#071 Apr/May 1999


#71 April - May 1999

* Editorial * ISEA News * Notes from HQ * News from Members*
* Report on  Virtual Africa * Article * Event Report * Jobs and Calls *

*Une version francaise est disponible. Contacter le secretariat pour l'obtenir*

Dear members,

Two major events have made an impact on ISEA these last months. The first one
being the meeting of ISEA's Board of Directors in Montreal in early March; and
the second, the production of DAKAR WEB, a series of web art workshops in
Dakar, Senegal during February 1999.

The ISEA Board meeting was attended by all members except Tapio Mäkelä, who
is no longer serving on the Board, and Roger Malina, who participated as the co-
chair of the IIAC. The agenda of this crucial meeting was to confirm the
viability of the Montreal headquarters and outline the main trajectories for the
coming years. ISEA will celebrate its 10 year anniversary in 2000: a turning
point and a propitious and critical moment to rethink the mandate of the
organization as well as the symposium.

The intensive three-day meeting, moderated by Sue Ditta, a curator and
consultant associated with the Canada Council for the Arts, focused on the
mission of the organization, its structure, its components (members,
committees), the local and the international environment, the symposium and
the special projects. An Executive Committee of three people (Alain Mongeau,
chair, Amanda McDonald Crowley, secretary, and Kathy Rae Hoffman, treasurer)
was created in order to improve the information and decision process between
headquarters and the board. Many insights were raised, mostly around the
membership issue (one being, for instance, to gradually reduce the membership
fees), and two major motions concluded the meeting.

In the first resolution, the mission of ISEA was redefined: it now emphasizes the
electronic arts in their cross-cultural and interdisciplinary dimensions, and in
their multiple relation to the other fields, of technology, science, industry and
education. It also broadens the mandate of ISEA to include special projects such
as exhibitions, publications, and multilateral partnerships.

The second resolution, in response to the recommendations of the international
community, will make the Symposium a biannual event once again. At the same
time, this resolution gives ISEA headquarters the mandate to organize a special
activity of international scope in Montreal in the year between symposia. This
motion in particular validates the relevance and the existence of the
headquarters, recognizing the importance of initiating activities with Montreal
as a central pole, in order to stabilize the operation of the organization itself. In
brief, the board's refusal of this proposal would have meant the closure of the
Montreal headquarters in the short-term, since without projects of local 
initiative, it is almost impossible for ISEA to find financing through Canadian
and Quebecois institutions. In this ISEA NewsLetter, you will find a summary of
resolutions made during the Board Meeting.

Concerning DAKAR WEB and ISEA's global initiative to participate to the AVVA
network promoted by OLATS (http://www.olats.org), we invite you to visit our
website to view the on-line projects created in Dakar, and to send us your
comments. Embarking on a cooperative project with Africa (and other so-called
Third World regions) always raises the delicate moral and political question of
cultural imperialism and sustainable development. DAKAR WEB, which I discuss
in detail later in this edition of the ISEA NewsLetter, was conceived as a pilot
project oriented toward French-speaking countries. As such, the project has met
its stated goals of training and artistic creation, encouraging African content on
the web, and branching out to other kinds of representation and traditions.

I sincerely hope that this project will serve as a motor and a lever    for other
multilateral initiatives, and that it won't stay a single and limited activity. We
are currently organizing an event that will be a continuation of the DAKAR WEB
project: an international colloquium on African Art and New Technologies in
Montreal this April.  I forsee the ISEA2000 symposium as an auspicious occasion
for the creation of another Virtual Africa activity, workshop, colloquium,
forum, etc. People and email messages from all over to tell us that we have
spread seeds; we should now water the plants. The spring is probably a good
season for it! We will follow the developments with you. 
Happy reading,

Eva Quintas
Development and Special Projects Coordinator


1. Board Meeting
March 4-7, 1999 Montreal, Canada

Here are the two major resolutions passed by the ISEA Board:

ISEA Mission Statement
ISEA is dedicated to the interdisciplinary and cross-cultural
communication/cooperation between the arts and the fields of technology,
science, education, and industry. ISEA creates platforms for :

	-the exchange of ideas and critical discourse
	-connecting communities and facilitating access
	-research, presentation and exhibition

ISEA will realize this mission through organizing international
symposia and
local events, developing partnerships, implementing culturally diverse
initiatives,  and through publishing and archiving. ISEA is committed to
collaboration, membership participation,      creation of new work, and
multilingual communication.

Through these means ISEA both shapes, and is responsive to, the evolving
nature of the relationship between the arts and technology.

ISEA symposium, as it is known, will be biannual from 1998.

The symposium guidelines as they are now, will be adapted by the symposium
committee and presented for approval to the Board, in order to reflect the 
newly revised mission statement.

And active search for the ISEA2002 symposium host will be launched, in
accordance with the revised guidelines.

ISEA HQ will organize, on an on-going basis, projects unfolding in Montreal, the
location of the HQ.These projects will be clearly related to ISEA's mission
statement.One of these projects will be a cycle of events, of an international

A draft proposal on the format of this cycle of events will be submitted for
approval by the HQ to the Board.

2. The General Assembly on the Media Arts
12-14 October, 1999
Montreal, Canada

As a first response to the desire and need to anchor the organization and to
develop special events between the symposia, ISEA is pleased to present the
General Assembly on the Media Arts, an international conference, 12-14 October
1999 in Montreal.

The conference will survey the state of the media arts through an exploration of
the various disciplines, issues, and stakes inherent to new digital technologies of
creation, production, and distribution. Different Canadian and Québecois
experiments with these technologies will be placed in perspective with other
models from around the world. These professional encounters will unfold over
three days, at the new Complex Ex-Centris, just before the 28th edition of the
Festival du nouveau cinéma et des nouveaux médias de Montreal(FCMM), and
will include presentations, panels, and round-tables, in addition to live events
and on-line coverage.

The publication of the conference proceedings and an exhibition of Canadian
media art in the following year will tap into the 10th Anniversary of ISEA and
the ISEA 2000 Symposium in Paris. This anniversary will be an opportunity to
reflect on the evolution of the electronic and digital arts over the course of the
last decade, as well as to examine the tendencies of cybercreation into the 21st

The ISEA team will start a process of consultation within the elect-ronic art
scene in order to define the specific content of the sessions. We invite ISEA
members to contribute their input. What are the   concerns that you would like
to see discussed at such an event? What are the theoretical and practical issues,
what strategies of action are important? In the spirit of exchange and
communication, we invite you to submit your proposals, questions and opinions:
MAILTO: isea@isea.qc.ca


The make up of the ISEA team has fluctuated once again in recent months, and is
currently comprised of three people. These three women, fully invested in the
continuing evolution of the organization are: Natalie Melançon and Katarina
Soukup, who have taken charge of, among other tasks, the web site and  this
month are introducing ISEA's on-line calendar of events and a "flash news
section"; and Eva Quintas, who, in the absence of an Executive Director, will
ensure the continued smooth operation of the HQ.

Here are several new additions to the ISEA website:
- ISEA Calendar <http://www.isea.qc.ca/inl/calendar.html>
As promised in the last ISEA NewsLetter, we are launching a comprehensive
calendar of events on the ISEA website. This calendar will be updated weekly.
Bookmark this page and check it regularly to plan your year! Calls for projects
will continue to be sent exclusively to ISEA members through the INL.

- Flash News <http://www.isea.qc.ca/inl/ninfo.html>
The content of this new section will be changed regularly to reflect new and up-
to-date issues in the electronic arts. Look here for links accompanying articles
in the ISEA NewsLetter.

- Portfolio
Just a reminder that the ISEA Members Portfolio section is now up and fully
operational. Some members have already updated their page and put up some
visuals. We encourage you to add your artwork to this showcase for members.
Contact ISEA HQ for a user's guide.

- Survey
In the coming months we will be circulating a survey asking for your ideas and
comments about how to improve the ISEA NewsLetter. Participating in this
survey will give you the chance to win a year's subscription to Mute magazine !
Stay tuned.


Digital Traces Exhibition, NYC
from Cynthia Beth Rubin, USA

ISEA members in this exhibition include: Cynthia Rubin, James Faure Walker,
Sue Gollifer, and Annette Weintraub.

Seven  artists who engage the computer in the production of prints and video
art  are exhibiting in "Digital Traces",  at the 55 Mercer Gallery in New York City
from April 27 to May 15, 1999.  The reception for the artists is on Saturday, May
1, from 5 - 8 pm.

"Digital Traces" includes artists who began integrating the computer into their
artistic production years ago, when the field was still undefined.   As artists
coming from painting, printmaking, and video, Shalom Gorewitz, Sue Gollifer,
Jean-Luc Touillon, Naomi Ribner, Cynthia Beth Rubin, Annette Weintruab, and
James Faure Walker, have all been part of the development of the emerging new
aesthetics surrounding the computer.

