THE INTER-SOCIETY FOR THE ELECTRONIC ARTS ISEA NEWSLETTER ISSN1488-3635 #80 October - November 2000 _______________________________________________________________ * CONTENTS * * ISEA News * News from Members * Articles * Reviews * _______________________________________________________________ ************************** ISEA NEWS ************************** ISEA2000 PRE-PROGRAMME The pre-programme of ISEA2000 is henceforthe available on line : www.isea2000.com ISEA2000, the 10th International Symposium on Electronic Art, for the first time in France, will be held in december 2000 in Paris. Organised by ART3000, this pluridisciplinary event will gather more than 150 presenters, experts from the domains of culture, science and industry, coming from 30 countries. ISEA2000 comprises : * An international symposium at the Forum des images from the 7th to the 10th of December On the programme : 50 papers, 12 panels, 50 individual and institutional presentations, 11 thematic seminars, 30 hours of video projections, 8 music sessions * A serie of artistic events organised by other 30 venues throughout the month of December : exhibitions, concerts, performances, dance shows, video projections * The access facilities for all the participants - hotels fees negociated with ATI agency - preferencial fares for the flies (international & continental domestic network) proposed by AIR France agencies - discounts for all the artistic events and free entry in some case * To view the details of the programme : * To know more about the accomodation and transport facilities : * To register inadvance: www.isea2000.com To receive the programme brochure, please forward your postal address to: email@example.com ISEA2000 is organised with the support of ISEA/Inter-Society for the Electronics Arts, of the Ministere de la Culture et de la Communication (DDAT, DAP, DAI, DMDTS, DRAC Ile-de-France), the Ministere de la Recherche, the Centre National de la Cinematographie, the Conseil Regional d'Ile-de-France, the Forum des images, the UNESCO, Sesam , the ADAGP, in partership with : Arte, Art Press, Cart'Com, Cod@ Magazine, Liberation, Le Monde des Debats et Transfert, as well as with the help of numerous associated venues and institutions. ISEA2000 is placed under the patronage of Miss Catherine Tasca, ministre of the Culture and the Communication and sponsored by la Mission pour la celebration de l'An 2000 et the Council of Europe. Information : ART3000 Tel. : 33 (0)1 46 48 66 36 e-mail : firstname.lastname@example.org **** ANAT ANNOUNCES APPOINTMENT OF NEW DIRECTOR On August 28, 2000 Julianne Pierce began her post as Executive Director of the Australian Network for Art and Technology, replacing ISEA Board member Amanda McDonald Crowley. The Australian Network for Art and Technology (ANAT) is Australia's key national arts organisation linking the arts, science and technology. ANAT aims to develop and promote innovative contemporary art which has as its principle component the use and exploration of technology. Julianne brings to ANAT valuable experience in arts management across diverse areas including visual and performing arts, events management and independent curatorial projects. For almost twenty years Julianne has worked within the Australian cultural sector as a Producer, Administrator, Curator and Project Manager. Julianne has a first hand understanding of and involvement with Australian and International Art and technology culture. An initiator of the computer artists' collective VNS Matrix, Julianne is especially committed to promoting and supporting the work of Australian artists working with technology. ISEA congratulates Ms Pierce and wishes her well in her new position! http://www.anat.org.au/ **** BOSTON CYBERARTS FESTIVAL CALL FOR VOLUNTEERS Boston, MA (USA) April 21-May 6, 2001 Greetings to all friends of the Boston Cyberarts Festival! Visual and performing artists, arts organizations, and high-technology professionals will be in the spotlight once again during the second Boston Cyberarts Festival, scheduled for April 21-May 6, 2001. The Festival, incorporating exhibitions and performances by artists who use computer technology as an integral part of their work, will take place at locations in and around the Boston area, across Massachusetts, and on the Festival's website at www.bostoncyberarts.org. The first festival included the participation of over 60 arts organizations and more than 100 exhibits and events. Volunteers will be needed to help with all manner of tasks, from production, design, and administrative tasks to promotion and event assistance, as well as to help at CyberArtsCentral during the festival itself. Why should I volunteer, you ask? Well, you might do it for the free T-Shirts, or for the CyberPass that will get you discounts to events throughout the festival, but really those are just