ISEA Newsletter #102 - ISSN 1488-3635 #102, February - March 2006

+ ISEA Board Editorial by Nina Czegledy

+ ISEA2006 News by Steve Dietz

+ ISEA Online Archive Update by Nadia Palliser

+ Guest Editor's Introduction on "Made in Istanbul" by Genco Gulan

+ Panel 1: "Net-Art versus Web Art". (Click here to see previous messages).

+ Panel 2: "New media or Media Art". (Mehmet Sinan has come in chat).

+ Panel 3: "To Archive or Not to Archive ". (Connection interrupted. Connection restored.)

+ Panel 4: "New Art - What is Happening in Turkey?" (Baglanti Duzeldi, Baglanti Kesildi).

+ Panel 5: "Virtual Real versus Real Virtual". Avatar Panel video.

+ Panel 6: "How Much Asia?"

+ WB05 Review: Subjects in Space: The ever-present phantasmagorical rupture in the possible! by Gulsen Bal (London)

by Nina Czegledy

It is a pleasure to introduce Genco Gulan and Gokhan Mura, the guest editors of this latest issue of our Newsletter. We began our plans for a Turkish Newsletter, nearly two years ago on the sunny deck of the ISEA2004 boat travelling between Helsinki and Tallinn. Genco suggested a radical departure from our previous regionally or topically focused approach. "I have to admit - he wrote in our e-mail exchange- that I am totally against the 'local' approach in media arts. I find it very discriminating. Maybe "anti locality" could become our concept of the next issue?" Thus we present the results of the multi-layered online discussions on a variety of topics conducted by Genco within the framework of the Webbienial with participants from around the world. We are pleased to publish this intriguing nonlinear narrative. It was a difficult task for Genco and Gokhan to condense the conversations, many thanks for their efforts and accomplishment. Sincere thanks are due to Nadia for her complex editing task of this text.

In other news, there are less than 20 weeks to go until ISEA2006/ZeroOne San Jose and the Pacific Rim New Media Summit. The standard of submitted and accepted artworks seem to be very high, the preliminary workgroup discussions are dynamic - by all signs ISEA2006 promises to be an excellent symposium edition. We hope to have a great international turn-out in San Jose. While getting ready for ISEA2006, we also maintain correspondence with prospective ISEA2008 and ISEA2010 symposium hosts. Peter Anders is negotiating on our behalf with potential hosts for the ISEA HQ. News of these activities will be posted in due course.

Nina Czegledy
Chair, ISEA Board

ISEA2006 News

by Steve Dietz and Joel Slayton

ISEA2006 is pleased to announce that the selection of presentations for Symposium papers, artist presentations, panels and posters has been finalized as well as the artworks selected in conjunction with the inaugural ZeroOne San Jose Global Festival of Art on the Edge.

Over 1700 submissions in all categories were received, including 354 proposals for Symposium papers, panels, artist presentations and poster sessions. Approximately 300 artists, curators, researchers, cultural and media theorists were represented on review committees with the Symposium IPC involving 75 distinguished professionals. Submissions were of the highest quality from which the following proposals were selected.

Further information about the ISEA2006 Symposium and ZeroOne San Jose Festival, August 7-13, 2006, can be found at Future announcements about related exhibitions, events, invited projects and other aspects of the Symposium and Festival will be posted to the ISEA2006 mailing list. To subscribe:

Steve Dietz
Director, ISEA2006 / ZeroOne San Jose

Joel Slayton
Chair, ISEA2006 / ZeroOne San Jose

Gheorghe Dan
Steve Anderson
John Ippolito
Oron Catts
Josephine Bosma
Ned Rossiter
Trebor Scholz
Valentina Nisi
Kevin Hamilton
Sharon Daniel
Joline Blais
Mara Traumane
Timothy Murray
Mirjam Struppek
Tapio Maekelae
Franck Ancel

Ben Rubin
Norene Leddy
Thom Kubli
Machiko Kusahara
Paula Levine
Atteqa Malik
Shawn Decker
Tamiko Thiel
Mare Tralla
Angelo Vermeulen
Elio Caccavale
Matt and Susan Gorbet
Christian Huebler
Randall Packer
Julie Andreyev
Andrea Polli
David Drake
Grederic Madre
Ursula Damm
Nigel Helyer
Peter Agostino
Robert Neidefer
Olga Kessila
Steve Wilson
Jody Zellen
Jill Scott