Shalom Gorewitz (New York City) is exhibiting parabolic paintings created on
canvas and board using acrylics, oil, and ink in which traces of digital imagery
appear, mirror-like, as pools of plasticity scattered in a frozen ocean of color.

Annette Weintraub's (New York City) Day of the Dead is a QuickTime movie about
two encounters with death in the city. Interweaving multiple narratives, it
contrasts the warmth of a ritualized recollection of friends with the brutality of
sudden violence on the street.

James Faure Walker (London) uses digital technology in capturing
inconsequential slices of life and weaving them into the fabric of a picture - a
tourist looking at a map, shoppers carrying bags, the cup of coffee to avoid
getting down to work, pigeons on the pavement like touches of the brush.

Sue Gollifer's (Brighton, UK) work has developed in the last twenty years
according to a rigorous program of formal experiment, through which sets of
relationships have evolved among shapes,   colors and tones.  A long time
computer user, she found the transition to technology to be a natural extension
of her printmaking explorations.

Jean-Luc Touillon (Paris) is a painter poet, taking the French tradition of lyrical
representation into the digital world.  His digital drawings maintain the
spontaneity of a sketch while exploring the richness of textures and colors of
the computer.

Naomi Ribner (Boston) explores the passage of time and  the power of places and
artifacts to tell stories. She mixes the illusory textures of inkjet prints with the
tactile qualities of drawing, printmaking and collage in a multi-layered process.

Cynthia Beth Rubin's (New Haven) works are an investigation of the threads of
cultural memory.   Her images grow from the affinity between life as a
contemporary American, and the legacies of many cultures, including her own
Eastern European Jewish heritage and other traditions she has discovered in her

For additional information please contact:
by email	 Cynthia Rubin  <cbrubin@brainiac.com>
On the Web: http://CBRubin.net/art/DigitalTraces

**If you have your own news to submit to this section, please forward it to ISEA HQ: **

by Eva Quintas

It is important, firstly, to place the Dakar Web project within the context of the
network of French-speaking countries known as la Francophonie. As soon as
spring 1997, ISEA was invited by Canadian Heritage to develop a project that
could be submitted to the Conférence des ministres francophones des inforoutes,
(Francophone Ministers' Conference on the Information Highway) at the Hanoi
Francophonie Summit. It was thanks to this anchoring support and certain
specific under-lying development goals that ISEA was able to obtain
complementary subsidies from the Agence de la Francophonie.

Last summer, as I was putting together a more precise multilateral proposal, it
seemed important and relevant to set up an activity involving artistic
development -that is, concrete work in the field- and not simply a theory-based
session, in the style of an ISEA conference, which, I feared, would once again
group together North American and European experts to debate ON African
people and African issues.

Having defined the artistic creation aspect of the project, I also questioned
myself about the appropriateness of sending a team to Africa instead of inviting
the African artists to a workshop here, in the North (in Montreal or some other
location). Since the principle interest was to promote a different kind of
representation on the web, I agreed that these images should come from over

The choice of Senegal as a partner came about quite naturally, since a network
of artistic exchange already exists with Quebec. The country also has a strong
artistic tradition, the legacy of cultural policy under the president-poet
Senghor. We can also talk about a real emergence of technology with the
implementation of five Internet servers in the country in recent years. Finally,
a local technology partner, the cyber cafe Metissacana, was identified quite
quickly as the host organization in Dakar.

It was the identification of a local artistic partner that was more difficult. At a
geographical distance and without knowing each other, you know as well as I
do, "virtual communications" are not always easy. The information on the ISEA
workshops was circulated little by little by different local contacts. The Biennale
of Dakar (a major event for the presentation of contemporary arts in Western
Africa) showed interest in the project but at such a late date that it could not
play the hoped-for role of advisory body. No official selection process to identify
and evaluate the artists who wished to      register for the workshops took place
at the local level. Those who registered did so on a first-come first-serve basis
and by sending their dossier to ISEA. Since the production budget was quite
restricted, there was no opportunity of doing a pre-workshop scouting tour in
Senegal. The goal of artistic creation was always fundamental, and for this
reason, I proposed workshops which would entail the production of web fictions
(and not merely provide a training activity). Indeed this genre of fiction
encompasses team work, and calls for various disciplines (image, text, sound)
within a narrative construction.

Instead of the 8 to 12 expected participants, we ended up with 20 artists
registered for the workshops in Dakar! All were professional artists, between 24
to 60 years in age. The majority worked in the visual arts and had not touched a
computer even once in their lives. An ambitious programme awaited us ...

20 artists, 5 projects, numerous articles and stories, 24 days, 10 to    12 hours of
work per day, 2 weeks of post-production in Montreal, constant support from the
ISEA team at HQ, a launch of the   project on March 19 for the Fête del'internet ,
and an exhausting but positive experience for the leaders!

The goals of the project as stated at the beginning were accomplished. Beyond
the transfer of technological knowledge, the project provided a real cultural
exchange in which all the Montreal and
Dakar artists shared and confronted their cultural models. With the support of
the Canadian Embassy in Senegal, ISEA also received some great visibility: a
meeting with the Senegalese Minister of Culture and local cultural organizers, a
press conference, and a    public demonstration of the web art projects.

The Dakar artists are the major winners in this adventure: they now have their
own bilingual web showcase that is both documented and indexed. They created,
with our support, the first five Senegalese web art projects. Though the
concepts are genuinely those of the Dakar artists, the multimedia production of
the projects was mainly assumed by the Montreal team. Lack of time, lack of time
and money once again prevented us from completely training a group which
was, from the beginning, quite inexperienced with   digital media.

What will they do with this apprenticeship? Have we really contributed to a
sustainable development of the media arts? Did we work with the right target
group? Did we invest too much of our own cultural experiences and sensibilities
in the projects?

This set of concerns will only be answered in the long term. The ball is now in
the hands of the artists, as well as, obviously, in those of Senegal's cultural
decision-makers The question of access to digital technology remains the major
challenge. I invite you to read a       follow-up commentary on our site written
by Michel Lefebvre, a writer and multimedia producer, and a participant in the

For my part, I can only invite the international community to support
multilingual/multicultural local development initiatives with an open and
generous approach that I like to think of as anthropophagic. This artistic
tendency stems from from Brazilian modernism of the 1920s (which is, in fact,
very close to the "art nègre" of Senghor), and is effectively defined as the
claiming of an original national identity through cultural métissage: that is to
say, through the selective appropriation, assimilation, and ingestion of people,
ideas and technology from elsewhere.

This international colloquium, organized as a continuation of Dakar Web, will
take place, as we announced in the last INL, on April 23rd at the Cinematheque
quebecoise in Montreal in tandem with the Vues d'Afrique Film Festival.

Unfortunately, for reasons of funding arriving too late, the Afromedi@rt
exhibition which was intended to accompany the      colloquium has been
cancelled: we hope this snag is only a postponement until next year.

Much to our great regret, Olu Oguibe who was to moderate the first session will
not be able to attend because of visa complications. Below you will find the most
recent colloquium programme. The ISEA web site remains the place for future
up-dates and reports on the sessions.

African Art and New technologies International Colloquium, April 23rd, 10pm to 5pm
Cinémathèque québécoise, 335 boul de Maisonneuve Est, Montreal

This one-day seminar will bring together African artists and experts from
around the world to discuss the various challenges, issues, and strategies related
to the development of new communication and creation technologies in Africa.
The seminar is organized by ISEA with the participation of the Canadian curator,
Sylvie Fortin.

Session I: 10am-12:30pm
Soft Futures or Digital Imperialism
The first session will examine analytical and critical perspectives of the artistic
and social impacts of the networking of Africa.

Moderator :
SALEM MEKURIA, artist and filmmaker, (Ethiopia/US)

Participants :
FRANKLIN SIRMANS, curator, writer, (USA)
IBA NDIAYE DJADJI, art critic, researcher and professor, (Senegal)
CAMEL ZEKRI, artist (Algeria/France)

Session II: 2:00pm-4:30pm
Accidental supports and obscure determination :
Digital and electronic technologies as creation tools and conceptual relays.
This session will be dedicated to the presentation of artistic practices
in African realities which use the possibilities offered by new
technologies for
critical purposes.

