that still needs to score a major
breakthrough if it wants to survive. Its struggles are very similar to
those of äda'web [http://www.adaweb.com] for instance, as the help first
provided by the Canadian and Quebec   governments and then by the Daniel
Langlois Foundation has been temporary. In fact as an organisation ISEA
still faces its greatest    challenge yet : it needs both to reinforce its
"raison d'être" and to stabilise its financial means at the turn of its
first ten years of existence."

In a typically microcosm-like way, the discussions surrounding ISEA's
activities are representative of many crucial issues facing 'network
society' - to do with leadership, organisational accountability, social
networks and culture. There is something reminiscent in all this of the
problematic status of NGOs, for example, or for that matter the score of
intra-governmental organisations set up to do work in the name of some
universal good. Many will find this comparison ludicrous (what does a
couple of hundred-member, poorly funded, arts organisation have to do with
an international special interest player like Greenpeace or indeed an
organisation like UNESCO?). But it doesn't surprise me that, according to
Peter Ride, the word UNESCO (the United Nations Educational, Scientific and
Cultural Organisation) was 'bandied around' a lot in the criss-cross
dialogues leading up to ISEA's reformulations of its remit two years ago.
Both Broeckmann's description of ISEA's possible 'encompassing role' and
Daniel Langlois's desire to see ISEA act as a gateway organisation of
international renown, a leader in short, point in this direction - if
certainly with different personal interpretations attached. Append to this
the debates surrounding the potential some instead see incarnated in cheap
(again, relatively), rhizomatic, net mediated, discursive structures like
mailing lists and you have an intriguing parallel to the way ad-hoc,
grassroots and intensely localised activist groups relate to their grander,
bureaucratic and/or heavily financed neighbours.

Is the open, erratic and unpredictable cultural dialogue so fervently
desired by ISEA more likely to emerge from structures of this kind ? Or is
this yet another false opposition?, the lists and ad-hoc groups having
their own cross to bear when it comes to representation and accountability
- as anyone will know who has followed the acrimonious debates about
moderation on nettime [http://www.factory. org/nettime] or who believes in
what Richard Barbrookcalls, after Jo Freeman, "the tyranny of
structurelessness" (see Mute 11, "The Holy Fools" [http://www.metamute.
com/issue11/fools.htm]). It seems we're destined to alight at a
conversation that is thirty rather than three years old, namely one about
direct and representational types of governance and democracy, albeit
updated for a networked society. It seems also that we have to acknowledge
a far greater degree of interdependence between the two types of
organisation than many of us currently do.

The day the circus came to town used to be fun. Worlds of fantasy opened up
and, when the elephants walked out of the ring, people were sad to see
their pathetic little tails and big behinds. People didn't want them to be
integrated into everyday life. They weren't, and that was the whole point.
The hope of the early electronic arts, and their festivals, was that the
separations built into this spectacle might be turned around: perhaps the
audience could have even stepped into the ring. The sad, and contradictory,
result of interrogations into ISEA's (and, to a certain extent other
festivals') legitimacy is that it seems the baby has been thrown out, not
the bath water. The excess, singular visions, excitement and risk we
associate with our favourite, double- edged analogy - circuses -  have gone
out the window while the scaffolding, portaloos, civic representatives and
money lenders have been left behind. Are these just the teething pains of a
more socially inclusive circus or are we destined to rerun the antinomies
of consensus politics till we're too old to care ?

Thanks to all quoted interviewees plus Isabelle Painchaud at ISEA HQ, Maria
Stukoff and Lisa Haskel.

Pauline van Mourik Broekman

Temple University
Philadelphia, PA

The Department of Film and Media Arts at Temple University is searching for
an active, independent media maker for a full-time, tenure-track Assistant
Professor position to start in August, 1999. The successful candidate
should be able to teach in at least two of the following areas :
production in film and/or video at the undergraduate and graduate level,
advanced production specialties (such as digital media, audio, editing or
other advanced production skills), producing, culture/media studies, media
literacy, along with one large introductory lecture course in production
and/or media studies. A sensitivity to issues of diversity is required, in
addition to the ability to teach and work across theory and practice.

The Department of Film and Media Arts enrolls 380 BA and 60 MFA students in
a program dedicated to independent media including documentary, new media
and alternative voices in narrative film and video. These independent
voices include those of women, minorities and others that have been
economically, politically or artistically    disenfranchised.

For more information about the Department of Film and Media Arts, consult
its web site at http://www.temple.edu/ departments/fma

An MFA, PhD or equivalent professional experience is required along with an
impressive portfolio of creative work in film, video or digital media, or a
combination of scholarly and creative work, and a    commitment to the
above philosophy.

The search will remain open until the position is filled. Please submit a
cover letter, vita and the names and telephone numbers of three
references to:

Chair, Search Committee,
Department of Film and Media Arts, Temple University, Philadelphia, Pa.
19122 USA
Temple University is an Affirmative Action/ Equal Opportunity Employer.
Women and minorities are encouraged to apply.

The University of Arizona
Tucson, Arizona

Assistant Professor of Film and/or Video Production, with an emphasis on
sound recording and sound post-production. Tenure-track faculty position to
begin Fall 1999. Bachelor's degree required; MFA         preferred;
equivalent professional experience considered.

The successful candidate will have a vision of production that integrates
film, video and digital technologies; be comfortable in a department that
integrates critical studies, production and professional studies;
demonstrate success in creative activity and teaching.

Responsibilities include:
-Enhance production curriculum and lab facilities;
-Sustain significant agenda of creative work leading to successful
   promotion and tenure;
-Teach undergraduate courses in film and/or video production;
   develop curriculum in sound design, sound recording and post-
   production sound;
-Advise and mentor production students;
-Serve the administrative and development needs of the Depar-
  tment, the College of Fine Arts and The University of Arizona
  through committee work;
-Participate in interdisciplinary audio initiatives within the College
  and The University.

Review of applications begins February 15, 1999, and continues until
position is filled. Submit:  cv; names and addresses of three references;
statement of interest detailing creative activity, teaching philosophy and
goals.  Send application materials to :

Professor J. Michael Gillette
Search Committee Chair
Department of Media Arts
226 Harvill Building
PO Box 210076
The University of Arizona
Tucson, Arizona  85721-0076

Visit Media Arts and the College of Fine Arts on-line :
The University of Arizona is an EEO/AA/ADA employer-M/W/D/V.

Brockport, NY

SUNY Brockport seeks a full-time one or two year visiting artist/teacher to
start Fall 1999 whose work crosses two or more    disciplinary boundaries
(dance, digital and electronic arts, music, theater, visual arts).
Responsibilities include teaching standard semester course load and
participating in departmental activities while creating new work with
students. Required qualifications are a record of interdisciplinary
artistic achievement, successful teaching experience, commitment to working
with a culturally diverse population, and strong desire to stimulate and
support student learning. Preferred qualifications are a graduate degree,
previous full-time undergraduate teaching, and incorporation of new
technologies in creative work. Salary competitive. Send resume and reviews;
brief artist statement or description of work; a letter discussing how the
position responsibilities might be fulfilled, how candidate meets the
qualifications listed, and areas of teaching experience; three letters of
reference; and name, address, and telephone of three references who may be
contacted. Apply by February 15  to
Richard Meade, Faculty/Staff
Recruitment Office, SUNY College at Brockport,
350 New Campus Dr., Brockport, NY 14420-2929. www.brockport.edu.
Applications will continue to be accepted until the position is filled. AA/EOE.