perks compared to the real reason: because you want to work alongside some of the most interesting artists and technology professionals in the world to help create one of the most innovative, exciting events of the year! For more information about volunteering, email Sasha Costanza-Chock at email@example.com, and he will get in touch with you. For more information about Boston Cyberarts, you can visit the web site at http://www.bostoncyberarts.org. ************************** NEWS FROM MEMBERS ************************** ROY ASCOTT is the editor of the newly published ART, TECHNOLOGY, CONSCIOUSNESS: mind@large (Intellect Books). Within a technological context, this volume addresses contemporary theories of consciousness, subjective experience, the creation of meaning and emotion, and relationships between cognition and location. Its focus is both on and beyond the digital culture, seeking to assimilate new ideas emanating from the physical sciences as well as embracing spiritual and artistic aspects of human experience. The book documents the work from those connected with the internationally acclaimed CAiiA-STAR centre and its conferences . Their artistic and theoretical research in new media and art includes aspects of: artificial life, robotics, technoetics, performance, computer music, intelligent architecture, telematic art (The latest reseach from CaiiA-STAR's Consciousness Reframed 2000 conference can be perused in this edition of the ISEA Newsletter.) http://www.intellectbooks.com/authors/ascott/mindatlg.htm Net.art by MELINDA RACKHAM was given a double-bill in Montreal, Canada: empyrean.alpha was featured in the "Out of this World" web art exhibition at the Biennale de Montreal (September 28-October 29, 2000), while the Media Lounge at the Festival international du nouveau Cinema et des nouveaux Medias de Montreal (FCMM) presented Carrier (October 12-21, 2000). JOSEPH LEFEVRE ("L'Inititation," in collaboration with Martine Kountouyan) was also presented in both events. Other ISEA members featured in the web art exhibition at the Biennale de Montreal are REYNALD DROUHIN ("Revenances"), OLIA LIALINA ("Will-n-testament"). SYLVIE PARENT curated the exhibition. LUC COURCHESNE's prototypical project Panoscope 360 was unveiled at the FCMM during the Vitrine Transdisciplinaire Exhibition organized by the Technological Arts Society with the special collaboration of ISEA. http://www.ciac.ca/biennale2000 http://www.fcmm.com ATAU TANAKA will participate in DEAF2000: Machine Times, the fifth edition of the Dutch Electronic Art Festival organized by V2_Organisation in Rotterdam, The Netherlands. The festival runs 14-26 November, 2000. http://www.v2.nl/deaf ROY ASCOTT, PETER ANDERS, DIANE GROMALA, NIRANJAN RAJAH, and THECLA SCHIPHORST will participate in "Art in the Post-Biological Era," a symposium organized jointly by CAiiA-STAR and OLATS at the Ecole Nationale des Beaux Arts in Paris, France. The symposium will take place December 12-13, 2000. http://www.olats.org **** NEW AND RENEWING MEMBERS Thank you and welcome to the following new and renewing members: Stephanie Barish, Stan Bowman, Michel Cleempoel, Brenda Cleniuk, Mika Elo, Mary Flanagan, Marina Grzinic, Heather Haley, Mark Jones, Olia Lialina, Angelika Oei, Niranjan Rajah, Nicolas Saint-Cyr, Patricia Search, Lily Shirvanee, Yoshiomi Yamaguchi, Christian Ziegler, Digital Creativity Center (Soh Yeong Roh) in Seoul. ************************** ARTICLES ************************** ISEA MEMBERS AT CONSCIOUSNESS REFRAMED: PART I >From August 23rd to 26th this year, the third edition of the international Consciousness Reframed conference explored art, technology, and consciousness in the idyllic setting of the Welsh countryside. The conference is hosted at CAiiA-STAR, a research platform integrating two centres of doctoral research: CAiiA, the Centre for Advanced Inquiry in the Interactive Arts, at the University of Wales College, Newport, and STAR, the centre for Science, Technology and Art Research, in the School of Computing, University of Plymouth. We thought it would be of interest to the rest of the ISEA community to glimpse at current research in the domain of art and science, as well as share the work of their ISEA collegues. With that in mind, we are publishing the abstracts of ISEA members who attended the conference in this edition of the newsletter. Thank you to Roy Ascott, conference convenor and CAiiA-STAR director, for kindly giving us permission to publish ISEA members' abstracts in the newsletter. INL#81 (December/January) will feature more abstracts. Full conference information: http://www.caiia-star.net/production/conref-99/index.html **** PLACES OF MIND: IMPLICATIONS OF NARRATIVE SPACE FOR THE ARCHITECTURE OF INFORMATION ENVIRONMENTS by Peter Anders Keywords: anthropology, cognition, cyberspace, narrative, space. This paper expands