Moderator :
AKRAM ZAATARI, filmmaker and video artist, (Lebanon)

Participants :
BILI BIDJOCKA, interdisciplinary artist (Cameroun/Belgium)
KENDELL GEARS, artist (South Africa) - to be confirmed-
FATIMAH TUGGAR, artist (Nigeria/US)


Net Radio: Recent Adventures in Audio Streaming
By Kathy Kennedy

First of all, the term itself is problematic. The word "radio"  doesn't
describe the latest phenomenon of the internet. Since radio deals with the
transmission of frequencies through the airwaves, it far from represents the
flowing bits of data through phone lines that is then translated back into audio.
In spite of this, people have chosen to refer loosely to most sonic transmissions
on the net as "internet radio." It is, however, a new hybrid medium that
addresses a completely new set of tastes and expectations.

The conventional listening experience is being customized to accommodate a
variety of changing perspectives. We can now stay tuned to our local
community through traditional radio stations from anywhere in the world
online (http://www.frido.u-net.com/worldwide.htm). Tuning in at the proper
time is no longer an issue since many shows are now archived and retrievable
at each listener's convenience. They can be repeated again and again just as TV
viewers capture their favorite episodes with VCR's.  The best thing, though,
about radio shows created specifically for the net is that they are often
accompanied by a java-enabled chat space on most web browsers. It hearkens
back to the immediacy of talk radio, except that only those participating in the
chat are listening.

Commercial internet radio sites or shows are springing up at nearly every ISP
in exchange for rather "loud" sponsorship, but there is also a thriving
experimental culture for open ears online. The penultimate resource for
innovative audio work on the net is the Xchange network. Xchange is a project
of the E-Lab in Riga, Latvia, and is administered by Rasa Smite, Raitis Smits and
Janis Garancs. It received an award of distinction at Ars Electronica 98 for its
initiative to link the most vital experimental audio art sites worldwide. Under
the name of "acoustic.space" Xchange presented a live mix of audio streams
being sent from major net stations like Backspace.org of London
(http://www.backspace.org/radio/live.ram), ConvexTV of Berlin
(http://www.art-bag.net/convextv) , and Radioqualia of Sydney

These are are only a small portion of an ever widening community of audio
artists who also communicate regularly through the xchange (mailto:
XCHANGE@re-lab.net)  mailing list. Somewhere within these communications the
term for this audio artform has been coined as "net.radio." As net artist and
theorist Pit Schultz describes it, "artists [...] are exploring the sound of network
topologies, loops, stars,rings, clusters, and pyramids."

There are generally points of entry at each site into which certain invited
guests may upload their own music for programming. The quality to the
receiver generally  ends up being that of AM radio depending on the bandwidth
on either end. (Consider whether your own computer plays stereo before even
embarking on the issue of what kind of file you are receiving.) However, the
lack of fidelity brings forth the refreshing challenge of providing interesting
content to make up for the loss.

On the less optimistic side, it must be admitted that reception for most internet
radio shows is generally still choppy, and net congestion is not expected to
diminish in the near future.  Unlike the
warm hum of the analog radio, the sense of immediacy is not nearly as present,
even if the online crew is even smaller and more makeshift than the
college/community stations that we've held as bastions of counterculture.

The xchange list also frequently congregates in realtime  for numerous
conferences: Net.radio days, Berlin '98 (http://www.mikro.org), Art Servers
Unlimited in London(http://x-i.net/asu/) , as well as Xchange Unlimited in Riga
(http://xchange.re-lab.net/xu). They continue to examine the current state of
net.radio, build structures for content as well as to devise strategies for staying
online despite their noncommercial nature. Much of each conference has been
archived in realaudio and there is even an occasional presentation in realvideo.

Serving as invaluable information resources for the radical associations made
with the term radio, two more  sites must be mentioned.  At
http://www.irational.org/radio  basically everything one needs to know about
pirate radio can be found. The entire irational site is host to some of the most
ingenious hoaxes and subversive online art around. There is, as well, an
exciting, acerbic, and accessible critical journal called Crashmedia
(http://www.yourserver.co.uk/crashmedia) about radio or any other current
net culture. How-to kits and schematics for low watt radio transmitters are even
available for mailorder. Edited by Micz Flor in Newcastle, England, Crashmedia
served as the cultural hub from which sprang the Revolting conference during
ISEA 98.

Aside from internet radio, it is obvious to anyone on the net that audio
capabilities and potentials are among the greatest concerns of late. The
development of MP3 or (mpeg layer 3) is listed recently as second in daily hits to
very few. This new format, conceived initially for motion pictures (mp) has
given the Real Network, and their      latest G2 developments cause for stiff
competition in terms of high quality compression.  The MP3 site is now famous
for being the initial scene of an ongoing industry battle over copyright
policies. Thousands of CD's worth of audio files have been downloaded from the
site illegally. A new portable audio player "Rio" has recently been released to
enable the listener to play these files away from the computer. It also converts
regular CD audio into mpeg format so that they too can be stored onto the hard
drive and copied over to the player.

Sites like a2bmusic.com and EZCD.com allow customers to buy CD tracks of
various artists individually and compile them onto a CD for substantially lower
costs than the price of buying each entire CD.  You can also customize and
program your own "radio station" on some sites that will play background music
while you continue to surf the net. Audible.com offers yet another audio format
and player that is used away from the computer, and the list goes on ad libitum.
At the very least, these are times where there is still hope that the broadcasting
system could potentially be changing, as Brecht had hoped, from a distribution
system into a real communication apparatus.

Kathy Kennedy is a sound artist specializing in voice and the interface of
technological. She is currently trying to live in San Francisco and Montreal

*see the Flash News Section on ISEA's website for links to net radio resources*

Next 5 Minutes 3 Conference on Tactical Communications Culture
Amsterdam, March 12-14, 1999

Report by Katarina Soukup

subversive engagement/creative expression

This seemed to be the guiding principles of many at the third Next 5 Minutes
Conference on Tactical Communications Culture held in Amsterdam this past March.

N5M, which was first held in 1993, is planned whenever its volunteer team of
editors "feel the need", rather than as an annual or biannual ritual. This past
edition attracted practionners of do-it-yourself media, dissident art, and
electronic media activism. These included people as varied as Fanny Armstrong
of the London based McSpotlight website documenting the McDonald's libel
debacle in the UK, Tetsuo Kogawa, mini-fm aficionado and the patron saint of
pirate radio, asci artist Vuk Cosic, and a group known as the Association of
Autonomous Astronauts. What all held in common was a desire to push the
boundaries of the electronic media in both art and politics

Conference paraphernalia defined tactical media as a "critical usage and
theorization of media practices that draw on all forms of old and new media for
achieving a variety of specific non-commercial goals and pushing a plethora of
potentially subversive political issues". With this mandate, N5M3 delved into
exploring the connections between art and activism, critiquing the
social/cultural/         economic conditions in which new communication
technologies develop, and the effects of increasing globalization on art, politics,
and the media.

Featuring over 300 presenters in some 30 sessions, N5M3 occupied three venues:
the Paradiso Theatre, De Balie, and De Waag-Society for the Old and New Media.
N5M3's tentacles also spread to two satellite conferences at V_2 in Rotterdam
(Cyberfeminist International and Insular Technologies).

In parallel, over-lapping sessions, N5M3 covered streaming media, satellite
technology, low-tech art performances, radical software, slam-poetry, video
activism, net activism, tactical education, cyberfeminism, South Asian
independent media, and numerous other topics. Each night also featured a series
of video programmes -and did I mention the DJ parties until the wee hours of the
morning (the best of which was a party on the inaugural evening in a
warehouse squat serviced by the coolest red chrome 50s shuttle bus I've ever seen)?

In short it was a huge, stimulating and, at times, chaotic event. The organizers
wanted room for spontaneity, but this inevitably left some gaps in organization
and communication -most notably at the How Low Can You Go Show in which I
participated-  which made some participants comment wryly that while the
event may have been about the next five minutes, it appeared to have been
planned only in the *last* five minutes.

Some sessions were packed to the rafters with panelists, leaving little time to
advance the discussion at hand beyond introductions and surface commentary.
Art After Activism, for instance, had 8   presenters plus a moderator, and to the
frustration of many,  the 90 minute discussion about the effectiveness of art in
an activist context never got beyond the same tired polarities. Dee Dee Halleck of
Paper Tiger Television was wary of the aestheticization of politics ("The
Revolution will not come through images"), while Steve Kurtz of Critical Art
Ensemble argued that in a world of global communications, politics of any kind
*already are* aestheticized and highly constructed  through  media
representation: "If we're thinking of building campaigns, of building global
supports, of really trying to construct movements," he said, "it's going to be done
through representation. And this is where artists carry such a pivotal role". Shu
Lea Chang worried that "activism was going conceptual". Here, an examination
of the success and failures of *specific* projects would have been more useful
and illuminating than this abstract discussion of the pros and cons of marrying
art with activism.