Steve Anderson
Stanislav Roudavski
Diego Diaz
Chris Byrne
Matthew Hockenberry
Atau Tanaka
Burak Arikan
Jason Freeman
Giselle Beiguelman
Kuljit Chuhan
Dennis Kaspori
Kenneth Fields
Julie Freeman
Maria Mencia
Peter Hasdell
Vladimir Todorovic
Casey Reas
Inga Zimprich
Elliot Anderson

Please note that not every artist may be listed with each project. This list is being updated, and for the latest information, see If you have questions or corrections about these listing, please email


99 Red Balloons, Jenny Marketou and Katie SalenBlue States, Mark Pesce, John Tonkin
Call, Germaine Koh
DIY Urban Challenge, Jonah Brucker-Cohen, Katherine Moriwaki
Drift Relay, Christina Ray, kanarinka, Lee Walton
Fete Mobile, Marc Tuters
Filmmaking Robot, Douglas Bagnall
Free Network Visible Network, Diego Diaz
Landstream, Olga Kisseleva
LICHTschwarm, Meier Juergen
LiveForm: Telekinetics, Jeff Mann, Michelle Teran
LOCA, Drew Hemment, Mika Raento, John Evans, Theo Humphries
Mission Eternity, etoy
Nocturne, Colin Ives
P2P: Power to the People, Matt Gorbet, Susan Gorbet, Rob Gorbet
Paper Cup Telephone Network, Matthew Biederman, Adam Hyde
Parking Spaces, Matt Roberts
Ping Genius Loci, Adam Somlai-Fischer, Bengt Sjoelen
Pioneers Hitchhiking in the Valley of Heart's Delight, Julie Newdoll
PlaceSite Network: San Jose, Damon McCormick, Sean Savage
Saint Joe, John Klima
San Jose Instant Film Festival, Andrea Moed
SimVeillance: San Jose, Rainey Straus
SKIN-PO, Marc Fournel
Social Memory Columns, Derek Lomas
Soundbike, Jessica Thompson
SPECFLIC, Adriene Jenik
Surf, HEHE
SVEN, Amy Alexander, Jesse Gilbert, Wojciech Kosma, Vincent Rabaud, Nikhil Rasiwasia
Traffic Island Disks, Saul Albert
Tripwire, Tad Hirsch
WiFi ArtCache, Julian Bleecker
Wildlife, Karolina Sobecka
Yellow Chair San Jose, Anab Jain


@Silicon.Valley, Peter D'Agostino
Bounce / San Jose, Greg Niemeyer
Cellphonia: Pocket Performance, Stephen Bull, Scot Gresham-Lancaster
Glance, Guillermo Galindo, Gustavo Vazquez
Global Collaborative Visual Mapping Archive, George Legrady
Homes, Taraneh Hemami
How Stuff Is Made, Natalie Jeremijenko, Chris Dierks, Jesse Arnold, Robert Twomey
MILKproject, Esther Polak
Neighborhood Public Radio, Jon Brumit, Lee Montgomery, Michael Trigilio, Linda Arnejo
The New West, Ludica
Palabras, Sharon Daniel San Jose Voices, Daniel Jolliffe
Screens Exposing Employed Narratives (SEEN), Osman Khan
Sine Wave Orchestra, Ken Furudate
Situated Digital Archaeology, James Morgan, Mike Weisert, Ethan Miller, Aaron Siegel, Johnathan Brilliant
Tactical Sound Garden Toolkit, Mark Shepard
Untitled Media, Ian Gwilt
URBANtells, James Rouvelle, Joe Reinsel, Steve Bradley
[murmur] in San Jose, Shawn Micallef, Gabe Sawhney, Ana Serrano


The Breadboard Band Comes Alive, Shosei Oishi, Masayuki Akamatsu, Kazuki
Saita, Yosuke Hayashi, and Katsuhiko Harada
Calling for Ba Ba (Mrs. Ba), Nhan Nguyen
Cloud Shape Classifier, Douglas Bagnall
Ethermapping, Zita Joyce
Fingering, Tiffany Sum and Jonathan Minard
Ho Fatso, Rania Ho
Interrogating the Invisible, Ian Clothier
Light From Tomorrow, Thomson & Craighead
Mirror Window Pool, Jenna Didier and Oliver Hess
The Other Free Trade, Andy Bichlbaum and Nathalie Magnan
Other[wize], Jenny Frazer
The Travels of Mariko Horo, Tamiko Thiel
Uncle Tasman: The Trembling Current that Scars the Earth, Natalie Robertson


