THE INTER-SOCIETY FOR THE ELECTRONIC ARTS ISEA NEWSLETTER #70 February - March 1999 _______________________________________________________________ * CONTENTS * *Editorial * Notes from HQ * Announcements * Membership Info * * Article * Jobs and Calls *1999 ISEA Calendar (separate attachment) _______________________________________________________________ EDITORIAL 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 (firstname.lastname@example.org) 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 email@example.com ********************************** NOTES FROM HQ 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 growth. 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 ******************************** ISEA NEWS ******************************** AFRIQUE VIRTUELLE/VIRTUAL AFRICA la version française suit www.isea.qc.ca/africa 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: DAKAR WEB TERANGA 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. SOUK 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 : firstname.lastname@example.org AFRICAN ART AND NEW TECHNOLOGIES INTERNATIONAL COLLOQUIUM 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. ********************************** AFRIQUE VIRTUELLE/VIRTUAL AFRICA (French version) www.isea.qc.ca/africa 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 : DAKAR WEB TERANGA 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. SOUK 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 : email@example.com ART AFRICAIN ET NOUVELLES TECHNOLOGIES COLLOQUE INTERNATIONAL 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. *************************************** NEW SUBSCRIPTION DISCOUNT FOR ISEA MEMBERS ! Artbyte Magazine www.artbyteonline.com 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 $29.95. Please contact ISEA HQ for more information on how to obtain your subscription discount : firstname.lastname@example.org *************************************** RÉDUCTION POUR LES MEMBRES D'ISEA! Artbyte Magazine www.artbyteonline.com Artbyte, le magazine des arts électroniques, est maintenant offert aux membres d'ISEA avec un rabais de 15%. L'abonnement annuel pour 6 numéros, d'ordinaire 34,95$, 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 : email@example.com *************************************** MASSAGE 3.0 LAUNCH www.nomadnet.org/massage3/index.html 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 www.nomadnet.org www.nomadnet.org/massage3/index.html *************************************** ARTICLE: *************************************** THE DAY THE CIRCUS CAME TO TOWN... 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 performances. 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 another. 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 unridiculed. 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 created. 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 firstname.lastname@example.org *************************************** JOBS : *************************************** ASSISTANT PROFESSOR FILM AND MEDIA ARTS 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. *************************************** ASSISTANT PROFESSOR DEPARTMENT OF MEDIA ARTS 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 : http//arts.arizona.edu/. The University of Arizona is an EEO/AA/ADA employer-M/W/D/V. *************************************** VISITING ARTIST/TEACHER SUNY BROCKPORT 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. *************************************** PROJECT MANAGER OPEN STUDIO: THE ARTS ONLINE Washington, DC POSITION AVAILABLE IMMEDIATELY ..... 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: email@example.com put Open Studio Search in subject line. No phone calls, please *************************************** CALLS *************************************** LEONARDO MUSIC JOURNAL 1999 AND 2000 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 individualinterpretation. 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 DIGITAL FILM FESTIVAL SUBMISSION GUIDELINES 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. PROGRAMS 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 requirements. Interactive Program - Showcase of interactive mediums. HOW TO SUBMIT 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 DEADLINES AND ENTRY FEES FALL TOUR 1999 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 firstname.lastname@example.org http://www.resfest.com/ RETURN OF TAPES 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. *************************************** "VISUAL ARTS OF THE 80-90s IN THE CULTURAL CONTEXT OF THE ?? CENTURY" 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. PURPOSE : 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 rapprochement. RATIONALE : 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. PROPOSED SCHEDULE : 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 proposals) 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 proposals) All groups will be working simultaneously during the 3 days session. PARTICIPATION GUIDELINES : 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 degree. 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 session. 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 community. Please send your thesis to : Olga Zhuk, Conference Coordinator Soros Center for Contemporary Art vul. Skovorody 2 Kyiv 254070 mail box # 6412 Ukraine tel.: 380 44 / 416 2262 380 44 / 416 6907 fax: 380 44 / 416 0386 e-mail: email@example.com *************************************** MEDIA AND DESIGN PROCESS CONFERENCE ACADIA (Association for Computer Aided Design in Architecture) University Of Utah, Salt Lake City October 14-17, 1999 A. WORKSHOP AND PANEL DISCUSSIONS 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 B. WORK IN PROGRESS 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 proceedings. Abstracts due March 15, 1999 Notification of Acceptance May 15, 1999 Final submission due June 14, 1999 C. EXHIBITION & POSTERS 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 : firstname.lastname@example.org 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. D. PAPERS 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 categories: 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 PAPER SUBMISSION DEADLINES 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:email@example.com 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: firstname.lastname@example.org Tel: (801) 581-7671 or (801) 581-7176 Fax: (801) 581-8217 *************************************** VIDEO ART ON MARS - NEA PRODUCTION OF VIDEOTAPES ABOUT THE CREATION OF ART ON MARS - NEA NATIONAL FOUNDATION ON THE ARTS AND HUMANITIES 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 honored. 