Despite the conference-syndrome effect of having too much to see, say, and do,
and not enough time to do it all, I was elated to see some of Holland's major art
organizations as well as key players in the electronic art world involved in an
activist event. This opened up opportunities to look at new media practices from
a critical perspective, and look at concrete actions toward social and global

At the Radical Software panel, for instance, the question of whether such a
thing as "radical software" truly exists was raised from the get-go by moderator
Ted Byfield. An intriguing example of what could be considered radical software
was proffered by Volker Grassmuck, co-organizer of the upcoming Wizard of OS
conference in Berlin, who mentioned a software which would enable "illegal" or
banned documents to be placed on-line. Consonants of the banned text would be
housed on one server, and the vowels located on another, brought together by
the software as virtual document existing only in cyberspace rather than in any
one physical location. The Mongrels, whose interactive installation "National
Heritage" appeared at DeWaag during N5M3, presented their suped-up version of
Adobe Photoshop (Heritage Gold), a software for altering ethnic heritage, with
drop-down menues for modifying social mobility, skin colour, prejudice, and
"emotional blur".

Micz Flor of Public Net-Base in Vienna argued for seeing programmers as
cultural workers who can have an informed and motivated social role in the
software they create, and seeing code as a cultural text like any other. To
this it
was countered that unintended consequences and appropriation by others often
informs the effect, radical or not, of a particular software more than initial
intentions. Ultimately it was concluded that perhaps what could be considered
radical is not software itself, but the context and the practices surrounding it:
that there can only be radical *decisions* in using software.

The impact of increasing globalization on culture, media, and politics (and our
ability and freedom to make these radical decisions) was an important theme at
N5M3. As Saskia Sassen pointed out in her presentation during the Post-
Governmental Organization session, we are seeing the "incipient
denationalizing" of all kinds of state structures and organizational capacities.
According Sassen, however, this does not mean that the state is dead: some of its
capacities, such as central banks and ministries of finance, have become more
powerful, not less.

While national borders appear to be more and more inconsequential for global
capital, the "No One is Illegal" Campaign aims to highlight the much more
restricted flow of human beings. As was presented at the N5M V2_East/Syndicate
meeting, campaign organizers are planning their second "Cross the Border
Camp" this coming August 7-15 on the EU frontier between Germany, Poland,
and the Czech Republic. Activists and artists from various countries will gather
at the campsite to participate in a conference, mobile radio transmissions,
actions, and net activism. There will also be simultaneous camps elsewhere in
Europe and the USA.

Throughout these discussions and debates, N5M3's on-line coverage was
excellent, with live radio and television web streams (as well as traditional
broadcasts), and an Internet journal. This really expanded the event beyond the
confines of Amsterdam. A far cry from the static conference website which in
many cases is just a list of the    sessions, the N5M3 site is a an incredible
example of how the web can be used as a liaison between a local event and a
larger virtual community. Previous to the conference, N5M provided a listserv
to start the the debates percolating (and I am sure they still are to this day!), so
that the discussions and ideas raised during the three day event represent, in
many ways, only a snapshot of lively and continuing discourse.

At the time of this writing, with NATO air strikes over Yugolsavia going into
their third day and the Serbian government's crackdown on Belgrade's besieged
independent radio station  B92 (an important conference participant), the N5M
production team at De Balie have mobilized into the B92 Support Centre. For the
moment, B92 continues its broadcast streaming via the Amsterdam server xs4all.
How fitting that discussions about the art of campaigning have transformed so
seemlessly into the act of campaigning. See the links below for how you can
become involved.


Next Five Minutes: <www.n5m.org>
Help B92 Campaign: <www.helpb92.xs4all.nl>
Cross the Border Camp: <www.contrast.org/borders/camp/index99.html>
Download the Heritage Gold shareware: <www.mongrel.org.uk/HeritageGold>
V_2 East/Syndicate archives: <http://colossus.v2.nl/v2_east/index_frames.html>



Split Film Festival is open to all new, creative, innovative, personal, radical,
subversive etc work (FILM, VIDEO & NEW MEDIA) of all genres and lengths,
preferably from outside the mainstream, whether it's involving traditional film
techniques or the latest technology of electronic image.

The Festival is open to all new, creative, innovative, personal, radical,
subversive etc work (FILM, VIDEO & NEW MEDIA) of all styles, themes, genres
and lengths, preferably from outside the mainstream, whether it's involving
traditional film techniques or the     latest  technology of electronic image.

All works must have been completed after January 1st 1998. The deadline for
entries is June 1st 1999. Screening copies must reach Split by September 10th

All submissions must include a VHS preview tape, or CD-ROM, as applicable,
accompanied by an entry form (or neccesary information on artist and work)
completed in Croatian or  English, along with supporting documentation.
Preview entries should be mailed as Small Packet/petit Pacquet and must be
clearly labelled for custom purposes as follows: Video cassette, no commercial
value, cultural exchange only. Please allow ONLY ONE item per tape.

-There's no limit to the duration of entries. The selection panel will select work
for competition (or other programmes), the international juries will award prizes.
-Entries selected for screenings will be notified promptly after selection of
procedures for transporting screening copies.
-The Festival will make all reasonable effort to present work in the best possible
conditions. Transport of the copies is at the risk of the sender.
-The screening copies will be returned after 15 days (if not arranged
otherwise). The cost of return shipment will, as a rule, be paid by the Festival.
-Unless specific written notice is given to the contrary, the Festival
reserves the
right to print any accompanying information and still photographs for
promotional reasons, or in Festival's catalogue.
-Screenings of selected films and videos, CD-ROMs, installations, Internet
projects, performances, retrospectives, homages, (workshops), discussions and
the catalogue will be presented at the Festival
-Along with special money prizes, the Festival sculpture (Grand Prix: The Tail)
will be awarded for each category (film, video & new media) by international

All entries should be sent to:
PO Box 244
Split 21 000
Croatia (Hrvatska)

More information could be found  on Festival's web site:
where the entry form can be downloaded, completed and sent back.


In bringing together fiction, documentary, animation, performances,
installations, multimedia and net projects, the  innovative and imaginative
programming fosters a transversal dialogue between these
wide ranges of expression. As a launching pad for new and original works, and a
meeting ground where discoveries are made, thoughts provoked and emotions
roused the Festival is pursuing its 27 year tradition of welcoming Quebecois,
Canadian and international artists year after a year in a hearty and exciting
atmosphere. The Festival encourages exchanges with the audience and
professionals and provides an attractive showcase for the selected works as well
as concrete distribution possibilities.

In 1999, the Festival will move to a new complex dedicated entirely to cinema,
video and new media. The works will thus be shown in a state of the art
environment ensuring top of the line screening and reception quality.

Call for Projects
Always on the look-out for the latest in innovative and original works, the
Festival is devoted to the promotion of independent cinema and video, and the
expanding field of new media. The two guidelines for inclusion in the Festival
are innovation and  exploration. The programme is divided into three main
sections: features; short and medium-length films and videos; and new media.
Special       presentations, retrospectives and profiles further complete the

An international selection of contemporary independent films. Films and videos
are accepted in this section regardless of their genre    (fiction, documentary,
experimental, animation).

The length of works presented in this section should not exceed 60 minutes. An
international selection clustered into programme blocs. Films and videos are
accepted in this section regardless of their genre (fiction, documentary,
experimental, animation).

An international selection including performances, interactive installations,
multimedia projects  (CD-ROMs, Web sites) conferences and artists'
presentations. The works submitted to this section should explore the
of the new creative field arising out of the integration of new media
technologies and artistic practices. The Festival welcomes any work that
distinguishes itself through a       creative, innovative and challenging use of
sound and image technologies.

The retrospectives and tributes will highlight the works of renowned artists
who have made a significant and original contribution in the respective fields
of cinema, video and new media.

A selection of works grouped around specific themes. This section proposes a
series of documentaries and archival documents which focus on disciplines,
territories and the imaginary.

1. Only works produced after January 1st, 1998 are eligible; 2.Works must not
have previously been shown in Quebec; 3. All selected entries must be in their
original language,  preferably subtitled in French, or in English; 4. Submitted
documents will not be returned.

All entries must be received by May 15, 1999 at the latest. Results are mailed out
in mid-August. Each entry must include: one duly completed application form;
one VHS video copy of the submitted work, or the equivalent for a piece
submitted in the new media section; one still photo of the submitted work (black
and white, horizontal format); aphoto of the director; payment of the entry fee.

A standard entry fee of CAN$25 is required for all submitted works (foreign
works: US$20).  Methods of payment: Canada/United States (cheque or money
order); other countries  (international money order in US dollars; please note
that cheques are not accepted).