Animalia, Angela Main, Caroline McCaw
assemblage for collective thought (act), Anna Munster
BIOTEKNICA LABORATORY REMIX, Jennifer Willet and Shawn Bailey
BodyDaemon, Carlos Castellanos
Cell Phone, Michelle Glaser, Victor Gentile, Patrizia Washer, Paul Watt, and Stewart Washer
Concrescence + Game Machine + (^3), Douglas Edric Stanley
DEFENDEX-ESPGX, MarkDavid Hosale and John Thompson
I-5 Passing Lane, Christiane Roberts
Metazoa Ludens, RASTER Pte Ltd (Vladimir Todorovi, Goran Andrejin), IERC NTU
(Adrian Cheok, Roger Tan, Lee Shang Ping, James Teh, Chai Shang Bin Dominic, Md Faisal B Mustapha)
Obsession, Pia Tikka, Rasmus Vuori, and Joonas Juutilainen
Particles of Interest: Tales from the Matter Markets, Diane Ludin and Ricardo Dominguez
Playas: Homeland Mirage, Jack Stenner, Yauger Williams and Andruid Kerne
RPM's Remixed, Josephine Dorado, Vedat Emre Balik, Laura Escude, Elizabeth Haselwood, and Rachel Bishop
Sound Junctions, Benoit Maubrey


Acclair: A Neurocapital service, Luther Thie
Augmented Animals, James Auger
Cellular Noise Maker, Shona Kitchen
Corporate Sabotage, Kok-Chian Leong
Desire Management, Noam Toran
Feral Robotic Dogs, Natalie Jeremijenko
Mr. Jones Watches, Crispin Jones
PI, Fabian Winkler
Pimp My Heart, Takehito Etani
The Res, Benjamin Gaulon
Sonic Fabric, Alyce Sontoro
Towards machinic male-dicta and synthetic hissy fits, Marc Bohlen
Vortex, Kok-Chian Leong


Breeze, Jill Coffin, John Taylor
Chit Chat Club, Judith Donath
CNNplusplus, Heidi Kumao
EnCOD, Osman Khan
It's Alive, Michelle Glaser
Light Bead Curtain, Ami Wolf
NetObjects, Victor Vina
Networked Rockers, Michael Schneider
Pasts and Presents, Judith Donath
Public Mood: Light Temperature, Will Pappenheimer
Secrets, JD Beltran
Transcriptions, John Mallia
Vanishing Point, Mauricio Arango


DataNature, Ben Hooker, Shona Kitchen
Karaoke Ice, Nancy Nowacek, Katie Salen, Marina Zurkow
On Translation: Social Networks, Muntadas
Speedsonics, Cobi Van Tonder
Sun Residency, Ashok Sukumaran


by Nadia Palliser

As ISEA's archived video materializes on the hard drive, so the public online archive progresses. After making an extensive inventory of all documentation of the ISEA symposia (dating back to 1988) we set priorities in November for the digitalisation process. By providing context on archiving (and credits) the majority of ISEA video material has now been digitalised thanks to the students at the Vidisys-workshop at the department of Media Technology in Utrecht: many thanks to them for their real-time effort! Concerning the proceedings; Sue Gollifer's material arrived in January to reveal all proceedings from 1990 to 2000 in PDF format. This amounted to a good acceleration of digitalisation plans.

In the meantime I have been looking for technical assistance to help with the more structural sides of data processing. This proved to be quite an exploration through Dutch digital media education but finally I have a partner in crime! In the coming three months, a student from the department of Interaction Design, Content and Communication (Amsterdam) will be working for the ISEA Public online archive. While implementing the video material and proceedings into MMBase, we will be developing an appropriate description model. Montevideo Time/Based Arts and V2_ (with whom I have discussed future collaboration on thesaurus building) are to play an advisory role in this. In this way we hope to set off continued discussion in the development of meta-data in archives dealing with electronic arts.

To develop the archive, I approached Eric Kluitenberg at the Balie in January. The Balie works with a customized version of MMBase (opensource content management system) called 'CultureBase': this has been implemented in their own website and in other organizations such as the Melkweg. MMBase has also been used extensively by other organizations in the field such as V2_. The Balie is keen to archive their Next5Minutes festivals that took place between 1993 and 2003 in Amsterdam. In exchange for technical assistance, ISEA will develop a description model that will structure the archive 'module' made in MMBase. Though both the archives function independently, they will be connected. Thi archive module zould also be used by other organosations who wish to archive their events, lectures and exhibitions. At present, a joint archiving effort will enable ISEA to exchange and work together with other organizations. By fostering connections of expertise and collaboration in archiving, the issue of interoperability may also be addressed. So, as the digitalized material comes together, we have begun to establish a framework to work productively in the coming year!