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. FOR FURTHER INFORMATION CONTACT: 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:email@example.com 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 : firstname.lastname@example.org *************************************** EXPERIMENTAL MEDIA ARTS 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: email@example.com http://www.experimenta.org *************************************** RUNNING OUT OF TIME FESTIVAL OF LIVE AND TIME BASED ARTS 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 firstname.lastname@example.org www/htba.demon.co.uk *************************************** AMOUR / HORREUR 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. CURATORIAL THEME 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 email@example.com http://www.lacentrale.org Deadline March 1, 1999 Submissions and information: firstname.lastname@example.org *************************************** GEN ART FILM FESTIVAL 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 email@example.com 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: firstname.lastname@example.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. SELECTIVITY : 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 capabilities. STEIM recognizes two different kinds of projects. The first kind concerns projects relating to orientation, the second concerns research and development projects. ORIENTATION 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 project. 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. LARGER PROJECTS 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 info: Achtergracht 19 1017 WL Amsterdam The Netherlands fax: + 31 20 626 4262 , tel: + 31 20 622 8690 email: email@example.com , www.xs4all.nl/~steim/ *************************************** CALL FOR AUDIO ART WORKS FROM THE FRINGES OF SONIC EXPRESSION 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: http://wmbc.umbc.edu/). -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. firstname.lastname@example.org *************************************** FIRST INTERNATIONAL NET.RADIO PRIZE CONTEST 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 listeners. 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 audience! The Advurts have to address the following issue : "Liberating the net from radio? Liberating radio from the net?" The Prize :1 net.radio CONDITIONS OF PARTICIPATION : 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. Requirements: -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 deletedinstantly. PROCEDURES OF THE CONTEST : 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). http://www.wuk.at/kunsthalle/02/02index.htm http://www.art-bag.net/convextv/station/2/station 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 4012142. 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. IMPORTANT NOTICE 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 Exnergasse. 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 email@example.com, 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: firstname.lastname@example.org Internet: http://www.art-bag.net/convextv/station/2/station *************************************** ACM MULTIMEDIA CONFERENCE (Multimedia 99) 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. CALL FOR SUBMISSIONS : 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 http://www.acm.org/sigmm/MM99/Submissions/CfPMM99.doc DEADLINES : papers, panels, tutorials and workshops: March 15 Poster and technical demos: June 30 info: John Buford GTE Laboratories, 40 Sylvan Road, Waltham, MA 02451 USA email@example.com Scott Stevens Carnegie Mellon University, Software Engineering Institute, 5000 Forbes Ave., Pittsburgh, PA 15213-3890 USA firstname.lastname@example.org www.acm.org/sigmm/MM99/ www.kom.e-technik.tu-darmstadt.de/acmmm99/ *************************************** IEEE VISUALIZATION CONFERENCE '99 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, email@example.com Theresa-Marie Rhyne, Conference Co-Chair, Lockheed Martin/US EPA Scientific Visualization Center, +1(919)541-0207, Fax: +1(919)541-0056, firstname.lastname@example.org 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. email@example.com 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. firstname.lastname@example.org 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 email@example.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. firstname.lastname@example.org 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, email@example.com 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 firstname.lastname@example.org 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 email@example.com 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. http://www.acl.lanl.gov/PVG99/pvg99.html General conference info: firstname.lastname@example.org www.erc.msstate.edu/vis99 *************************************** CONDUIT FESTIVAL 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. PROGRAMS 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. HOW TO SUBMIT : 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 : CONDUIT DIGITAL FEST, 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. email@example.com http://conduitfest.com DEADLINE: Feb 15, 1999 *************************************** frAme: ONLINE JOURNAL OF CULTURE AND TECHNOLOGYT 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 - ONLINE MAGAZINE 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 *************************************** RENCONTRES ARTS ELECTRONIQUES.05 October 20-23, 1999 (dates may change) Rennes, France (la version française suit) FALL UNIVERSITY STATION ARTS ELECTRONIQUES & the RENNES ART COLLEGE are 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 : firstname.lastname@example.org (subject : festival 99) http://www.uhb.fr/culture/station/ *************************************** CONTACT ZONES: THE ART OF CD-ROM 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 requirementsto: 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 607-255-4086 e-mail: email@example.com *************************************** 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 Electronica. 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: firstname.lastname@example.org www.anat.org.au/projects/mediate/mediate-guidelines.html *************************************** BOOKS ON THE AFRICAN DIASPORA AND THE MEDIA ARTS 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 : email@example.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: firstname.lastname@example.org URL: http://www.isea.qc.ca _____________________________________________________________ ISEA Board Members: Nina Czegledy, Kathy Rae Huffman, Tapio Makela, Amanda McDonald Crowley, Alain Mongeau, Cynthia Beth Rubin, Thecla Shiphorst, Atau Tanaka, Wim van der Plas. ___________________________________________________________________ ISEA LISTSERV: To subscribe, send a message to: email@example.com, 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: firstname.lastname@example.org * http://www.isea.qc.ca * --==========================--
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