For each piece selected by the Festival, the following publicity material must be
submitted for  press, promotional and marketing purposes: 20 press kits; 3 sets of
5 different still photos; 5 posters; one VHS NTSC video tape of the selected work
for the press bureau;   one Betacam SP NTSC video tape of excerpts (for television).

The Festival reserves the right to authorize broadcast and publication of
excerpts or other appropriate segments of selected works as part of the overall
promotion of the event (web site, television, newspapers, magazines, etc.)

Shipping, customs and insurance costs for the selected works must be paid by
the applicant  (including return costs). The Festival covers insurance costs only
while the material is in its  possession. In case of loss or damage during this
specific time, the Festival is only responsible forthe replacement cost of the
material. To avoid problems clearing customs, only indicate the replacement
value of the actual tape, film stock or other medium submitted on the pro forma
invoice. Also, please take note that it is important to write the following
statement on the air waybill:


Shipping Address:
3530, boul. Saint-Laurent,
Montréal (Québec) Canada H2X 2V1
Tel. 1 514 847 9272 Fax. 1 514 847 0732
more information and the entry form on the festival website: www.fcmm.com


Outfest '99 Los Angeles Gay and Lesbian Film Festival, will be held from July 8 to
18, 1999. Outfest is seeking short and long feature35mm, 16mm, et vidéos.
Info:  (323)960-9200 www.outfest.com


Snow on Snow proposes an original mix of creative video productions on the
theme of snow, projected on a screen made of snow. All styles accepted on
VHS or
U-Matic PAL, SECAM or NTSC formats. Running time is 5 minutes
maximum.Works can be submitted in any language but subtitled in French. Only
musical videotapes will be accepted without subtitles. Deadline for
submission is
September 1999 but we would appreciate it if you could send us your work as
soon as possible after winter 98-99.
Bande video et film:
541 St-Vallier Est, B.P.2, G1K 3P9, Quebec, Ca,
Tel: 418-522-5561Fax:418-522-4041
Email: labandevideo@meduse.org

D.ART 99

D.art, dLux media arts' acclaimed annual event is Australia's premier showcase
of inter/national experimental digital film, digital video, cd-rom and computer
animation art. D.art will once again screen to capacity audiences at the
prestigious Sydney Film Festival in June. The program will then tour
inter/nationally. D.art 99 will also feature a forum on topical issues in digital
media arts.


- entry open to all Australian and international screen artists
- works should be innovative/experimental (non-narrative)
- works must have been produced either entirely or primarily within the digital
domain, or, in the case of video and film(S8, 16mm, 35mm), involve some digital
- works must have been completed within 1998/99)
- works should be a maximum of 10 minutes duration(does not apply to cd-roms)

AUD25 - or free to current members of dLux media arts
(support screen arts, join dLux now! AUS$30).
Method of payment:
- overseas entries: international bank cheque only in AUS dollars;
- Australian entries: personal cheque, bank cheque or money order.

- artists whose work is selected for exhibition will be paid a once only fee of

Please submit preview tape/s in ONE of the following formats:
- SP Betacam PAL only, or
- high-grade VHS PAL, or
- high-grade VHS NTSC
- cd-rom, Mac or PC (must contain all necessary operating files)


- to obtain a fax or email copy of the entry form, or for information about other
dLux activities and membership benefits, please contact:
Martha Ansara, administrator, dLux media arts
PO Box 306 Paddington NSW 2021 Australia
tel 61 2 9380 4255 fax 61 2 9380 4311


Every generation of artists seeks to define a place of their own, to establish a
passage to all other zones of influence. This call for proposals looks to reunite
new artists from here and elsewhere who use new technologies of image and
sound and who stand out by their imaginativeness. Zone d'émergence
("Emerging Zones") brings together works that show current preoccupations-
experimentations and expose them in a new and poetic vision. We think that
digital technology rejuvenates artistic practices to new transformations,
although, just using technology is not sufficient enough to generate new ideas.
These tools must bring to seeing things differently but most importantly
transform, and invest the world of our presence and considerations. Zones
d'émergences is the place of those attitudes.

These videos selected in this touring programme will be presented in events in
Canada and abroad starting in fall 1999. Artists interested in this project can
communicate with us and send their proposal right away.
Canada -April 15, 1999
International -May 15, 1999

272 Villeneuve Ouest
Montréal, Québec, CANADA H2V 2R1
Canada ++(1) 514-288-9634  France ++(33) 02 99 79 49 42
www.elfe.com/signal     perte_de_signal@altavista.net


This non-competitive event aims to provide a comprehensive view of this year's
best animated works. the event will contain retrospective programmes as well
animac welcomes submissions of films that   animators wish to present.

further info on website or by email:


Conducted for the first time this year by the Austrian Broadcasting
(ORF), Upper Austrian Regional Studio, the Prix Ars Electronica will offer ATS
1.35 million (US$ 116, 379) in prize money. The idea behind it: the
computer as a
tool, an instrument, and a medium for the artist.

The Prix Ars Electronica is open to works in the categories of Music, Animation,
Visual Effects, Interactive Art, and the World Wide Web. The Prix Ars Electronica
is at the core of the Ars Electronica, a festival for art, technology and society,
held since 1979.

In all categories below, you may register on-line at:

NET award US$ 17, 240
This category is open to all artistic cultural Internet activities, including Web
sites, MUDs, MOOs, online games, etc. The determining factor is that the work has
been conceived/realized exclusively for the Internet. If the content of the work
is linked to an additional interface, please enter it in the category for
Interactive Art. Although entries will still be judged partly on the basis of
previously determined criteria (ie. community forming, user input & feedback,
links, manageable complexity) the jury will also be developing new criteria in
keeping with the expansion of the category as well.

INTERACTIVE ART award $US 25, 862
This category is open to all types of current interactive works in any form:
installation, performance, audience participation, virtual reality, multimedia,
telecommunication, etc. It is prerequisite that the
projects have already been realized to the extent that they may be judged on the
basis of documentation. Criteria for judging the works include: the form of
interaction, interface design, new applications, technical innovations,
originality and the significant role of the computer for the interaction. One
work may be entered per participant.


Per category, you may enter one work with a maximum length of  5 minutes (not
including credits). If your entry is considerably longer than five minutes,
please specify the segment you consider most representative of your work (and
for the jury) with precise TC times on the entry form. Without these
specifications, we can unfortunately not accept longer works. If your work is
selected by the jury (for a prize or honorary mention) it will be shown at the
Ars Electronica Festival (in consultation with the jury) in its entirety. Send us a
jury version of your entry on VHS or S-VHS (PAL/NTSC/SECAM). If you wish to
enter works in both categories (Computer Animation and Visual Effects), we ask
you to please fill out a separate entry form.

This new category of the Prix Ars Electronica is open to:
Electronica, Sound & Media, Computer Compositions.

Analog methodologies, the use of voices and acoustic or amplified instruments
are allowed as well, but the crucial criterium is the artistic and innovative use of
digital tools to manifest a convincing realization. Each participant may enter
one piece, which has been created/realized within the last three years.

Please send your DAT or CD. Enter projects such as sound installations, real-time
performances, audio/visual habitats, etc as a video document (VHS 3-10 minute).
This document should describe not only the event itself but also the
characteristics of the work's environment aside from music, such as space and
technical requirements for the realization of the piece. Along with the work
please also include information about equipment, scores, setups, and if possible,
any sketch illustrations.

IMPORTANT: in addition to the complete work, please include a 2-3 minute
excerpt that effectively portrays an introductory summation of the essential
elements explore in the whole piece.


This is for a four-week residency at Intermedia Arts in Minneapolis with an
artists fee of $10,000 plus travel and lodging money.
You can find out all about it at their website:

VIDEO ARCHAEOLOGY [International Videoart Festival]

Archaeology today involves a lot of scientific research and analysis directed
towards reconstructing the nature of our ancestors' existence. On the basis of an
excavated coin, tool, masterpiece or a funeral, studied in their historical context,
the archaeologist recreates pagan or religious rites, folklore customs, ethnic
characteristics, economical changes, cultural history. But today's scientific
studies often disregard these results in their arguments and final statements.
Moreover, there is no consensus in interpreting our forebears' traces. Scientists
tend to restore people treating them as      statistical objects rather than as
complex human beings, with no concern for their emotional outlook or
psychological world. Should future archaeology be so facts-driven, one-sided
and indifferent as a method of research?

VIDEO ARCHAEOLOGY picks up video as its prevailing visual form of expression
with the intention to raise issues about the archaeological image of our present.
What kind of findings will the future
scientists discover through their excavations? What will the findings reveal
about the close of 20th century?