Washington, DC


Project Manager of the "Open Studio: The Arts Online"  Project.  A
partnership between Benton and the National Endowment for the Arts, Open
Studio: The Arts Online is a network of art and technology sites nationwide
that serves as a laboratory to create tools and techniques for arts and
cultural organizations as they prepare for the networked environment of the
next century.  The Benton Foundation seeks an individual to plan and manage
all aspects of Open Studio, including partnership relations with the
National Endowment for the Arts, team time management, all outreach and
education activities, developing and monitoring of project budgets,
contracts, and vendor relationships. The Open Studio Project Manager
reports to the Director of Grantmaking Programs. Send     or fax resume,
cover letter, related work products, and salary requirements to :

Open Studio Search, Benton Foundation,
1634 Eye Street NW, 11th Floor,
Washington DC 20006.
Fax: 202-638-5771.
Email:  monica@benton.org
put Open Studio Search in subject line.
No phone calls, please


We invite proposals for the next two issues of the Leonardo Music Journal.
The guidelines below are intended to create an identifiable focus for each
issue, but should not be regarded as a limited set of assigned topics or as
specific questions to be answered. They should serve instead as
springboards for personally relevant writing, and are open to

LMJ 9 (1999): Power and Responsibility: Politics, Identity and Technology
in Music

In our contemporary saviness, we no longer think of music as the   creation
of a solitary genius scribbling in a garret. We are far more likely to see
it as a collaboration between individual ambitions and socio-economic
constraints and inspirations.

Composers themselves are likely to parse the responsibility for musical
decisions out among numerous parties: a composer, pseudo-autonomous
hardware and software, improvising musicians, variables of architectural
space, or the interaction of an audience.

These issues converge on questions of identity and power politics :   Is
the orchestra necessarily fascistic? Does electronic technology have an
inherent sexual identity (is it all "boys' toys")? What is the difference
between a Japanese composer writing for the piano and a German composer
writing for the koto? Do composers in  young countries (e.g.Australia)
necessarily have less cultural baggage than those in older ones (e.g.
Italy)? Are the virtues of democracy the same as those of music? And how do
we deal with Mr. Gates?

In this issue of Leonardo Music Journal, we want to examine  how
contemporary composers define their role within a network of shared
responsibility. How is power allocated? How is its use justified ? How do
you define your musical and social communities, and how do you position
yourself within them ?

LMJ 10 (2000): Southern Cones---Music Out of Africa and
South America

For the end of the millennium we want to shift the focus away from
technological music's traditionally Eurocentric domain and concentrate
instead on contributions to modern music coming out of Africa and South
America. Access and attitudes towards technology shift radically with
geography, causing both predictable and unexpected effects on the arts. We
encourage writing by residents of these continents who work with technology
and music (composers of "serious" and "pop" music, recording engineers and
producers, studio musicians, concert promoters, musicologists, etc.), as
well as persons of any    citizenship for whom Southern cultures have been
musically           significant.

Potential authors are invited to contact the Leonardo Music Journal or
Nicolas Collins, Editor-in-Chief directly with proposals,
suggestions or questions.

Leonardo Music Journal
425 Market St., 2nd Floor
San Francisco, CA 94105, U.S.A.
Nicolas Collins, Editor-in-Chief
Email: TallmanCollins@compuserve.com



ResFest is a touring festival dedicated to the exhibition and promotion of
digital filmmaking. We showcase innovative short films that have been
empowered by new digital production tools. Entries can be shot on any
acquisition format (film, analog/digital video, CGI etc..), but must make
use of computer editing and/or effects software. ResFest only exhibits
videotape, with the exception of 35mm Features, CD-ROMs and DVDs.


ResFest Shorts - This program contains shorts from all genres, ranging in
length from 1 to 12 minutes.

Cinema Electronica - A program of music films and videos. Mostly comprised
of "electronica" and other techno music. Entrants must have proof of
clearance for all music rights.

ResFest Longform - For the first time, we will be presenting a
program of "longform shorts". In otherwords, films and videos between 15
and 30 minutes in length from any genre.
Digital Features - Call us Directly for information and submission

Interactive Program -  Showcase of interactive mediums.


Please fill out our SUBMISSION FORM, print and send it in with your preview
tape. Entries must be submitted on 1/2" VHS (Preferred) or 3/4" U-Matic
videocassette. Cassettes must be standard speed, NTSC format only.

Please mark the tape and case with the title of your film, running time,
your name and contact information.

Each film or video must be accompanied by a completed entry form and an
entry fee. Fees must be paid in US dollars and are non-refundable. Checks
should be made out to : ResFest Digital Film Festival


Entry deadlines :
May 1st, 1999 (Early) Entry fee: $15
June 5th 1999 (Late) Entry fee: $20

We accept entries year-round. Please send preview tapes to :

ResFest Digital Film Festival
109 Minna Street, Suite 390
San Francisco, CA 94105 USA
tel 415/437-2686


Tapes will be returned only if you have included a self-addressed stamped
envelope with your preview tape.Please mark the return envelope with the
title of your film. We cannot be responsible for loss or damage through the
post or handling.

International conference

International Charitable Foundation "Center for Contemporary Art" (former
Soros Center for Contemporary Art), Kyiv, Ukraine initiates an
international conference "Visual Arts of the 80-90s in the cultural context
of the XX century" to take place in November, 1999 at the National
University of "Kyiv-Mohyla Academy" in Kyiv, Ukraine.


Broadly conceived, the purpose of the conference is to facilitate
dialogue across traditional disciplinary boundaries and to bring together
art critics, art historians, curators, artists, museums directors and
scientists from Europe, Russia and USA to present current research, review
trends, exchange ideas, and address problems and issues of contemporary
visual arts within the specific context of Eastern and Central Europe in
its relation to international experience in art. More specifically the aim
of the conference is to highlight the existing gaps between the art
practices and art theory inherent in the context of  contemporary art in
Ukraine and partly in Eastern and Central Europe for the community, to
analyze their reasons and to find out the points of their maximum


Since the beginning of the 90s the Ukrainian artistic community has
anticipated its integration to the international context, being involved to
the informational exchange and participation in major artistic venues; it
became aware of the existing artistic practices and problems and applied
them to the local context. Meanwhile in the sphere of critical thought
actually no changes have taken place. The conference approches the
following combination of problems which characterize the present situation
in the sphere of the critical thought:

-The academic art theory and critical thought are still burdened by the
linear historical approach to art, their language and methodology are
applicable only to the classical art. For this reason they do not admit the
contemporary artistic practices to be valid art, and herewith exclude them
from the artistic infrastructure. Even in case the professionals are aware
of this, they have a fragmentary knowledge because of the drawbacks of
education and lack of  information, and therefore aren't able to operate
adequately with the conceptual apparatus of contemporary art
theory&criticism and to promote the development of the infrastructure of
contemporary art in Ukraine.