previous research on the use of space for cognition, navigation, and cultural interaction. It takes as its premise that our appreciation of space is actually a highly-involved mental construct for handling information taken in from our environment and/or generated from memory. Space is here understood to be the dimensional matrix of our awareness. Current and traditional media employ this construct to enhance subject matter. Settings are as important to novels as they are to plays. Films may convey an ambience comparable to that of architecture. But novels and film contain no space as that term is conventionally understood. Instead, they portray spaces of the imagination. Arguably public media, art and interactive technologies, are continuously engaged in producing shared, imagined spaces. The colonial- styled interiors that form advertising backdrops, the synthesised sets of science-fiction films and newscasts are all spaces that have no material counterparts. Yet they persist in the public mind. Cultural traditions abound with such spaces. Heaven, Hell, Nirvana, and Paradise are all places that exist solely in the mind. Yet, unlike personal dreams, these spaces are shared collectively by a community. And so, bear meaning and values that an individual's musings cannot. The present study will examine the history and use of such spaces in an effort to link cultural traditions with current developments in arts and technology. Myths, legends, folk and fairy tales from several cultures will be critiqued for their use of space to convey value and content. Among the topics for discussion will be the use of space in: dreaming, fantasising, solving, projecting, navigating, narrating, embodying, abstracting, presenting, communicating, remembering and extending ourselves into the world. Such an examination will offer new insights into how we use spatial reference in current media and how it may be employed to serve the deep, human needs met by traditional imagined spaces. ***** SPIRITUALIST ART by Evelise Anicet Keywords: spiritualist art, mediunism, dimensions of reality. Talking about states of consciousness the proposal of this work is to inform how the mediunic phenomenon happens in spiritualist art. It will explain how it is possible the connection with this two dimension of live or two layers of reality: the concrete, where we are used to live and the natural virtual called spiritual. It will be shown the structure required for the preparation and participation, the medium's role, how the disencarneded intelligence links to the medium, what techniques are used, which are the results and which kind of improvements those experience can bring for us. ***** EDGE-LIFE: TECHNOETIC STRUCTURES AND MOIST MEDIA by Roy Ascott Keywords: Technoetics, Moistmedia, Cyberbotany, Visionary Pragmatism. Between the dry world of virtuality and the wet world of biology lies a moist domain, a new interspace of potentiality and promise. Moistmedia (comprising bits, atoms, neurons, and genes -the big BANG!) will constitute the substrate of the art of our new century, a transformative art concerned with the construction of a fluid reality. This will mean the spread of intelligence to every part of the built environment coupled with recognition of the intelligence that lies within every part of the living planet. This burgeoning awareness is technoetic: techne and gnosis combined into a new knowledge of the world, a connective mind that is spawning new realities and new definitions of life and human identity. This mind will in turn seek new forms of embodiment and of articulation. At the same time, as we seek to enable intelligence to flow into every part of our built environment, we recognise that Nature is no longer to be thought of as 'over there', to be viewed in the middle distance, benign or threatening as contingency dictates. It is no longer to be seen as victim ecology, fragile or fractious, according to our mode of mistreatment. Technology is providing us with the tools and insights to see more deeply into its richness and fecundity, and above all to recognise its sentience, and to understand how intelligence, indeed, consciousness, pervades its every living part. The mind of Gaia, set in de Chardin's noosphere, is becoming amplified and perhaps transformed by the technoetic effects of human connectivity, ubiquitous computing and other far reaching consequences of the Net. The artist's role at the larger planetary level of self-organising, self-aware systems, will be to plant, grow and cultivate new forms, new structures and new meanings. The notion of cyberbotany extends from the wise application of plant technology, in the technoetic context, to the creative employment of horticultural metaphor in envisioning outcomes at the material level of construction. In developing the hyperculture the artist can learn