Introduction to "Made in Istanbul"

by Genco Gulan

+ + + +

"Ideas appear and disappear like flickers on the screen. We talk across each other and reference back while the thread already moves forward from one issue to the next in seconds. Swarms online spark off ideas. The nicest thing about it is the quick WWW references. It's almost like a dance to the beats of the Skype Inbox. The windows moves further down and further. A long string appears of loosely joint pieces in Ankara, New York, Minneapolis". - Trebor Scholz in New York at the Net-Art versus Web-Art E-Panel.

For this ISEA newsletter "Made in Istanbul" we decided to show what we are doing instead of talking about it. Hence we created collaborative online events to generate information rather than simply collecting texts. We developed an online symposium in collaboration with Web Biennial and made six online and one online- on site panel. Most of the text and video you will find in this newsletter are new, mostly created online, using different software as multicultural, multi author panels. In an attempt to diverge from conventional text, we have tried to insert a different approach of location, identity and information creation. Again we tried to manifest that by utilizing new technologies, to see if it is possible to shift basic "center" and "periphery" paradigms and barriers of linear perception.

Some of the panelists and contributors to our newsletter are: Trebor Scholz, Steve Dietz, Andrej Tisma, Dimitris Fotiu, Jeremy Owen Turner, Markus Graf, Andrej Tisma, Osman Hamdi, Carlo Sansolo, Mehmet Sinan, Nina Czegledy, Robert Dansby, Ryanne de Boer, Yiannis Colakides, Tim Hailey , Calos Katastrofsky, Teoman Madra, Derya Yücel, Emre Baykal, Mustafa Kaplan, Turan Aksoy, Fatima Lasay , Kaoru Motomiya, Atteqa Malik, Kathryn Smith, Derya Yucel, Basak Senova, Ali Miharbi, Monica Narula, Aditya Dev Sood, BoTweener, Zepplinman, Mscdex, Patrick Lichty, Spaxinoid, MegaMan and Hau Hanru. Many thanks for your participation!

To read about how our approach developed, please read the Panel 0: Editors Introduction online. The panelist of this meeting are: Genco Gulan (Newsletter editor ), Gokhan Mura (Assisting Editor), Nadia Palliser (ISEA Editor) and Mercedes Gonzalez de Garay (Istanbul Museum Researcher). See The texts below are edited texts with links to full online versions. Due to the nature of software, all are non-traditional, non-linear texts hence some answers might not directly relate to the previous question or comment. Again due to the nature of communication some panelists used nicknames in some of the panels. But we believe that virtual contributions were helpful in promoting a diversity of ideas. We have tried to promote diversity in all forms! Last but not the least, this Newsletter and WB e-symposium could not be realized without the support of many colleges: especially Nina Czegledy whom I would like to thank. I hope that we can meet again in the future at a "physical" ISEA meeting "Made in Istanbul" in 2010.

Panel 1: "Net-Art versus Web Art". Click here to see previous messages.

Panelists: Trebor Scholz (New York), Steve Dietz (Minnesota), Genco Gulan - moderator- (Ankara), Andrej Tisma (Novi Sad), Dimitris Fotiu (Athens), Alberto Guedea and Jeremy Owen Turner (Vancouver) and Mercedes Gonzalez de Garay (Istanbul). Date: 9. December 2005 chat on Skype.

Threads: definitions of net art and web art, generational gaps in the experience of IM technology, old vs new media, face to face added value and virtual relations