-Up to this time art was regarded mostly as a social institute and set of
technical skills, instead this conference aims also to regard it in terms
of individual consciousness.

-Theory and critical thought as well as the art itself, pretend to be a
self-sufficient area standing apart from the cultural context and dealing
only with "inner" problems, cutting off by this position the very possibility 
of the interdisciplinary approach.

-The level of art criticism is reduced t
o the level of popular newspaper reports about exhibition openings - there
are no regular critical art magazines which would contain theoretical and
critical research based on contemporary art scene; lack of
interdisciplinary forums on the urgent issues of contemporary art in the
sphere of art theory.

Meeting these problems, the project will present a broad panorama of
contemporary critical thought in Eastern & Central Europe to compare it
with dominating ideas in this field in Western Europe, America and other
countries. We hope for the productive collaboration of the professionals
from various branches of knowledge and for discovering the points of
comprehension as well as for outlining the  differences. The conference is
the first project in the development of a  new research trend of the CCA
Educational Program and new critical school on the basis of the National
University of "Kyiv-Mohyla Academy" and CCA, which would combine elements
of   contemporary art theory and theory of culture.


The conference incorporates 4 sessions :

1) the theory of  art and culture (among the proposed themes :  issues of
body and new forms of representation of sexuality; textual parameters of
contemporary art; ritualised artistic practices and communicative aspects
of  art; ethnic/ international contemporary art; we are open to other

2)  the new media and technologies in the contemporary art (among the
proposed themes: universal/authoritarian aspects of media      discourse in
art theory; new media theory and power analysis in art; virtual reality and
the virtuality of the Self ; Internet, CD-ROM and other medias in art; we
are open to other proposals)

3) the psychological aspects of contemporary art (among the
proposed themes: psycho/ physiological aspects of perception in art; the
use of the suggestive psychotechnics in the contemporary art;
psychoanalytical issues in art; we are open to other proposals).

4) infrastructure of contemporary art (among the proposed themes: models of
collaboration between curator and artist; development of curatorial
institute in the XX century; models of the functioning of art institutions
in various countries; museums of contemporary art; we are open to other

All groups will  be working simultaneously during the 3 days session.


Among the participants of the conference there will be specially invited
guests - leading specialists from Ukraine, countries of the former Soviet
Union, Eastern and Central Europe, Western Europe and America - as well as
the authors of  thesis to be submitted to CCA by  May 1999 and selected by
the Conference Committee.

Deadline for the submission of the thesis is May 1st, 1999.

Number of the participants must not exceed 60 persons. International
Foundation "Center for Contemporary Art, Ukraine will cover travel costs,
accommodations and meals for all participants throughout the session.
Unfortunately  there is no possibility to cover per diems. Participation in
the conference as speakers is open to all applicants with postgraduate

Proposals will be reviewed by the Conference Committee that will help to
shape both the thematic and nonthematic portions of the program. The
Committee will also work with the CCA conference coordinators to produce
conference publications and ensure smooth running of  the conference

Theme proposals should be submitted to Olga Zhuk, Conference Coordinator,
and must include 5 copies of the following: a one/two-page
explanation/thesis of the proposed theme (including its title and
rationale) and a short c.v. of the proposer. Proposers should indicate for
which thematic portion the topic is intended.

It is possible to participate in the conference without attendance    by
sending a written report (up to 10 pages) which will be presented on the
panel board along conference halls. The most urgent and interesting reports
will be included to the book summarizing the conference. The whole edition
will be granted to the University libraries, participants and the

Please send your thesis to :
Olga Zhuk, Conference Coordinator
Soros Center for Contemporary Art
vul. Skovorody 2
Kyiv 254070
mail box # 6412
tel.: 380 44 / 416 2262
       380 44 / 416 6907
fax: 380 44 / 416 0386
e-mail:  zhuk@cca.kiev.ua

ACADIA (Association for Computer Aided Design in Architecture)
University Of Utah, Salt Lake City
October 14-17, 1999


ACADIA'99 is seeking one or two-day long WORKSHOP proposals that focus on
the conference topic "Media & Design Process".  These hands-on workshops
will be a new feature at this conference and offered just before  the
conference begins.  Those thinking of proposing a workshop may consider
utilizing the University of Utah Graduate School of Architecture
computer/studio lab.

1000 word WORKSHOP proposals including goals,  pedagogy, intended audience,
estimated cost, and technical requirements are now being accepted.
Proposals should also include the resume of the workshop director(s)
indicating their previous experiences in this area. Upon acceptance, full
syllabus, specific technical requirements, budget, and any other relevant
information will be solicited.

An important part of ACADIA is the discussion of timely  topics or issues
that affect the world of digital media in architecture.  1000 word PANEL
DISCUSSIONS  proposals are now being accepted that clearly state their
topic, rationale, goals, and strategy.  Proposals also should include the
names, short bio (150 words max.), and affiliation of the panel discussion
participants.  A review committee will examine the proposals.  Upon
acceptance, brief position papers will be solicited from the panel
participants.  A 2 page Panel Discussion  summary will be published in the
conference proceedings.

Proposals due March 15, 1999
Position papers due (panels)  June 14, 1999


The intent of this session is to provide an opportunity for peer review of
ideas and work in progress that may not yet be ready for a full refereed
paper.  A 500 word abstract (plus up to 2 pages of images) describing in
progress work is required for consideration.  Selected work will be
presented at the conference in a series of 5 minute presentations and may
include research ideas, pedagogic investigations, specific applications,
projects, etc.  The selected abstracts will be published in the conference

Abstracts due   March 15, 1999
Notification of Acceptance May 15, 1999
Final submission due  June 14, 1999


ACADIA'99 invites the submission of brief, one page descriptions and
samples of work demonstrating the use of digital media in            e
ducation, research or practice. The selected work will be included in the
conference in the form of an exhibit.

Samples due  April 30, 1999
Notification of Acceptance June 14, 1999
Final Submission due  Sept 15, 1999

All work (except Exhibition & Posters) should be electronically
submitted to : acadia99@arch.utah.edu

Paper work (that include light graphics) should be submitted in RTF format.
Graphic-only work (or if heavy graphics is part of a proposal) should be
submitted in JPG format. Ordinary mail and fax submissions are accepted but
discouraged as the review process will take place directly on line.


In architecture, media can be defined as a tool that permit the selection,
gathering, storage, and communication of knowledge in      representational
forms. Despite the obvious influence of media in design, our understanding
of its role and potential needs further exploration and development.
ACADIA'99 invites theoretical and empirical papers addressing the
relationship between media and architecture in general and media and design
process in particular. We encourage submissions in the following

Papers that outline the theoretical framework of the relationship between
media and architectural design process.Empirical research papers that
provide evidences on this issue.Critiques/evaluations of reported
experiences. Experimental work that opens new areas of media research.