from horticulture; the creative challenge being to create a Moist synthesis of artificial and natural systems. Visionary pragmatism can guide the artist's participation in building worlds that we would want to live in. Visionary pragmatism can take the love inherent in the telematic embrace and create new relationships, new societies, and new culture. Just as art in the next hundred years will be not only interactive, but also psychoactive and proactive, so human affairs will benefit from closer connectivity, distributed intelligence, and spiritual solidarity. As the unfolding years of this new century will show, the media best employed to effect these changes will be Moistmedia, the networks that sustain them will be technoetic, and the cyberception of the planetary society as a whole will reflect a growing sense of optimism and telenoia. ***** THE MIND'S EYE by Nina Czegledy Keywords: mental imagery, perception, visual consciousness. Visual mental imagery is considered to play a key role in human consciousness, including information processing, abstract reasoning, language comprehension and visualisation. In the realm of cognitive science, visual mental imagery - popularly termed 'the mind's eye' - has been the subject of considerable controversy especially concerning the underlying neural framework. Are images intrinsically different from verbatim thoughts? Is image information represented in a spatial format? To what extent is a person's perception of the 'blue' of the sky due to their early visual experiences? Does mental imagery and perception involve common processing mechanisms? Over the last decade, the status of image generation as a functional component of the mind and the localisation of neural structures involved in image generation have been extensively investigated. According to certain studies, mental imagery shares common brain areas with other major cognitive functions such as language, memory, and movement. Other studies have proposed that the process instead reflects a high degree of interaction between mental imagery and other independent cognitive functions. Current cognitive neuroscience approaches, including the use of PET and fMRI technologies have provided new insights into the anatomical and functional organisation of the human visual system - as well as the cerebral localisation of imagery processes. It has been proposed that visual images, evoked from memory, are mediated by primary visual cortices. The visual imagery abilities of patients with cortical blindness may provide some explanations. A marked deficit has been noted in imagery ability in persons with mental retardation leading to the hypothesis that this may be the source of other difficulties they encounter in cognitive activities. On the other hand, results indicate that both deaf and hearing ASL signers have an enhanced ability to generate relatively complex mental images. The role of hypnosis, telepathy and other extended forms of consciousness in mental imagery will be further investigated in this presentation. The complex process of visual perception is considered to be driven by sensation with its outcome dependent on the perceiver's situational experiences. Seeing, an intellectual exercise, (expressed verbally and/or pictorially), is strongly influenced by perceptions and cultural experiences. These expressions might be acquired at an early age, but mostly they are learned processes. Clarity of expression is important in the sciences, while fine arts might accommodate subtlety, and sometimes obscurity. In all instances, the image maker is a communicator. An understanding of seeing is relevant in the process of image creation. Although it appears now, that visual mental imagery and visual perception share common underlying mechanisms, there are several reports in which these are shown to be dissociated, reflecting the basic modular organisation of the visual brain. The binding of cellular activity in the processing-perceptual systems is more properly envisioned as a binding of the consciousness generated by each of them. It is this binding that gives us our integrated image of the visual world. **** SLIP-SLIDING BETWEEN THE VIRTUAL AND THE REAL by Char Davies Can there be a fruitful relationship between virtual and living environments? I began exploring this issue in the immersive artworks Osmose and Ephemere, using VR technology in ways that sought to evoke modes of perception/ behaviour that were alternative to the norm, in terms of the conventional cultural framework of dualism and domination through which we habitually relate to the life-world. In my Consciousness Reframed '98 paper, I laid out the symbolic relationship between these works and a particular place - a piece of rural land of which I am con/temporary custodian - suggesting that the fluxing realms of Ephemere were but the external