Genco Gulan says: Hello all! At the moment I am in the last session of a Symposium with the title: "Islamische Ästhetik in der Modernen Kunst" at Goethe-Institute Ankara.
Trebor Scholz says: Great. I have roughly an hour here in cold New York.
Steve Dietz says: Same here in Minneapolis.
Andrej Tisma says: Hi I am glad we are all together now.
Mercedes de Garay says: Hello everybody! It´s Mercedes,I work with Genco at the Istanbul Contemporary Art Museum.
Dimitris Fotiu says: Web Biennial' Greece presentation went fine!
Genco Gulan says: Hello all, welcome to the First Online Symposium of the Web Biennial 2005.
Dimitris Fotiu says: they really liked it.
Andrej Tisma says: So Genco, we are ready, we can start with the subject discussion.
Genco Gulan says: OK. The first question for you all; How do you compare Web art with Net-art. For me those are two different things, what do you think?
Dimitris Fotiu says: ... i really have no idea about the difference. Why are they different?
Jeremy Owen Turner says: well, it is a difference of implied networks, web also implied networks but through cyberspace…
Mercedes de Garay says: I think net art only have it´s real meaning on the net.
Jeremy Owen Turner says: I do see a difference in online art between web and net art in which the first is merely documentation and archives and that which the second is a form of streamed performance. Net art can also mean mobile phones and stuff like that - anything that is networked, web art though is limited to the W.W.W in cyberspace
Genco Gulan says: it is possible to properly document web art but not net-art.
Steve Dietz says: I agree with the idea that Web art is a specific subset - http based - of a larger category net art, which includes ftp, sms, etc. Does it include bonfires?
Andrej Tisma says: In short, net-art would mean all networks of artists, working in the network, networking, that includes mail-art, radio, video network, SMS, meetings, collaborations by different means, Internet too of course. Web-art is more specifically linked to WWW, the web, that means the Internet. That is why I prefer term "web-art" for this we are doing on the Internet.
Trebor Scholz says: The web runs like a passenger on the bus of the Internet. Sure, it's different. Steve Dietz says: Andrej, wouldn't that be Internet art? W.W.W. is only one set of protocols running on the Internet.
Dimitris Fotiu says: ... but when people are talking about net-art they are usually thinking of the web, isn't this correct?
Jeremy Owen Turner says: this is the current trend but I think it is very misinformed. Net art itself comes out of satellite and (streaming) video art from the 70s among other platforms…
Jeremy Owen Turner says: the earliest email art comes out of Artex which also utilized faxes
Steve Dietz says: I'm not just thinking about the Web. ;)
Genco Gulan says: For me net-art and Internet art is similar but also quite different. For example at the moment we are using Skype and not a regular browser, so...
Andrej Tisma says: O. K. Internet art, but for people W.W.W is usually a synonym for the Internet.
Trebor Scholz says: Web and net art have distinctly different meanings. Stuff you find on the W.W.W. is http driven. On the Internet you also have telnet, ftp…
Jeremy Owen Turner says: yes, for me, this is closer to being streamed performance although it will also serve as a kind of archived documentation... so this session fulfills two subsets of web art (and being part of the larger net art situation)
Genco Gulan says: I think these chat machines - that we are using now will support more and more audio and visual features- will soon be transforming all of our metaphors...
Jeremy Owen Turner says: do you mean chatter bots? ai programs?
Dimitris Fotiu says: when i am referring to a piece or an artwork that takes place over the Internet i usually call it : Internet art
Andrej Tisma says: Then Internet is wider term than web, isn't it?
Genco Gulan says: We have been discussing these issues on "physical" panels all the time, how does it feel online now?
Dimitris Fotiu says: ... i think Internet includes all forms
Steve Dietz says: I agree that, A useful question is: Why distinguish between them?
Genco Gulan says: And Mercedes, you are the new generation and you are on Skype, MSN all day long. Why do you prefer these instead of TV for example?
Trebor Scholz says: For me, the terms are less important. I am curious how consequential these practices are socially. is again a different thing.
Mercedes de Garay says: mmm because in this I can choose what I want to see, more or less.
Genco Gulan says: Yes Trebor, we should discuss the content a bit more not only the techical part. Dimitris what did people tell you in Athens about the content of the WB05?
Andrej Tisma says: The first question was about differences between net and web, of course Internet is wider term, it is TV too, phone, radio...
Dimitris Fotiu says: ... most of them where a bit surprised. In some cases I had to show how to view the works.
Genco Gulan says: Steve how is ISEA 2006 going on? Shall we do some networked gigs all together next year?
Steve Dietz says: I think distributed participation is an interesting goal.
Genco Gulan says: I think we should also work on this for other conferences.
Jeremy Owen Turner says: yes, Refresh! was very refreshing...
Genco Gulan says: Or was the Refresh! became a conference of conservatism?
Dimitris Fotiu says: One question: what about the "money" ? Can artists be able to earn from an Internet art piece. I point this because Internet art is still not sold…