Some of the topics to be addressed in papers include :
Effect of Media on Design; Computers, Cognition and Design; Digital Design
Studio; Computer-Based Design Methodologies; Design Evaluation and
Measurement; Computers and Design Pedagogy; Information Systems; Analysis
and Simulation; Distance Design Learning; Collaborative Design
Environments;Constructing Design Environments; Knowledge-Based Systems;
Case-Based Reasoning; Faculty and Infrastructure; Implications Future
Directions and Visions; Social Issues

Abstracts due March 1, 1999
Papers due March 15, 1999
Notification of Acceptance May 15, 1999
Final papers due June 14, 1999
You are invited to submit a 500 word abstract. Detailed instructions for
paper submissions will be sent to each author  upon receipt of the
abstract. However, you should plan in not exceeding 12 pages (including
graphics). The full paper submissions will be blind reviewed by a technical
review committee, and papers accepted for presentation will be published in
the conference proceedings.

Abstracts should be submitted by e-mail to:acadia99@arch.utah.edu

Ordinary mail and fax submissions are accepted but discouraged as the
review process will take place directly on line.

Osman Ataman/Julio Bermudez
Technical Chairs, ACADIA'99
Graduate School of Architecture AAC 235
University of Utah
Salt Lake City, UT 84112
E-mail: acadia99@arch.utah.edu
Tel:  (801) 581-7671 or (801) 581-7176
Fax: (801) 581-8217




Cooperative Agreement for the Coordination and Production of Videotapes of
Group Discussions Among Artists, Scientists, Astronauts and Others About
the Creation of Art (Dance, Music, Design, etc.) on Mars for Use by Schools
Across the Country as Part of the National Mars Millennium Project

AGENCY: National Endowment for the Arts, National Foundation on the Arts
and the Humanities.

SUMMARY: The National Endowment for the Arts is requesting     proposals
leading to the award of a Cooperative Agreement to    coordinate and
videotape five to seven sessions of artists, scientists, engineers and
astronauts conversing about the creative process and environmental
conditions on Mars. Discussions will focus on how the conditions might
influence the art produced there, and the design of livable structures,
among other issues. The videotapes will be used in pre K-12 schools across
the United States as part of the Mars Millennium Project. The project as
envisioned will include: development of script format, coordinating
scheduling and travel arrangements for participants, arranging production
and post production, and providing up to 200,000 copies of the material
produced. Those interested in receiving the Solicitation should reference
Program Solicitation PS 99-02 in their written request and include two (2)
self-addressed labels. Verbal requests for the Solicitation will not be

DATES: Program Solicitation PS 99-02 is scheduled forrelease approximately
January 25, 1999 with proposals due on February 22, 1999.

ADDRESSES: Requests for the Solicitation should be addressed to the
National Endowment for the Arts, Grants & Contracts Office,
Room 618, 1100 Pennsylvania Ave., NW.,
Washington, DC 20506.

William Hummel, Grants & Contracts Office,
National Endowment for the Arts, Room 618,
1100 Pennsylvania Ave., NW.,
Washington, DC 20506 (202/ 682-5482).

AMORPH!99 International Performance festival
27th, 28th and 29th August 99 - Helsinki, Finland

AMORPH!99 will take place on the 27th, 28th and 29th August 1999 in
Helsinki. We are looking for works for the festival. Please, send your
proposals for performances, live installations or happenings until the 15th
February 99.

The venue for AMORPH!99 will be a new gallery of approximatly 200m2, called
ForumBox and which is situated by the seashore - a 10 minutes walk from the
centre, but performances are also welcome to take place in other places.

With your proposal send us a C.V and portfolio of some of your previous
works (laser copies,photos, c-tapes, VHS tapes, etc; but do not send
originals nor slides - portfolios won`t be returned).

The greener side is the starting point for the performer. The creation of
boundaries - be they cultural, national, or personal - is the reference
point or frame we choose to be in. If the attraction of the other side is
both a search for similarities and a challenge given by the unknown, could
it be that art is reality made of the illusions we share?

AMORPH!99 is an annual international performance festival and the only its
kind in Finland. It is produced by MUU ry - an artist association which has
been working with media arts, performance, video, environmental arts and
other experimental modes of cultural       production. Muu ry owns a
gallery and is involved in many international art projects.

Curators : Stig Baumgartner and Rita Castro Neves
Producer : Erja Vyrynen, E.mail:erja.vayrynen@muu.autono.net
Deadline :15th February 99
Address : Amorph!99, Muu ry, Korkeavuorenkatu 43, 00130
Helsinki, Finland
Phone no.(Stig Baumgartner) +358 50 5834484
Fax no. (Muu ry) + 358 9 625376
E.mail : stig.baumgartner@muu.autono.net

On-Line Gallery

Experimenta Media Arts has a new website at http://www.
experimenta.org, with an On-Line Gallery as one of its components.
Currently we are exhibiting Christopher Waller's 'Pool', which was part of
our Viruses & Mutations Project in October 1998.

We are seeking artists who have web-based projects which they would like
exhibited through our On-Line Gallery. The works must not be previously
exhibited on other websites, and have a maximum size of 1Mb. The work will
be presented on the On-Line Gallery for a period of 3 months, after which
it will be kept on the website as an archive. A fee will be paid for the
exhibition of the work.

The work would need to be submitted to us on a floppy or zip disk with any
installation instructions needed. Other methods such as email attachment or
ftp will be considered.

If you are interested in submitting your work for the On-Line Gallery,
please contact us for details:


Kingston Upon Hull, UK
October 22-24, 1999

This year, Running Out of Time is looking for projects that will fit into
the theme of "TOOT"- Totally Out Of Tune. TOOT will be a cross section of
contemporary art and music- reflecting the merging of popular and high art
forms, the raw and the recorded, discourse and discord, artist's working
with or in relation to sound - be that live performance, recordings,
on-line, radio, analogue, digital, acoustic, visual, oral, aural.

Call for Projects deadline: February 10, 1999
Call for Papers to be confirmed, deadline: May 99

ROOT c/o Hull Time Based Arts
8 Postingate
Hull HU1 2JN United Kingdom

Studio XX/ Galerie La Centrale
Montréal, Québec
(la version fran[aise suit)

CALL FOR SUBMISSIONS: web art projects amour-horreur (love-    horror) To
celebrate the 25th anniversary of La Centrale, Gail Bourgeois is organizing
a thematic exhibition entitled amour-horreur. For this occasion, in
collaboration with Studio XX, La Centrale is seeking 5 thematic web art
projects conceived and executed specifically for the Internet.
Information required: Projects may include Real Video/ Audio, Shockwave,
Quicktime, etc. All projects should be on the web or    forwarded on
diskette (Mac or PC) by the submission deadline, March 1st, 1999. Selected
projects will be hosted for an indefinite period, not less than one year,
by La Centrale and Studio XX. As well, they will be presented in the
gallery for the duration of the second exhibition, amour-horreur. The
vernissage will be held April 17, 1999.