life-world internalised, poeticised (ala Bachelard), and re-externalised as art. In a subsequent revision, I stated that as I typed, the land was calling me away from keyboard and mouse, and the abstraction of words into the enveloping sensory world of field and forest and the felt but unseen presences of non-human others going about the business of their lives. Oddly enough, since then, repetitive strain injury has freed me from the tyranny of the keyboard, pushing me back into the world, to remote wild places such as the Australian outback and the wetlands of the African Okavango delta. In these places, teeming with a vast interplay of beings whose indifference to humans belies the vulnerability of their habitats and species viability, I have asked myself the question: can virtual places 'serve' the living? My current research is a seeking for answers. **** LOOKING THROUGH THE "BLUE WINDOW PANE" by Margaret Dolinsky Keywords: CAVETM, Coercion, Immersion, Sound Activated Graphics. "Blue Window Pane" is a CAVE art experience that stages a virtual environment for performance and projective construction. Participants discover a non-linear narrative through a subversive and confrontational stream of consciousness movement. This non-hierarchical movement is theatricalized in a series of abstract architectural spaces inhabited by surreal characters. The journey includes, among other spaces, "Interiors," "Stair Scene," "Inner Sanctum" and "Living Room." "Interiors" hallway is the scene of establishment and thus, the familiar point of continual return. Each direction in the hallway reaches a point of confrontation with the symbolic ego and, in effect, recreates a psychic dilemma. The choices unfold the multi-layered events of self-determination: unexpected encounters, passageways, epiphanies and brick walls. "Guards," who sound out warnings and flail against the participants' approach, line the hallway. They guard the high arched windows that offer other views beyond "Interiors." At one end of the hallway hangs an arched spiritual icon with a golden key. By touching the key with the navigational wand, the icon swells open to become an arched passageway of multiple silhouettes leading to the "Inner Sanctum." At the opposite end of the hallway hangs a curtain shrouding a floating mask. The visage is of a serene, quiet and calm woman. If approached, her eyes open and she begins to chant. Penetrating this mask sends one on a long journey through a tunnel filled with the humming, whisperings and ramblings of the conscience. At each end of a tunnel is a face: one strong and one faint. The stronger image will return to what is familiar and known: "Interiors." The faint image leads to the "Stair Scene" (Stare Seen), a sound activated graphical environment filled with stairs and staring. "Blue Window Pane" is an immersion through a series of graphical dilemmas marked by metaphorical icons. There is no with no linear method of narrative or navigation. The architectural spaces build the walls for a stream of consciousness type of exploration. Each participant recreates their experience with a unique story to tell. The CAVE is a virtual display theatre that presents a visual spatial media of shapes, landscapes and sounds that establish a system for construction and symbolic transformation. Participants are given the stage to exercise the guidance of their cognitive structures and ascertain the meaning and content of the virtual experience. To inhabit the virtual space is to transform the projection. The uncharted and undefined medium of "Blue Window Pane" requires its portrait to be painted with symbol systems of both virtual reality and art adventure. **** VISCERAL VIRTUALITY: THE DANCE OF THE BODY WITHOUT ORGANS by Gregory Little Keywords: Body w/o Organs, Deleuze and Guattari, Artaud, VRML, CAVE. For the past year I have been constructing a virtual reality simulation that places participants in a landscape within the human body, reminiscent in a very basic sense of Fleischer's 1966 film "Fantastic Voyage". The organs of the body, free from any functional, biological imperatives and autocratic hierarchies, act as autonomous actors with choreographed behaviours and multimedia events coded into virtual tissue. In this work, called "The Body w/o Organs", I am weaving three datasets, two of anatomical models derived from real human sources representing the organs (Visible Human Project) and external skin (CyberWare Whole Body Scan) of real, "lived bodies", and one of unbound subjective elements of my own consciousness, via memory, visualisation, narration, and childhood drawings. Trajectories of the Body w/o Organs The separate iterations of my project, including "Making myself a 'BwO'", "Inhabiting the 'BwO'", "The Dance of the 'BwO'" and "Distributing the 'BwO'" emerge from a swarm of intersecting trajectories, including