VIDEO ARCHAEOLOGY calls for competitive artists who are keen to take the
reverse way of research-making. Artists are invited to      submit their new
videoworks - possibly UNSHOWN before. The works should be created as if
topredict the 'coin' or the 'tool', which present inhabitants would assumingly
leave as an archaeological product of our time. AWARDS arelikely to be

VIDEO ARCHAEOLOGY will also bring artists, theoreticians and general audience
in a two-day symposium accompanied by public art installations and screenings
of curated video archaeology packages from ZKM, Karlsruhe/G;VideoMedeja,
Novi Sad/Yu; VIA, Basel/Sw; WRO, Wroclaw/Pol; Video Data Bank,Chicago/US,
TransHudson Gallery, New York/US, FACT, Liverpool/UK.

VIDEO ARCHAEOLOGY [VA] is initiated by Boris KOSTADINOV & Zhivka
VALYAVICHARSKA, Sofia/BG for ATA Center for Contemporary Art, Sofia/BG and
co-curated by Iliyana NEDKOVA, Sofia/Liverpool, BG/UK. VA is organized
incollaboration with National Fine Arts Academy/Sofia, Soros Center for the
Arts/Sofia, USIA American Center, Sofia, National Archaeology Museum/Sofia.
VA has sought funding from PHARE Euro-BG Arts Fund/Sofia, Artslink
Collaborative Projects Fund/New York, KulturKontakt/ Vienna, Soros Center for
the Arts/Sofia, Trust for Mutual Understanding/New York.

Please, send a preview tape [VHS, PAL] to:
ATA Center for Contemporary Art [for VIDEO ARCHAEOLOGY]
3 Karnigradska Str, Sofia 1000, BULGARIA
t/f: +359 2/ 980 80 25, e: ata-ray@mail.bol.bg
Please, include the following info:
Artist's Name & Contacts:
Brief CV [up to 200 words]:
Brief Synopsis [up to 200 words]:
Tech Details:


Following the successful launch of the programme in 1997 the Felix Meritis
Foundation in Amsterdam, Kultur Kontakt in Austria and the Open Society
Institute in Budapest are happy to announce that the Gulliver's Connect
Programme 1999/2000 will be launched in March 1999. Gulliver's Connect aims
at developing collaborative partnerships between arts practitioners within the
region of the former communist states, and at encouraging the process of
'learning from practice'. The idea is that a "visitor" becomes for a certain period
of time part of the working mechanism of an arts organization in another
Central and Eastern European country different to their own. They become a
temporary member of the organisation's working team via a working
placement. The Connect programme provides an opportunity for both the "host
organization" and the "visitor" to establish or widen their working contacts with
colleagues from other countries. This can lead to developing exciting

The programme is open only to professional arts practitioners and arts/cultural
organizations from Central and Eastern Europe. The programmecovers the costs
of travel, accommodation and a daily allowance. The deadline for this years
applications is APRIL 30th 1999. Placements will take place between September
1999 and September 2000.

Gwen Crawford or Helma Verkleij
The Felix Meritis Foundation
Keizersgracht 324
1016 EZ Amsterdam The Netherlands
Tel  	+ 31 20 6262321
Fax   	+ 31 20 6249368
Email  	gch@felix.meritis.nl


The D.FILM DIGITAL FILM FESTIVAL is seeking films made with computers and
other new forms of technology for it's 1999 series of shows. This includes films
created with digital/desktop video,computer animation, digital cameras, non-
linear editing and custom software.
Deadline is ongoing as screenings are ongoing.


H i s t o r y
The Foundation and Center for Contemporary Art-Prague (former SCCA-Prague)
is a non-profit organization supporting contemporary visual arts in the Czech
Republic through documentation, grants, exhibitions, residencies and other arts
events. The SCCA-Prague was established in 1992 as a part of the SCCA Network 
which includes similar centers functioning in Central and Eastern Europe and 
the countries of the former Soviet Union.

P r o g r a m s
The artist residency program is the main activity at Cimelice Castle. In 1999 two
two-month sessions will be held from June throughSeptember. Artists will be
required to give presentations of their work. During each session an open house
will be organized for artists,arts professional and the public. Additional events
will be organized. For international participants the residency will include a
one week visit to Prague. They will become acquainted with the Czech cultural
scene by visiting galleries, performances and other events and through
meeting people from the Czech art world. In addition, various workshops will
take place at Cimelice Castle during May.

L o c a t i o n
Cimelice is a small historical village, located an hour's drive south-west of
Prague.  It is situated in the woods and rolling hills, typical of the Czech
countryside. The Baroque castle, now owned by the Schwarzenberg family, was
built in  1728 -1730 by the famous Italian architect Antonio Canevalle. Adjacent 
buildings include a granary, which has been reconstructed from the relic of a
medieval fortress. The castle is surrounded by a park and a tree-lined avenue
leads to a neighboring castle in Rakovice.

F a c i l i t i e s
The facilities include 5 painting studios, 2 sculpture studios, a writer's
apartment, 2 rehearsal spaces, 8 bedrooms and a communal kitchen and a dining
room. Additional spaces, including the castle parlors and cellars, nearby
agricultural buildings and the surrounding property may also be made available
through with permission of the owner.

E l i g i b i l i t y
The program is designed for artists who require facilities suitable for focused
work and who are particularly interested in meeting othe members of the
international artistic community. The program will host Czech and
international artists working in visual, performing andliterary arts.
Experimental as well as interdisciplinary approaches will be encouraged.

F e e s
Studio & Accommodation: Two-month residency: $1,500 / 7 weeks at Cimelice
Castle + 1 week's accommodation in Prague
otherwise - $200 / week at Cimelice Castle Meals are not included in the
accomodation fee.

F i n a n c i a l   A i d
Participants are encouraged to seek funding from state and private institutions
in their countries to cover the above fee. The FCCA-Prague is available for
guidance, and fee exemptions in special cases. Artists who are under the age of
35 can apply through UNESCO-ASCHBERG Bursaries for Artists program. The
UNESCO-ASCHBERG bursary covers all expenses.

H o w   t o   A p p l y
Please submit a brief artists statement and proposal of no more than 2 pages
indicating why you would like to work at Cimelice Castle, a
curriculum vitae and portfolio. Please indicate the preferred time of the
residency. For the UNESCO-ASCHBERG bursary use their application form.
Deadline:	April 30, 1999

For more information, please contact: FCCA-Prague, Jeleni 9
118 00 Prague 1 Czech Republic
tel (420 2) 2437 3178, 3335 1359 fax (420 2) 5732 0640
e-mail: scca@ecn.cz http://www.ecn.cz/osf/scca


Come to Newfoundland's Sound Symposium 2000 and celebrate the past and the
future with musicians and artists from around the world. Salute the beginning
of the new millennium and the 1000th anniversary of the establishment of the
first Viking settlement in North America. Take part in a joyous celebration of
the arts and discover the amazing world of Sound.
Deadline for Artists/Musicians
Deadline for proposals for Sound Symposium 2000 projects and performances is:
May 15, (postmarked). Fee: $25.00 (non-refundable) to be enclosed

Dear Artist:
Our experiences with past Sound Symposia have shown that we need to
streamline the selection process for prospective projects to be performed or
exhibited during Sound Symposium 2000. Only proposals that are submitted
following the strict format of our guidelines will be considered by the
programming committee. Wetherefore ask you to read the following pages
carefully and submit your proposal according to the given guidelines. Thank
you for your cooperation.You may apply in the following categories:
                        A - Interdisciplinary
                        B - Concert Music
                        C - Music Video
                        D - Visual Sound Art
                        E - Other

All applications must include:
- your artistic resume (including past performances, projects, commissions,
  work in progress, discography, videography, bibliography)
- support materials such as reviews, high quality images (photographs, slides,
  video) and high quality recordings of past works and performances
- make sure to write your name on any item you send
- a typed, well formulated and well organized project description limited to 500
  words, please indicate whether this is a work in progress, (don't be wordy, but
  tell us clearly what you are planning to do!)
- a complete list of the performers of your Sound Symposium 2000 project
- the performance duration of your work
- a detailed list of your technical needs and space requirements
- for publication in the programme booklet, we need a 100-200 word typed bio in
  publishable quality, which you will also submit on disk in either format Word
  Perfect 6.X or higher or Microsoft Word 7.X or higher
- a sharp, well contrasted photograph of yourself, your group and/or your work,
  which if possible, you may also submit on disk, CD or electronically via our email
  address scanned in at least 600dpi in either JPEG or TIFF format.

Indicate your application category clearly on the attached application form
<http://www.sound.nf.ca/2000/2000_application.html>  in the provided space.
The non-refundable application fee of $25.00 must accompany your application.