There is an interesting oppositional tendency in some art production in the
1990's. This work seeks to position itself outside the mainstream to better
see artistic and social conventions. Some of this work falls into the
category of 'abject art', but in fact all such work reinstates corporeality
with its inherent contradictions. For the project amour-horreur, what
interests me is a reclaiming of the material body. This reclamation can not
be done in any straightforward way, but the (abject) body is a potential
site of transgression and feminist intervention.

Works by women which explore notions of horror, abjection, and love will be
considered. These criteria can be expressed in a variety of ways. Some
possible sub-themes might be :

-The Social Body - sites of resistance.
-Nasty Girls Rebellion - the total body of experience of violence - the
  addictive adenaline rush.
-Lesbien Reflections - the phantasm of the archaic mother versus
  wanking off, or public sex or the body "out of bounds".
-Expelled - from the body, unsettling the boundaries between "I"
  and "you".
-Desire - how to invent it ?
-Articulate Love - how to speak of love - metaphoric body  imaging,
  and self-portraits.

The works selected for the exhibition will have, as one element of
intention, a preoccupation with liminal states and transformation. Artists
whose work is selected will be paid an artist fee of $150 (Canadian).

The call for submissions will be disseminated on the sites of
Studio XX : http://www.studioxx.org
La Centrale : http://www.lacentrale.org

LA CENTRALE 460, rue Sainte-Catherine Ouest, espace 506,
Montreal (Quebec) H3B 1A6 CANADA
Tel. : (514) 871-0268 Telec. : (514) 871-9830
central@cam.org   http://www.lacentrale.org

Deadline March 1, 1999
Submissions and information: amour-horreur@studioxx.org

New York, New York
April 28-May 4, 1999

The final deadline for the GEN ART FILM FESTIVAL is rapidly approaching on
February 15, 1999. Make sure all your filmmaker friends are aware. The GEN
ART Film Festival will run from April 28 - May 4 in New York City. To
receive an application, either (a) email GEN ART at info@genart.org with an
email address, fax number and/or mailing address, (b) fax GEN ART at
212-290-0312 with such information or (c) call GEN ART at 212-290-0312.

The GEN ART Film Festival has not only garnered major press attention for
the participating films, but more than half of the films featured in the
festival have received theatrical distribution.

Deadline: February 15, 1999
info:  info@genart.org

STEIM [studio for electro-instrumental music]
Amsterdam, Netherlands

STEIM offers research residencies, assistance with custom software and
instrument design, studio facilities and other forms of support to
performance artists. The creation of unconventional instruments and the
adaptation of existing ones to fit new ideas are part of STEIM's daily
work. Growing with this work has been STEIM's expertise in the design of
embedded microprocessor systems. This has allowed researchers at the
institute to apply evolving software technologies to the solution of
musical and artistic problems.

STEIM is also able to offer visiting artists accomodation for the duration
of their stay at the STEIM guesthouse.On the premises of STEIM, in the
center of Amsterdam, are workshops for hardware and software design,
recording studios and ateliers for artists who request to do residencies
with us. The work at STEIM is managed by a staff of eleven with an
operating budget provided by the Ministery of Education, Culture and
Science of the Dutch government.

Artists, from a variety of disciplines and backgrounds, are invited to
apply to do a project with us. Project proposals/ applications do not have
to conform to any strict form. The proposal, which should be addressed to
our director Michel Waisvisz, should:

-include a clear description of the goals of the project
-an indication of what is expected from STEIM and what your own
   contributions will be
-background information on earlier work.


The small design team at STEIM (one instrument maker and two software
designers) can cope with a limited number of projects at any one time and
therefore it has become necessary over the years to develop selectivity.
STEIM looks for projects that will benefit both the artist and STEIM's
ongoing "knowledge pool", and that are within STEIM's technological

STEIM recognizes two different kinds of projects. The first kind
concerns projects relating to orientation, the second concerns research and
development projects.


The orientation projects can take different forms. Typically these involve
the opportunity for an artist to increase his/her knowledge of particular
hard and/or software. Alternatively, the orientation period could also be
geared towards giving an artist the opportunity to prepare for a larger

For the orientation period, the staff of STEIM meet once per month to
decide on which proposals will be accepted. Applicants can expect a written
response within twomonths of receipt of the proposal.


For artists who wish to work on larger projects at STEIM, (whether this be
the adaptation or creation of an instrument or research into a specific
area or new venture) an artistic assessment committee meets three times
annually to decide on which projects will be accepted.

applications: www.xs4all.nl/~steim/application.html

Achtergracht 19
1017 WL Amsterdam
The Netherlands
fax: + 31 [0]20 626 4262 , tel: + 31 [0]20 622 8690
email: steim@xs4all.nl , www.xs4all.nl/~steim/


WMBC invites artists and experimental musicians to submit sound works to be
considered for RealAudio broadcast. We are looking for works which explore
concepts such as serialism and ultra-rationality, aleatory and
anti-rational, musique concrète, chance music, text-sound composition,
sound/noise, synthetic and ambient space.

-Submission data: cd, DAT, cassette, LP, aiff files (Macintosh media:
  zip/syquest). Please include SASE with each submission.
-please include a 200 word statement or less about the work. Please
  feel free to include an artist statement, visual documentation of the
  event and/or designed instruments along with your submission
-include url of current projects and samples
-Our first broadcast will begin Wednesday, February 17, 1999 from
  5pm-6pm EST, and every Wed from this date.
-We will send out to each artist a play list and notes from the show
  at the end of each program.  There will be an archive of the
  program posted on our web site (exact site TBA; mainpage:
-include your email address and web site

Deadline: on-going. Please send your submissions to:
Steve Bradley, Assit. Prof.Visual Arts,
University of Maryland Baltimore County,
art@radio, Visual Arts Department,
1000 Hilltop Circle, Baltimore, Maryland 21250. USA.

Organizer: convex tv.

As you all know, net.radio has become a chic Product throughout the last
months, embraced by curators, mainstream.media and      millions of

Now the time has come to promote net.radio as a commodity! Produce a
net.radio Advurt! In the manner of the tradition of Enlightenment Europe's
academies of arts and sciences, convex tv., in co-operation with you, are
soliciting responses from a global public and in sound form to the
following Prize Contest. This announcement is addressed to all persons,
anywhere in the world. You are invited to respond to our Prize Contest in a
creative way and from whatever happens to be your own technocultural
perspective and background. You should aim to provide the most convincing
and conclusive solution possible in a spirit of open competition. On the
threshold of a new millennium, this international competition of minds
hopes to become a symbol of a creative and co-operative global society in
the 21st century.

The Prize Question:
Produce an Advurt (jingle) to promote the general or specific ideas,
conditions, utopias, references of net.radio to a worldwide and Viennese

The Advurts have to address the following issue :
"Liberating the net from radio?
 Liberating radio from the net?"

The Prize :1 net.radio


Everyone and anyone may participate, even the Contest jurors and staff of
convex tv. Advurts may not be submitted which, prior to the official
presentation of awards, have been either previously           published or
offered to third parties for publication, or which have been entered in any
other competition.