Jeremy Owen Turner says: in Athens , we could not determine what the audience thought of our performance and therefore could not feed off the audience's energy…
Alberto Guedea says: The main difference was the lack of interaction with the receivers of our performance
Jeremy Owen Turner says: Refresh was both - it should be both as it is a history conference
Steve Dietz says: The remote conference was very interesting model, I think: Jeremy Owen Turner says: if it is truly punk, it should not be about the money ;)
Genco Gulan says: But we all know that many people earn quite good money on the Internet!
Steve Dietz says: I always say there should be a rich ecosystem that allows for open source / open communities / free as in speech stuff along with the possibility of collecting, payments, etc. and that the key is one should not be privileged over the other but appropriate to artist goals and context.
Dimitris Fotiu says: Internet art includes many forms of art: 1. form art 2. sound art 3. animation. 4. activism 5. game art 6. interactive art 7. punk art
Trebor Scholz says: I'm stunned when filmmakers tell me how they live for the group of 50 people in the audience. They see the net as socially isolating. They think probably of that isolated obese teenager in some basement clicking away in a chat room. But I have never experienced much group-feel in a cinema. In fact the situation is quite similar to the net where one sits in the dark facing a flickering screen
. Jeremy Owen Turner says: ...performing online is much more contemplative (self- contemplative, that is as the audience is not very visible)
Genco Gulan says: Actually I enjoy this kind of non linear texts!
Dimitris Fotiu says: Genco, I think it was a great idea to organize this. And I hope we will participate into more future projects in the future
Trebor Scholz says: Prog: Access to the Internet is definitely an issue in Brazil . Poverty is glooming. But I say that a bit with caution as other countries that we may consider developing countries are well wired. One of my activist Chinese students decided to start a women blogging community in a mountain village in Southern China . They have DSL there but probably never saw a video camera in their life.
Mercedes de Garay says: I think Internet is just another tool. I don't think it is a generational difference. Its more about personality…
Jeremy Owen Turner says: when we say there is a generation gap, which generations are referring to?
Steve Dietz says: As the net becomes a pencil - a tool in Baldessari's terms - then is the question of "web art" as a medium important or are the generalized characteristics of networking more important?
Genco Gulan says: I am 37! But even I sometimes feel I am going too old school, for example I developed a java chat machine for this e-conference but Trebor immediately proposed to use Skype!
Trebor Scholz says: Steve- Shklovsky's idea of Art as Device can be brought in here too…
Andrej Tisma says: Outdoors went very well, it was in frame of one big manifestation so it had hundreds of visitors. …
Trebor Scholz says: I'm not a particular fan of any kind of IM but it's not too fast.
Genco Gulan says: But the devices are Web Art be history soon - and we will start talking about IM art?
Jeremy Owen Turner says: I should point out that the earliest living "net artists" were born in the early about that for a generation gap? ;)
Jeremy Owen Turner says: VoIP platforms like Skype are part of the whole net art experience, in my opinion
Dimitris Fotiu says: ...but as i thought net. art is the abbreviation of Inter "net" art
Genco Gulan says: I see generation gaps even in myself!!!!
Jeremy Owen Turner says: I agree with you there, Genco...this is probably because culture itself is following the 18 month cycle of obsolescence found in Technological upgrades
Jeremy Owen Turner says: Moore 's Law applied to Cultural Transformation
Dimitris Fotiu says: re doing great i suppose. i only know about the culture
Genco Gulan says: Is it the culture or the technology that is transforming!
Andrej Tisma says: For one decade, in 80s, a huge group of artists that have use different communication media, even meeting, called themselves "net workers" - that means net artists. Now I want to make distinction, but I agree the essence is the same - COMMUNICATIO in the net and in the web.
Jeremy Owen Turner says: I would say that both culture and technology are converging and becoming obsolescent at the same rate outlined in Moore 's Law (Gordon Moore - founder of Intel)
Dimitris Fotiu says: ..its a chemistry i suppose
Steve Dietz says: What do you mean by obsolescence? To me, the least interesting part of "new media" is "new." At ISEA we're doing projects that are paper cup telephone networks and carrier pigeons. Newness is not as important as the experience or the intent, so obsolescence not sure what that means in terms of culture?
Genco Gulan says: Communication is very important but is it getting better with high tech or just getting mixed up as it is here?
Jeremy Owen Turner says: I am speaking in terms of mass-culture
Jeremy Owen Turner says: in the arts, the old can be new again as a retro statement but more and more things seem retro earlier and earlier, nostalgia was 18 months ago and I think the acceleration of "newness" is a good thing as it defines the qualities of "New" Media
Dimitris Fotiu says: I believe there are many things growing in istanbul . i think this is only a good start for a future art process.
Jeremy Owen Turner says: otherwise the word "New" in "New Media" becomes a pretense
Alberto Guedea says: it is never the same, each country and group of people has a very different way to approach networked art