On the outside front of the envelope please write the word "Application."
Please remember the absolute deadline for your proposal is: May 15, 1999 (post-
marked)! Any late arrivals will be returned to you unopened!

Please comply with above outline, otherwise we may not consider your application.

On-line application form and details for each category:


If you are interested in ALL POSSIBLE kinds of contributions and proposals to
the programme, please contact us. The possibility of adding something new to
the programme still exists. This is a preliminary programme.

Art-Locus-Transit Curator S. Veselova
11 - 18 of May 1999
Intercultural program
Contemporary city: Between   architectural project and   informational net.

The project has a purpose to represent and combine the possible positions of
contemporary city culture: an inhabitant,  an artist, an architect, a sociologist, a
hacker, a philosopher, etc. It will be conducted as a series of exhibitions,
simposiums and cultural actions. The vitality of the problem has been growing
in the situation of implementation and acceleration of the brand new
communicative technologies in contemporary megapolis. The net-city growing
inside the cyber-net starts the process of deterritorization of traditional city
landscapes made out by architecture. It causes the transformation of inhabitable
space into a sort of informational desert, thus making possible archaic forms of
being of cities which were founded mostly on crossroads by means of
"negotiations" with the landscape. In any european city, well regulated by some
definite architectural project, the traces of such unpredictably expanding
infrastructure which comes into actualization again and again can be found.
Today, the newest technologies make possible understanding, examination and
inhabitation of the info-net, into which the contemporary megaplois has been

Problems for discussion and exponation:
- What will the  millennium city be like?
- What will follow the junction of the city infrastructure (transport and roads,
  energy, communications, mass media) and brand new information technologies?
- In the situation of the previous (market place, church) forms of consolidation
  decondstruction and the establishment of the new ones, what will be the zones
  of construction of the collective body of  "new" citizens? What will be the
  principles, according to which, in the situation of transition from mass culture
  to some local hierarchies, the new zonal division of the city will be conducted?
  New values in the situation of the global order disintegration.
- New technologies of life in the situation of reorganization of the previous
  methods of the information storage into the interactive net not available for
  the masses. The threat of informational collapse.
- Psychosomatic results of the interactive net inhabitation. The disjunction of
  the real. Socio-symbolic relations and identification.

1) The algorithms of the city formation and development.
    L. Trushina, M. Kagan, M. Uvarov, D. Lanin, A. Skidan;
2) Contemporary order  mirrored by megapolis.
    B. Markov, T. Savinova, V. Podoroga, V. Prozersky, G. Revsin,
    B. Waldenfels;
3) The figures of communication in the informational environment.
     A. Mitrofanova, G. Skvortsova, S. Veselova;
4) Virtualization and memorialization of the city landscape.
     O. Nazirova, A. Punin;

5) City as an artistic action/provocation/experiment.
     D. Golynko-Volfson, N. Ivanov.

 actions taking place at:
- St. Petersburg State University, faculty of philosophy, room 24;
- Armenian Church, V.O.;
- Navicula Artis (Pushkinskaya 10);
- Gallery 103 (Pushkinskaya 10);
- staircases, roofs and other premises of Pushkinskaya 10.

- City-symphony. A. Molev
- The architectonics of spirit. B. Arazyan, A. Igatkhanyan
- Open city. A. Skidan, Shuvalov
- The technology of life. Group 2012 AHE group, V. Igumnov

Tel. +7 812 151 22 91; fax +7 812 550 67 50;
e-mail: stadt@dean.philos.lgu.spb.ru


Call for participation organized the first Symposium " SALT OF ART"  in the
presqu'ïle of Guerande, where there is a Salt ground ( west of France) on the
atlantic ocean,  In this spectacular environment,  for 2 weeks there will be
installation in situ. ( Land Art, video, sculpture made with salt, choreography in
situ. performances etc...)

If you're interesting please contact acava99@hotmail.com for more information
submission before 30 April.

sabine Fazekas
5, rue de charonne Paris 75011
tel:01 40 21 75 51


For the 4th time the GRAZ BIENNIAL ON MEDIA + ARCHITECTURE invites ||

The 4th GRAZ BIENNIAL ON MEDIA + ARCHITECTURE, taking place from
November 24 - 28, 1999, will again establish an experimental environment for
most recent artistic projects (visual/interactive media) relating to architecture
and urbanity coupled with current discourses on cultural spheres. The GRAZ
BIENNIAL will thus create outstanding inhabited information spaces - get
connected to what is at stake in contemporary culture!

ARCHITECTURE is looking for challenging works of moving images - film - video
- CD-Rom - internet - that creatively and innovatively deal with architectural
spaces and urban issues. Entries are welcome from now on!

The competition is composed of the two sections:
- "Art & Essay": creative perspectives on cultural, social, political and aesthetic
implications of material / immaterial spaces - "Architectural Documentation":
leading forms of documentary reflections of architecture and urban spaces.
-6 awards are donated with overall ATS 300.000,-! || ENTRY FORMS are now
available at http://www.thing.at/art.image

Don't miss being part of one of the leading competitions for visual media and

Furthermore, the GRAZ BIENNIAL ON MEDIA + ARCHITECTURE calls from now on
for papers and proposals for the subsequent sections of its '99 program: DEAD-
LINE May 31, 1999


The Congress ARCHITECTURE NOW! SPACE will focus on the interaction of art,
culture, technology and economy in the conception and realization of
architectonic and urban planning projects. Within this interdisciplinary
framework, ARCHITECTURE NOW! SPACE will deal with media-specific
possibilities of conception, documentation and mediation of contemporary
spatial structures. ARCHITECTURE NOW! SPACE will present and discuss landmark
examples of application and new trends in visual and interactive development,
analysis and representation of architectonic and urban spaces. Architects,
producers, artists, representatives from television stations and architecture
journals, architecture critics and media experts will discuss the roles of media-
aided spatial analysis and present new designs and projects.

In the special program section INSPIRING SPACES exemplary documentations of
ground-breaking spatial concepts will be shown: from Frank Lloyd-Wright, Le
Corbusier, Mies van der Rohe and Archigram, to Rem Koolhaas, Jean Nouvel,
Greg Lynn, Winy Maas and Toyo Ito.

Spaces under Pressure - Bodies in Excess

With the large film retrospective METROPOLIZED the (mediatized) network of the
city will be reconstructed for the first time from the perspective of an urban
individual in an over-stimulated state. The film and video program will show
how contemporary film-makers design "portraits" of the body and its current
disorders. These disorders in the relationship between the body and
surrounding territories, these confusions between bodies, subjects, urban
spaces and their concrete as well as represented spatial orders, lead to a general
state of confusion between the body, space, time and visual surfaces. The
retrospective explores the tense interrelation between the city and the body,
and lays out diverse (visual) paths through a seemingly, increasingly
hypertrophic urbanism.

METROPOLIZED. Spaces under Pressure - Bodies in Excess is a project with the
Festival dei Popoli, Florence, and the European Media Art Festival, Osnabrück,
within the scope of the European Coordination of Film Festivals (ECFF).


A number of unusual venues scattered all over the city will be taken as settings
for "delocated screenings" and "spread installations": temporary, unexpected,
but above all energetic, situational and interventionist. With installations from
the field of media, temporary encroachments and interventions within the city
prove to be catalysts for the reanimation of urban space - topical and
experimental contributions to applied urbanity.
(program as of March 99 - subject to changes)
Hallerschlossstrasse 21
A-8010 Graz
tel. +43-316-356155
fax +43-316-366156

Graz, Nov 24 - 28, 1999
Entry form for the International Competition available on line!


Studios Midwest provides free housing and studio space for two-month artist
residencies in Galesburg, Illinois, USA.The application form and additional info
about Studios Midwest is available online at
http://www.mindspring.com/~studios Please forward this e-mail to anyone that
might be interested or could help spread word of this residency program.

For more info, contact:
Carla Markwart, Coordinator
Studios Midwest
P.O. Box 291
Galesburg IL 61402-0291  USA
(309) 343-8923      fax (309) 342-7437


Crash Media was set up as a combined tabloid / online publication which would
attempt to bridge the gap between the net discourse online and the activist
streaks in the field. Throughout pastexperiences we came to the conclusion that
the web / mail networks are all very well, but the outlet for the streets needs
working on!

Contributions in many guises required: deep undercover analyses, sub-
cutaneous cuts, bilateral dissections, polemics for the hard of reason, trinkets
for the virtual mantelpiece, eye-sores for the foot-sore, nectar for thehive
mind, befuddlement for conspiracists, personal highlights and urban low-lights.

In other words: articles, logos, interviews, artwork, reviews, literature, listings,
cartoons and info-blips. We favour text within the 500 to 800 word limit - and we
envy the capacity to make a strong point with 200 words!