Advurts should be transferred to the International net.radio Prize
Contest's Answering Machine in Vienna/ Austria under 0043 1 40 12 14 2 no
later than Friday, February 19, 1999, 11:00 CET.

Advurts cannot be returned onto private answering machines. Authors of
award-winning Advurts confer the unrestricted right of reproduction - also
transferable to third parties - tothe Contest organizers. This includes the
right of translation and dissemination of Advurts in any way or form,
either in part or in full, and in all    languages. Authors whose Advurts
have been presented to the Final Jury, but have not been awarded a prize,
likewise confer the right of reproduction to the Contest holders.

-The jingle must not be longer than 2 minutes.
-The jingle must address the Prize Question.
-You can produce as many jingles as you like.
-Jingles which don't fulfill any of those requirements will be


The International net.radio Prize Contest's Answering Machine is part of
"from stationto station", convex tv.'s contribution to the group
show"Produktion/Öffentlichkeit" at Kunsthalle Exnergasse, Vienna, Austria
(January 13 - February 19, 1999).

For all contributors to the Contest, a weekly window will pop up on the
International net.radio Prize Contest's Answering Machine, so that you will
be able to upload your Advurts: The number you have to dial to is 0043 1

Visitors at Kunsthalle Exnergasse will be able to listen to all Advurts
which are uploaded on the International net.radio Prize Contest's Answering
Machine during the exhibition's opening times by taking a seat on one of
convex tv.'s famous "test beds" (the Formica-Furniture
http://www.art-bag.net/convextv/gifs/zubotton.gif, not the Berlin space),
which will thus serve as an audioserver.


Please make sure you ONLY call on Wednesdays and Thursdays from 19:00 CET
to 11:00 CET the following morning - otherwise your Advurt will only reach
the Hear-Only-Memory-Ears of some friendly office clerks at Kunsthalle

All valid entries will be put on the art-bag-server after February 19 so
you will be able to enjoy the most current ideas of promoting net.radio in
retrospective online. The winner will be elected and announced after
February 19 by the dependent International net.radio Prize Contest's Jury
and will be awarded a net.radio !

The jingle may be anonymised and it might refer to existing or non-existing
net.radio-stations or -projects. In any case please make sure: Do not
forget to confirm your submission by sending a message to ses@art-bag.net,
giving a very short summary/description of your Advurt and the time of
uploading, so we can return to you with the prize.

Board of Curators:
convex tv. (Berlin)
e-mail: ses@art-bag.net
Internet: http://www.art-bag.net/convextv/station/2/station

Orlando, Florida, USA,
October 30-November 4, 1999

The conference provides an international forum for researchers, developers,
educators, artists, and practitioners of multimedia to present and explore
technological and artistic advancements and innovations in the field. We
cordially invite your participation in this premier annual multimedia event
by submitting your work in all aspect of multimedia computing: from
underlying technologies to applications, from theory to practice, and
enterprise to home systems.


We are soliciting technical papers, demonstrations, posters, panels,
tutorials, and workshop proposals, in multimedia technolgies,
systems,applications and educations.

We are seeking submissions of technical papers (both regular and short),
panel proposals, tutorial proposals, workshop proposals, demonstrations,
and posters, addressing the following areas :

multimedia processing and coding, including multimedia content analysis,
content-based multimedia retrieval, audio/image/video  processing,
compression, etc. multimedia system support and delivery, including
networks, Internet, operating systems, servers, QoS, databases, etc.
multimedia tools, end-systems and applications, including hypermedia
systems, user interfaces, authoring, multi-modal interaction and
integration, etc.

Submissions covering other areas of multimedia computing and systems are
also welcome. Top 3~5 papers of each area will be recommended for a special
issue of ACM/Springer Multimedia Systems journal. In particular, we
encourage submissions from students, and the Best Student Paper will be
awarded a laptop computer, one of the newest model from Hewlett-Packard.

Preliminary submission details can be downloaded from


papers, panels, tutorials and workshops: March 15
Poster and technical demos:  June 30

John Buford
GTE Laboratories, 40 Sylvan Road,
Waltham, MA 02451 USA

Scott Stevens
Carnegie Mellon University, Software Engineering Institute,
5000 Forbes Ave., Pittsburgh,
PA 15213-3890 USA


San Francisco, California
October 24 - October 29, 1999

VISUALIZATION is a vital research and applications frontier shared by a
variety of science, medical, engineering, business, and entertainment
fields. The tenth IEEE Visualization conference focuses on
interdisciplinary methods. Collabo-ration among developers and users of
visualization methods across all of science, engineering, medicine, and
commerce is addressed at Visualization '99. Sunday through Tuesday of
Conference Week will include tutorials, symposia, and mini-workshops.
Papers, panels, case studies, and late-breaking hot   topics will be
presented Wednesday through Friday.
We invite you to participate in IEEE Visualization '99 by submitting your
original research through papers, panels, case studies, late breaking hot
topics, and demonstrations. Share your perspectives through panels and
workshops, or your experience through tutorials. Please select the forum
appropriate to your submission, where it will be considered by your peers
for presentation.

For further information on the conference or evolving
symposia contact:

Steve Bryson, Conference Co-Chair,
NASA Ames Research Center,
+1 (650) 604 4524, Fax: +1(650)604-3957,
Theresa-Marie Rhyne, Conference Co-Chair,
Lockheed Martin/US EPA Scientific Visualization Center,
+1(919)541-0207, Fax: +1(919)541-0056,

See the conference web page for complete up-to-date information and
submission details at  http://www.erc.msstate.edu/vis99

Conference Papers (due March 31, 1999)

Papers are solicited that present research results related to all areas of
visualization. Original papers are limited to 5,000 words. The   submission
of NTSC VHS video (up to 5 minutes in length) to accompany the paper is
strongly recommended. Please submit 7 copies of all materials to Bernd
Hamann (at the address below). Accepted papers will be included in the
conference proceedings; the must receive, by submission deadline, a
complete paper submission form. Paper submissions (hard copy only) should
be sent to:

Bernd Hamann,
Center for Image Processing and Integrated Computing,
2343 Academic Surge Building, One Shields Avenue,
University of California, Davis, Davis, CA 95616-8553, USA

Panel Proposals (due March 31, 1999)

Panels should address the most important issues in visualization today.
Panel proposals should describe the topic to be addressed and identify the
prospective panelists. Each panelist should include a position statement on
the topic and a short biography (limit 500 words for both per panelist).
The statements will be included in the conference proceedings. Panel
proposals should (hard copy or email) be sent to :

J. Edward Swan,
Naval Research Laboratory, Code 5580,
4555 Overlook Ave. SW
Washington, D.C. 20375-5320, USA.
202-404-4984. Fax: 202-767-1122.