Jeremy Owen Turner says: I liked the Newsweek article about Istanbul
Genco Gulan says: if we invited you to Istanbul to a conference, Refresh 3038 for example or ISEA 2009 do you think we could communicate better in a physical location?
Genco Gulan says: At the moment I am sitting in a large conference room alone, well not really we are all together right?
Steve Dietz says: I'm not trying to be dogmatic. I think it depends on what you are trying to communicate, but as a group with a long term agenda, I do think face to face helps the network communications.
Steve Dietz says: I've worked with lots of artists I've never met in person.
Alberto Guedea says: In Athens it was very refreshing to see the great interest that people showed, and the willingness to interact with the net art pieces and explore them. Here in Vancouver people can be more distant.
Steve Dietz says: But also different after we meet, often.
Jeremy Owen Turner says: face2face helps in the short term
Trebor Scholz says: Face-to-face speeds up online collaboration
Steve Dietz says: But I don't think face to face has much to do with "viewing" net art.
Jeremy Owen Turner says: face2face also builds trust (usually)
Steve Dietz says: That's not what I'm saying.
Genco Gulan says: Of course face to face works but it is expensive. Think if we tried to come together, calculate the cost, than the plane fuel and its effects to global warming...
Trebor Scholz says: In fact i believe that for an online project to be sustainable there need to be "real life" relationships or even friendship.
Andrej Tisma says: Personal contact is most effective, we have many senses, not only eyes and ears.
Jeremy Owen Turner says: sometimes meeting people in person ruins the magic of the experience just think of online personals
Genco Gulan says: Real life is very, very important, I agree with you Trebor... but what is real anyway?
Mercedes de Garay says: the move of the body, the expression, you can not show it with skype!
Steve Dietz says: It's definitely true that some relationships are better virtual!
Mercedes de Garay says: sometimes i feel really impotent with this type of communication
Dimitris Fotiu says: my opinion this is the magic: we all meet here, then we go to a show. Nam June Paik was the first who imagined the global entertainment, then he produced his "Global Groove "piece
Trebor Scholz says: Online everybody can be a dog as they say. The identity game is interesting online. Also this link may be useful for people here
Genco Gulan says: I have more virtual friends than real ones! For example Andrej is a Virtual friend for almost ten years?
Alberto Guedea says: personal contact can be more effective in an immediate way. but an Internet/ web real-time work can be as effective. it depends on the concept behind and the execution of it
Jeremy Owen Turner says: yes, in avatar worlds such as Active Worlds, for example, people spend many hours online being exactly that...dogs! ;)
Andrej Tisma says: But we met through Evgenija Demnievska, a magician of communication.
Mercedes de Garay says: for many people is the only way to comunicate with others, its because that, they can be exactly what they want
Jeremy Owen Turner says: that is what I like about avatar worlds, in particular, you can choose your own identity from scratch
Dimitris Fotiu says: I still have a question: the versus web art point
Andrej Tisma says: The "Chaos in Action" was a huge and powerful communication project, with texts, images, video, performances, live camera...
Genco Gulan says: But now we have more real time interaction?
Dimitris Fotiu says: by performing in front of the web cam
Trebor Scholz says: This medium of IM is interesting. Ideas appear and disappear like flickers on the screen. We talk across each other and reference back while the thread already move forward from one issue to the next in seconds. Swarms online spark off ideas. The nicest thing about it is the quick WWW references. It's almost like a dance to the beats of the Skype Inbox. The windows moves further down and further. A long string appears of loosely joint pieces in Ankara, New York, Minneapolis.
Steve Dietz says: nice.
Jeremy Owen Turner says: yes, agreed...the fast scrolling can get overwhelming in some of those text-based MUDs though...I do not know how those people keep up - they need graphics to slow them down ;)
Alberto Guedea says: exactly, IM has a very particular way of communicating ideas
Dimitris Fotiu says: ....the only performances that take place at this time is the xxx porn ones. Apart from anna-cam. I think there is a huge space for performance artists to explore.
Jeremy Owen Turner says: also, we are discussing academic topics, not just chopping each other in half ;)
Steve Dietz says: Agree. And I think it's a good idea for web biennial to host regular topics/ conversations.
Trebor Scholz says: Friends, I need to head off into the woods. I think the original intention of this was a publication, right. Maybe we can kick a little text back and forth? Or do you think that IM will generate a text that works? What do you think?
Jeremy Owen Turner says: yes, "performing" emoticons is a very strange concept and this is only the beginning of a whole scene and tradition of emoticon DJs ;)
Genco Gulan says: But Skype has also its own kitsch right?
Jeremy Owen Turner says: it sure does (have kitsch)...Jeff Koons would be at home on Skype and even more so on Yahoo Messenger ;)
Andrej Tisma says: I think the discussion text may rest as it is, with some proof reading.
Trebor Scholz says: But seriously, I need to go. Yes, there ARE woods in Brooklyn .
Jeremy Owen Turner says: yes, Art is Life and Life is Kistch ;-0