Scans should be 300dpi and stuffed, send as attachments (MAC or PC) - stamp-
based mail is just as good. Currently we are not able to pay contributors.
Every contributor will receive ten copies of Crash Media.

Crash Media has been published in print as a free, bi- monthly tabloid, since the
middle of March 99. Printed on tabloid paper, each issue has a print run of 5,000.
Crash Media is based in Vienna (A), Salford/Manchester and London (UK). Each
issue normally consists of 12 pages.
Crash Media is being distributed intensively in the North West of England and
London, and selectively world-wide. We are also open toany suggestions for
worthwhile locations.
Issue #5 of Crash Media will inlcude a special section dedicated to some of the
open questions and unwritten histories which come out of the next 5 minutes
conference in amsterdam. thanks a lot and keep it real!

Crash Media is a combined effort of:
- Skyscraper Digital Publishing, London (UK)
- Public Netbase t0, Vienna (A)
- Salford University (UK)

Crash Media is extended through a digital forum.Threads generated in Crash
Media on-line will beselectively reprinted in the next issue.
Micz Flor, Josephine Berry
[EDITORIAL SURFBOARD crashmedia@yourserver.co.uk]


It is our pleasure to inform you that as of March 3, 1999 SCCA - Skopje,
Macedonia launched the Internet Magazine for visual arts
"ZAYAC" - Zine About Young Art  Culture.

The concept of the magazine is imagined as a domain for promotion of different
aesthetic or philosophic ideas, the presentation of different artistic concepts yet
to be realized (in true or "other" space), posting and announcing of reviews, and
short texts related to Macedonian and International exhibiting activity.

"ZAYAC" does not aim to encompassbulk aspects of the theoretical analysis of the
recent production, but its purpose represents a frequent and dynamic field for
reaction. "ZAYAC"is organized and edited by group of young enthusiastic artists,
curators, fine arts critics and students who are invited to contribute their own
issues,as well.

It will be our pleasure if you enrich and affect the contents of our Internet
Magazine withcontributions, donations, ideas, reflections and projects of yours.
You may e-mail all your contributions, donations, ideas, considerations, concepts to
Nikola Pisarev <npisarev@freemail.org.mk>
and Kristina Miljanovska<kika@soros.org.mk>
not later than 25th of every month.

About the content of the first issue of "ZAYAC" and for the entire latest local art
happenings visit us at: http://zayac.scca.org.mk


The School of Art, Design and Media are pleased to announce around six new
Research Studentships in art and design, including a jointly supported "Baltic
Centre for Contemporary Art/University of Sunderland Studentship in New Media

The studentships attract a grant valued at £6455 per year and tenable over a
three year period for students pursuing research programmes leading to the
award of Ph.D. The School is interested in a wide range of boundary-pushing 
research, but has a particular interest in, and ability to support:

- Art-Practice-Led research (where making art is an integral part of the
  research process).
- Public Art, Sculpture, Glass and New Media Art (NOT including Virtual Reality).

Closing date for applications: 20th April 1999.
Further information is on web page:

For further information or guidance please contact:
Herbert Spring, Research Administrator
University of Sunderland
School of Arts, Design and Media
Ashburne House, Ryhope Road, Sunderland SR2 7EF
Tel: 0191 515 3229   Email:as0hsp@adc.sunderland.ac.uk


Fachhochschule Augsburg
Faculty of Design
Faculty of Computer Science
Multi-media Program

The Fachhochschule Augsburg, Design Division, is accepting applications for
the position of

Professor of multi-media (BesGr. C2)
Available in the Winter semester 1999/2000 or later.

Teaching subjects: Fundamentals of Design, 3D Design

The interdisciplinary multi-media Program strives to a large extent for the
integration of digital and conventional media from conceptual points of view.

For this purpose, applicants should be qualified to teach the fundamental
principles of Art and Design (e. g. through drawling, painting or sculpture). At
the same time, he/she should demonstrate the methods and strategies for
realizing 3D design concepts by means of computer technology and be able to
integrate three dimensional platforms in interactive media projects.

Several years of work experience in the field of electronic communication
design, as well as exceptional achievements in design related projects are

Job requirements

-- Completed post-secondary education
-- Suitedness for teaching Graduate studies (in exceptional cases, other proof of
special academic or artistic abilities will be considered )
-- special achievements in the application or development of academic/artistic
knowledge and methods in a professional occupation of at least five years, three
of which must have been completed outside of applicant's academic studies.

The possibility of attaining the status of civil servant exists for all who are 52
years of age or younger.
Providing otherwise equal qualifications, handicapped people are preferred.
The college is aiming for an increase in the percentage of women in the academic
Applications, including the usual documents (CV, academic transcripts, proof of
professional and academic work) are to be sent to - and received by - the
president of the FACHHOCHSCHULE AUGSBURG before 19 June 1998.

An den Präsidenten der Fachhochschule Augsburg
Baumgärtnerstr. 16
D-86161 Augsburg
Tel. +49-821-5586-213


In keeping both with our current programs and with the possible development
of a Ph.D. program, we seek to hire an Assistant Professor (tenure-track) with
expertise in Graphic Design and/or Video Production. Expertise in Audio
Production is also highly desired. Applicants should share LCC's commitment to
interdisciplinary work at the theoretical and applied levels, as well as to the
incorporation of new electronic media into humanities education. Women and
minority candidates are strongly encouraged to apply. We will begin screening
applications immediately, and continue until the position is filled. Send letter
and c.v. to Professor Richard Grusin, Chair, School of Literature,
Communication, and Culture, Atlanta, GA 30332-0165. Georgia Tech is an AA/EO

Ellen Strain, Assistant Professor
School of Literature, Communication & Culture
Georgia Institute of Technology

email: ellen.strain@lcc.gatech.edu
phone: (404) 894-8923
location: Skiles Building 301


The School of the Art Institute of Chicago seeks practicing artist to teach and
help expand animation courses in art & technology and filmmaking. Animator-
filmmakers, 3D animators,and real-time 3D Visualization artists are encouraged
to apply.

Ability to work with beginning and advanced students. School's open
curriculum nurtures experimentation and interdisciplinary work in art&
technology, film, video, sound, painting, sculpture, etc. AA.EOE.WMA.

Send letter of application; resume; statement of teaching philosophy;
sample of
work; names/addresses of 3 references and SASE      to: Animation Search
Committee--em3, SAIC,
Dean's Office, 37 S Wabash,
Chicago IL 60603


The COLLABORATION PROGRAMME is an innovative series of participatory art
projects involving artists and technologists working with communities and
informal education initiatives across Merseyside and the north-west. The
PROJECT MANAGER is responsible for devising, commissioning, facilitating and
implementing projects.  This is a highly creative and challenging role for
someone who is passionate about creating art with people and has a sound
knowledge and enthusiasmfor contemporary media practice.

Send Applications to:
Laurie Hunte, FACT,
Bluecoat Chambers, School Lane,
Liverpool L1 3BX,


Lighthouse are seeking an artist with experience of working with digital media
for a commission to produce a new creative work with six young people with
physical disabilities.

The project aims to give participants an opportunity to explore the possibilities
of becoming producers of their own art-works. This could involve using images,
sound, installation or any medium the artist feels is appropriate. Funding for the
project comes from the National Lottery and will allow the artist to work with
the group for one day a week over a period of ten months. It will take place at
the new Clinical Services building at Chailey Heritage in East Sussex.

Chailey Heritage has a world-wide reputation for providing comprehensive
medical, therapy and educational services for children and young adults with
severe, complex and multiple physical disabilities.

The exact details of what the project will involve will be planned by the artist
with the participants. The artist will help the participants through this
planning process, pushing boundaries and investigating ways to adapt
equipment and techniques to meet the groups special needs.

This is an extremely challenging and unusual project that will provide an
artist with a unique opportunity to explore ways of empowering young disabled
adults to gain creative skills.  Programming, engineering and technical support
will be provided in order to allow the artist to adapt software and hardware as
necessary and there is a budget for purchasing equipment for the project.

Fee: £10,000 (approx. 50 days)
Timetable: September 1999 to July 2000
Deadline for applications: May 10th 1999
Applications from artists with disabilities are particularly welcome.

The project is being run by LIGHTHOUSE in Brighton who specialise in working
creatively with digital media. For more information and details of the
application process please send an A4 SAE to:

9/12 Middle Street
Brighton BN1 1AL

*  ISEA- 307, Ste-Catherine O # 760.* C.P.508, Succ. Desjardins
*  Montreal Quebec H5B 1B6 Canada * Tel:1-(514) 281-6543 * Fax:1-(514) 281-6728
           *  email: isea@isea.qc.ca *  http://www.isea.qc.ca *=20

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