Case Study Papers (due March 31, 1999)

Case studies are reports on how visualization has contributed to the
analysis of data. They may have an application focus or relate to the
visualization process. Possible application areas include physical, life,
social and information sciences, engineering, and commerce. An emphasis on
lessons learned from practical experience is strongly encouraged,
particularly where visualization has been employed in a real, working
environment. A short paper limited to 2500 words (maximum 4 pages B/W plus
1 page color) will be included in the conference proceedings. Images and/or
NTSC VHS video to accompany the paper are recommended; the video will be
included in the      conference videotape. Submit six copies of all
materials. Case study submissions (hard copy only) should be sent to :

David Kao,
NASA Ames Research Center, M/S T27A-2,
Moffett Field CA 94035-1000,
USA. davidkao@nas.nasa.gov

Late Breaking Hot Topics Papers (due June 15, 1999)

Submissions will be accepted on Late Breaking Hot Topics that      pertain
to all areas of Visualization. These submissions must be original, may show
work in progress, and may not exceed 1000 words or a maximum of 4 pages
including images. Images and/or NTSC VHS video to accompany the paper are
recommended; the video will be included in the conference video
proceedings. Accepted papers will be published and distributed at the
conference. Authors of accepted papers will have an opportunity to submit a
revised paper. Submissions will be done electronically. Submission details
can be found at the conference web site or by contracting Craig Wittenbrink
at craig_wittenbrink@hpl.hp.com

Videotape should be send to Craig M. Wittenbrink,
Hewlett-Packard Laboratories, 1501
Page Mill Rd, MS3U-4, Palo Alto, CA 94304-1126, USA.
650-857-2329. Fax: 650-852-3791

Tutorial Proposals (due March 31, 1999)

Tutorials are full or half-day presentations designed tocover specific
visualization methods or application areas in depth. Subjects can include,
but not limited to, standard visualization techniques, existing languages
or toolkits, and mathematical fundamentals, databases, usability analysis,
or commercialization of software. It is the intention of the Vise '99
tutorial committee to provide one classroom equipped with workstations for
hands-on instruction. Tutorials proposing to use this interactive classroom
should clearly state this preference and how the course is designed for
this setting. For more detailed information concerning Submission and
format content, see the conference website, or contact::

Kelly Gaither,
Mississippi State University,
P.O. Box 9627, Mississippi State University,
MS 39762, USA. 601-325-2067.
Fax: 601-325-7692. kelly@erc.msstate.edu

Mini-Workshop and Birds-of-a-Feather Proposals
(due March 31, 1999)

Proposals may be submitted for Mini-Workshops and evening
Birds-Of-A-Feather (BOF) gathering on visualization methods or application
areas. They should deal with state-of-the-art topics and involve experts in
the field. Discipline-focused proposals devoted to a particular
discipline's methods and needs are encouraged. Mini-Workshop and
Birds-of-a-Feather Proposals

(hard copy or email) should be sent to :

Rob Erbacher, University of Idaho,
Department of Computer Science,
Moscow, ID 83844-1010, USA, erbacher@cs.uidaho.edu

Demonstration Proposals

Visualization '99 is a unique opportunity to present your products or
research to visualization experts from a wide variety of fields. We invite
demonstrations of commercial hardware, software, integrated systems
peripherals, and literature, as well as academic research. We encourage
demonstrators to have technical representatives in attendance. For more
information on participating in Visualization '99 demonstrations, contact
Upul Obeysekare at obey@ctc.com

Creative Applications Lab

The Creative Applications Lab (CAL) is designed to let Visualization '99
attendees run their software to show off their latest work. CAL will have a
variety of computers available. For details on participating in the CAL see
the conference web site or contact:Kelly Gaither at kelly@erc.msstate.edu

Symposium on Parallel Visualization and Graphics

Submission deadline March 31, 1999

Papers and case studies in parallel visualization and graphics, with
particular interest in using clusters of commodity PCs and graphics cards
for high-performance visualization and graphics tasks.

General conference info: trhyne@vislab.epa.gov

Austin, Texas

CONDUIT [http://conduitfest.com] celebrates the convergence of various
media and computing technologies by offering a showcase of cutting edge
digital technology from around the world. Entering its third year of
innovative programming, Conduit has featured shorts, animations, digital
features, music videos and will spotlight computer games in '99! CONDUIT
will showcase these highly original works in a cinema setting utilizing a
digital projector. This festival includes panels, Q&A sessions, screenings
and parties featuring electronic music video selections, a computer gaming
and video arcade exhibition, as well as live performances. Festival is held
March 14-15 1999.


Computer Games: any computer generated flic, FMV or engine cut-scenes will
be considered. We are looking for interesting high caliber animation done
as cinematic interstials, trailers, demos, tests or    personal projects.

Shorts: digitally manipulated or produced shorts of any genre.

Features : Digitally-produced features and documentaries over 60 minutes.

Entries must be submitted on 1/2" VHS. Cassettes must be standard speed,
NTSC or PAL format. Because of the lack of entry fees,        preview tapes
will NOT be returned.


Please fill out our SUBMISSION FORM, available on the website, print it and
send it in with your preview tape.Entries must be submitted on 1/2" VHS.
Cassettes must be standard speed, NTSC or PAL. Preview tapes will NOT be
returned. There is no entry fee. Please mark the tape and case with the
title of your film, running time, your name and contact information. Each
film or video must be accompanied by a completed entry form.

Please send preview tapes to :

906 E. 5th St. Suite 103,
Austin TX, 78765, (512) 485-3147

Selection is at the discretion of CONDUIT. Final delivery will be required
on BetaSP along with a request for supporting materials. Selected work will
be included in the relevant program, and be shown at CONDUIT events. By
submitting a work, you agree that selected stills and film clips [not more
than 2 minutes long, or 2/3 length of original piece, whichever is shorter]
may be used for Festival publicity and related materials [including
brochure, poster, and cd-rom]. All legal rights and copyright remains with
the producer of the work. We cannot be responsible for loss or damage
through the post or handling.


DEADLINE: Feb 15, 1999

Issue 3

frAme is an online journal publishing work focused on the core area of the
inter-relation between culture and technology. Although the journal has a
theoretical slant by no means does it publish purely theoretical pieces but
also includes digital artwork, fiction, multi-media etc. where possible.
frAme 3 hopes to feature critical essays, digital artwork/multimedia,
interviews with artists/ musicians/writers etc, reviews of techno-cultural
artefacts, and writing relevant to this area. The journal is connected to
the trAce International Online Writing Community (http://trace.ntu.ac.uk)
based at The Nottingham Trent University.

Submissions for the third issue are being accepted now through April, 1999.

All submissions must be previously unpublished and a payment of Fifty
Pounds Sterling will be made for those used. Those interested in
submitting work might first like to see previous
issues at : http://human.ntu.ac.uk/frame/frame.html
[ Calls for Participation ]


TZONE is the new TUG online magazine. It will be updated every Monday with
TUG's favoured site of the week. TZONE will take the form of "a tiny weekly
magazine" as a familiar channel for unknown messages. TZONE has room for both
 visual and textual experiences. This Monday, TZONE will be empty, so concen
trate on TUGweb, get to know it and get involved. Then come back next
Monday - new news - watch out. TZONE calendar will keep you posted on
whatever else is new, online or otherwise.