the visual, the subjective, the philosophical, the biological, the technological, the immersive, and the interactive. A look at the specific axes of trajectory; that is, the conditions and problems of each trajectory, will begin to reveal the potential crossings, schizoid penetrations and emergent rhizomes possible in my interpretation of Artuad's desire to "make human anatomy dance at last". In the context of this report of a work in progress, my emphasis is on the final iterations; "The Dance..", and the "Distribution of the BwO". "The Dance of the 'Body without Organs" Documented subjective memories, narratives, sensations, and visualisations that emerge through experiences of dream journals, body oriented gestalt therapy, unearthing childhood drawings, and Raja Yoga Meditation are being interpreted as digital media. These individual properties that construct my experience of a particular qualia will be separated out, unbound, or deterritorialized from one other and placed in parallel databases that are mapped to particular organs/locations within the virtual anatomical world. Deterritorializing, or unbinding instances is a process of separating properties of a particular qualia of being from each other and their temporality, so the properties remain, but the instance is no longer. Then the properties can be organised in other ways. In this piece the interaction of a participant will cause the elements of these databases to combine randomly, potentially reterritorializing the separate properties into a particular instance or temporality, involving the participant in an emergent dance with the Body w/o Organs. "Distributing the 'Body without Organs'" This project will exist as a networked multi-user domain in two contexts: 1.) As a distributed VRML piece for the World Wide Web. Using a multi-user server client, several interations of the Body w/o Organs will be distributed to the local machines of participants over an extended period of time. The environment of the BwO will be updated, altered, and revised serially according to the collected feedback of participants, therefore the form, anatomy, and content of a particular interation or serial version of the virtual anatomical environment will be a truly distributed, collaborative 'organisation of the organism'; and 2.) as a networked CAVE environment, with a real-time linking of two CAVEs in separate locations. This iteration of the project is the result of research being conducted at the VRL, New Media Centre, The University of Michigan. Through distributing unbound, deconstructed data derived from own physical body and conscious reality across the globe via computer networks, I am creating an immersive artistic context for the interactive reterritorialization of my virtual presence into new emergent conscious experience for the participants in the BwO. ************************** REVIEWS ************************** ARTE VISION: A HISTORY OF ELECTRONIC ART IN SPAIN CD-Rom for MAC/PC platforms. Produced by MECAD Media Centrer of Art & Design, Sabadell/Barcelona (Spain, 2000). Directed by Claudia Gianetti, with the expertise of Eugeni Bonet; the theoretical contributions of Joan Fontcuberta, Marisa Gonz?lez and Vicente Carret-n, and with original music by Eduardo Polonio. http://www.mecad.org Review by Vicente Carret-n Cano ARTE VISION is an investigation that takes the shape of an interactive multimedia catalog to bilingually document the artists and works that, through a variety of media have configured the history of electronic art in this European country. As the first of its kind (off line) -although a less ambitious selection has been (on line) for a couple of years at http://www.telefonica.es/fat/futura/index.htm- this production proposes a navigation by means of two main graphic interfaces: a panoramic one for the selected media (experimental film, computer art and digital animation, digital photography, copy art, holography, interactive installation, media-performance/meta-formance, plus net.art and interactive media) and an alphabetical gallery of portraits indexing the artists, but also including, as a sort of 'yellow pages', a reasoned directory of resources. Every author entry is composed of a short biography, photos, video excerpts, and comments documenting each selected work. Each media section has an introductory essay, a bibliography, and an index of authors active in that field. Complementarily, a linear navigation is also offered, while links and transitions are punctuated by suggestive sound phrases. On the literary side, Mr. Bonet's prose is sharp, elegant, and easily readable. The occurrence of this research is relevant, considering that academic studies have not yet seriously confronted the revision of both past and present Spanish contributions to the domain of electronic arts. It can be said that even the