So, what is the "theme" for TZONE? The Millennium - yes - I know - it has a
synthetic taste........... For starters, ChiefTUG has selected a bunch of
millennium/anti/future sites, with no favourite at this time. But right now
it does awaken my curiosity, hopefully my consciousness is following, and
yours as well. TZONE needs YOU. TZONE wants your reflections and
statements. Let's make plans - together - 20 seconds into the future. Your
contribution can take many forms: newsbits, information, articles,
interviews, facts, art projects, advertisements, comics, good/hot tips,
letters, reports, you name it! Together, we will make TZONE an exciting
site to visit. There is no limit to contributions, but the editors reserve
the right to edit the material.TUG headquarters is open to suggestions and
will answer any questions you may have. Find out how to contribute to TZONE
at http://www.powertech.no/tug/tzone.htm

October 20-23, 1999 (dates may change)
Rennes, France
(la version française suit)

presenting a "Fall University" on the theme of Network Art as part of the
"Rencontres Arts Electroniques.05", the Rennes Festival of experimental and
technological art. Plastic artists,     choreographers, musiciens, writers,
critics, university researchers are invited to become candidates. The
succesful candidates (15) will    present the state of their research
during a conference (with video projection). In addition, a work will be
selected for presentation     during closing night.

The proceedings of the conference will be published in English and in French.

Candidatures are to be received as soon as possible(Resume, video tapes,
type of intervention proposed, presentation of the work or project in
progress using the Web, technical data...).

DATES (dates may change) October 20 throught 23, 1999.
Venue : Parcheminerie Theater, Rennes (Europe - France)
Theme : Network Art
Contacts Festival : Emmanuel Mahe & Celine Harlet
Contacts "Fall University" : Emmanuel Mahe & Bertrand Gauguet

Adresse postale :
Station Arts Electroniques Université Rennes 2
6, avenue G. Berger / 35043 Rennes CEDEX / FRANCE
Fax : 33 (0)2 99 141 150
e-mail : station@uhb.fr (subject : festival 99)


An exhibit of CD-Rom based art projects curated by Timothy Murray to take
place in rotation at multiple sites at Cornell University: The Herbert F.
Johnson Museum of Art, Cornell Library, and Cornell Information Technology,
from early March to early April, 1999 (exact dates TBA). The curator seeks
art on CD-Rom that investigates various zones of contact: between thoughts,
memories, and cultures, between bodies, between genders, sexes, and
sexualities, between art and literary genres, between commodities and sites
of exchange, etc. The aim of the exhibit is to foreground the possibilities
of CD-Rom and digital technologies for exploring the realities and
representations of contact in its multiple forms.

The exhibit will be held in conjunction with a "Workshop on Artistic
Discourses of Digitality" to be take place at Cornell University's Society
for the Humanities on March 12-13, 1999. Held in dialogue with the
Society's seminar on the focal theme, "The Virtual: Old and New," the
workshop will provide an informal, intellectual environment for the
presentation and theoretical consideration of recent work in digital art.

The curator is reviewing submissions for consideration through February 14.
NO ENTRY FEE. Please submit work with SASE, an artist's biography, a brief
conceptual description of the work, and a brief description of technical
Timothy Murray, Acting Director
The Society for the Humanities
A. D. White House
Cornell University
Ithaca, New York 14850

Unaccepted work will be returned only if submitted with a SASE. Accepted
work will be returned following the exhibition. Although all reasonable
efforts will be made to care for and protect submitted work, the curator
and Cornell University are not responsible for the care and condition of
submitted CD-Roms. Submission of work consists of an agreement to exhibit
the entry in the show, "ContactZones: The Art of CD-Rom."

For further information, contact:
Timothy Murray
e-mail: tcm1@cornell.edu

ANAT National School for New Media Art Curation
Hobart, Tasmania
28 March - 11 April 1999

Applications due: 12 February

ANAT, with the support of the AFC and the Australia Council, in
association with Contemporary Arts Services Tasmania (CAST),
presents, mediate, a pioneering new skilling program for artsworkers and
curators. Trained curators, technicians and theorists will provide
intensive training, in a two week masterclass teaching environment, that
aims to give curators both a technical and a theoretical understanding of
new media art exhibition practice.

mediate the ANAT National School for New Media Art Curation, has evolved
out of a recognition that to nurture art which utilises      technology,
adequate education of curators and arts workers must also be undertaken. As
new technologies become increasingly critical to art practices, it is
important to provide skill-based education for curators wishing to extend
their practice into this area.

ANAT has been holding National Summer Schools for artists since 1989. The
School is the only intensive training program in Australia devised
specifically for artists who want to upskill in uses of new technologies.
The success of these schools is demonstrated by the significant number of
Australian artists who have achieved national and international recognition
as artists working with technologies, following their participation in the
school. Many graduates of the ANAT Summer Schools have gone on to
participate in major international events such as SIGGRAPH, ISEA, Ars

Whilst Australian artists have now achieved international acclaim for their
work, many artists still have difficulty in having their work shown within
Australia. One of the key explanations for this predicament cited by many
artists, is that decision-makers, such as curators and arts administrators,
remain reticent to show work by technology- based practitioners. This is
partly due to perceived pragmatic issues associated with equipping new
media exhibitions, but also due to a lack of understanding of
technology-based practice, and the design and display issues presented by
interactive artworks.

mediate aims to address these issues by training curators and arts workers
using ANAT's acclaimed National Summer School for artists as a working
model. Educating curators in technology-based art   presentation and
critical discourse will improve opportunities for Australian artists to
have their work seen in an Australian context.

Curators and artsworkers interested in applying for the school should
contact Amanda McDonald Crowley, Director of ANAT for further information
or Guidelines. me.d ia te is developed with the support of the Australian
Film Commission and the Audience Development and Advocacy division of the
Australia Council.

email: anat@anat.org.au


We seek essays and interviews on the electronic arts in the African
Diaspora for a book on the intersecting roles of new technology in the
creative work of people of African decent. Essays should discuss art,
technology, and identity in the work of video artists, DJs musicians,
digital photographers, lighting designers, interactive installation
designers, and
performance artists. Examples would include artists such as Keith Piper,
Ollie Wilson, King Tubby, and Adrian Piper. We encourage  submissions from
artists, graduate students, professors, and other interested parties.

For more information, please contact Keith and
Mendi Lewis-Townsend Obadike : obadike@hotmail.com

Editor: Katarina Soukup / Translation: Natalie Melancon
Collaborators: Claude Schryer, Pauline van Mourik Broekman.

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, Leonardo,
Universite du Quebec a Montreal, Public Domain.
end of newsletter

*  ISEA- 307, Ste-Catherine O # 760.* C.P.508, Succ. Desjardins
*  Montreal Quebec H5B 1B6 Canada * Tel:1-(514) 281-6543 * Fax:1-(514) 281-6728
           *  email: isea@isea.qc.ca *  http://www.isea.qc.ca * 



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