teaching of new media is still totally neglected by the Spanish educational system, despite some brand new private initiatives, such as MECAD itself. In such a context, ARTE VISION will become a compulsory reference, a unique starting platform of study for enthusiasts and scholars and a promotional means for current Spanish media arts practitioners. However, similar enterprises (academic or not) should be expected to appear, at least to critically counterbalance the 'particularities' of ARTE VISION's points of view on digging the historical roots of Spanish art & technology practices. Controversy and debate can only enlighten the knowledge of our electronic art proto-history. What ARTE VISION lacks is a comprehensive study and understanding of the different media and technological siblings from which the current scene has evolved, beyond those traced by Eugeni Bonet in the experimental film movement of the sixties. Its blurred 'roots searching' and 'pioneers hunting' are full of movie makers without films (Brossa, Oteiza), media artists without electronic creations (Val del Omar, Valcarcel Medina), holographers without holograms (Zush, Yturralde) or tv-proto-video-film makers with holograms made out of paper (Iv?n Zulueta). There are conspicuous oversights such as Salvador Dal' (not included due to copyright problems), whether we like it or not our electronic holy artist, the one that has bridged the gap between the modernist avant gardes use of media and the postmodern interest in science, technology, and media trends; or others such as Eusebio Sempere, Luis Lug?n, Pablo Palazuelo, Francisco Sobrino, Carles Buigas or Alexanco, just to point out a few important but overlooked authors who were much more influential in their times than was Val del Omar. Some notable omissions: the total absence of the 'sound art' domain, so revitalized by its multimedia hybridation; and -since the intention of ARTE VISION is not to cover 'Spanish electronic art' but 'electronic art in Spain'- any entry for foreign artists, such as German Wolf Vostell (video), British Hilary Wolfram (laser art), Mexicans Rafael Lozano-Hemmer (interactive art) or Darya von Berner (installation art), and Belgian/Dutch couple Jodi (net.art), among others. These artistis have been developing a very important body of work among us. Houses of knowledge should be built on a solid foundation, not starting by putting up walls. Anyway, whoever is lucky to own such a house should learn to consider more his guests and be better hosts. Or do only nomads understand hospitality? VICENTE CARRETON CANO is a Spanish media arts writer and curator living in The Hague (The Netherlands). firstname.lastname@example.org ************************** JOB OFFER ************************** Film and Video Production: University of California, Santa Cruz-Department of Film and Digital Media. Tenure-track position at Assistant Professor I or II level in video and film production. Position effective July 1, 2001. Required: M.F.A in relevant field or equivalent professional experience. Demonstrated potential for excellence in innovative research and for excellence in university teaching. Refer to provision #459. Applications must be postmarked by November 30, 2000. UCSC is an EEO/AA Employer. Please see our complete job announcement at http://www2.ucsc.edu/ahr/academic.htm#459. ISEA NEWSLETTER============================================ Editor: Katarina Soukup Contributors: Natalie Melançon, Roy Ascott, Vicente Carreton Cano, Nina Czegledy, Char Davies, Margaret Dolinsky, Gregory Little. ______________________________________________________ ISEA, 3530 boul. Saint-Laurent, suite 305, Montreal (QC), H2X 2V1, CANADA Tel: (514) 847-8912, Fax: (514) 847-8834 email: email@example.com URL: http://www.isea.qc.ca _____________________________________________________________ ISEA Board Members: Nina Czegledy, Kathy Rae Huffman, Amanda McDonald Crowley, Alain Mongeau, Cynthia Beth Rubin, Thecla Schiphorst, Atau Tanaka, Wim van der Plas ___________________________________________________________________ ISEA LISTSERV: To subscribe, send a message to: firstname.lastname@example.org, no subject, with the following message in the body of the email: "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. Support: La Fondation Daniel Langlois, Ministere de la culture et des communications du Quebec. ============================================end of newsletter ***************************************** Inter-Society for the Electronic Arts Inter-Societe des arts electroniques 3530, boul. Saint-Laurent, suite 305 Montreal, Quebec, CANADA H2X 2V1 tel. +1-514-847-8912 * Fax. +1-514-847-8834 email@example.com * http://www.isea.qc.ca ********************* ISEA2000 ************** 7.12 - 10.12, 2000 / Paris, France / www.isea2000.com
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