For full text:

Panel 2: "New media or Media Art". (Mehmet Sinan has come in chat).

Panelists: Jeremy Turner (Vancouver), Genco Gulan - moderator (Istanbul), Markus Graf (Istanbul - Asian side), Andrej Tisma (Novi Sad), Osman Hamdi (Istanbul), Carlo Sansolo (Rio de Janeiro), Mehmet Sinan (Istanbul), Gokhan Mura (Malmö) Friday 16th December GMT 18:00 and GMT 19:00

Threads: the new in media and art, from Skype to nano text, the ancient becoming new, the post "new" as the human brain

Genco Gulan: Hello every body, welcome to the second Panel. Some of our panelists wrote me saying that they are all in transit!
Jeremy Turner: yes, most media artists, curators and critics are jetsetters ;-)
Andrej Tisma: It seems that NEW MEDIA can not help or facilitate our communication?
Mehmet Sinan: Why are people afraid to use the term "new" with media?
Andrej Tisma : I think today we could say DIGITAL media are new media.
Jeremy Turner: or simply that digital media is digital and nothing new anymore
Jeremy Turner: Recent Media is better than New Media
Genco Gulan: At the Refresh conference some colleges argued to remove "new" completely in front of media!
Marcus Graf: Remember, there was a time even without oil paint and then the Renaissance brought it up a the new media, which perfectly could mirror reality
Jeremy Turner: I am a bit confused as to what the specific topic is today... it sounds a bit vague so far.
Marcus Graf: Interesting is also to discuss the concept of "new" in art and culture. What can be new that big company has not already constructed
Mehmet Sinan: we have been working with bio tech and no one understands! SO what is the use of new if it is not been perceived!
Jeremy Turner: well there is "New Art" and "New Media" those are different concepts.
Teoman Madra: both for net-art and the web art new music is a best base material
Jeremy Turner: there are biotech artists already but what they do right now is rudimentary
Genco Gulan: Teoman Madra why is your lab called "new media kitchen" and not "media art kitchen"?
Jeremy Turner: we have to historicize in real-time. that is a recent phenomenon.
Teoman Madra: new music turns into digital format more and more
Mehmet Sinan: please consider virtual time as well...
Gokhan Mura: but should it be totally digital...? it seems that we are concerned with materials again and expressions produced by tangible forms which can be programmed digitally...
Jeremy Turner: I think Quantum tech will make more sense of "time" in the virtual sense because "digital" time is still stuck in the linear progression of events.
Mehmet Sinan: as I always say; if it is not new than it is just a medium!
Andrej Tisma: I wanted to say nowadays artist can be a TV station, radio station which gives him an opportunity for activism like never before.
Jeremy Turner: I agree with Mehmet.
Teoman Madra: i managed pretty good to download java what is next
Jeremy Turner: yes, ANCIENT is NEW again ;-)
Jeremy Turner: Steve will like that idea of the ANCIENT being NEW ;-)
Gokhan Mura: I suppose it will become new ;)
Osman Hamdi: I am not much into computing but painting!
Jeremy Turner: my PC should be fixed by next week. then i would be ready for Avatar
Jeremy Turner: what is your opinion of "New" media, Osman?
Osman Hamdi: for me photography is still new…
Gokhan Mura: so you have been painting over a century then osman ;)
Teoman Madra: photography was and is new media for me
Gokhan Mura: but new media art could be done through photography.. so which one is the new part here? the software only?
Jeremy Turner: even video has developed its own classical lexicon.
Teoman Madra: photographers don't experiment very densely
Genco Gulan: actually photography is quite hip in EU these days. Photography does sell!
Jeremy Turner:
yes, I agree with Genco. The most famous Vancouver-based artists are photographers
Gokhan Mura: but do web art suppose to target wide audience or, intellectual audience all over the world, which may make it independent from consumer culture....
Andrej Tisma: I think the Internet, the WWW is a hugest audience possible today.
Marcus Graf: Do we really reach a wide audience tonight. is it really so democratic? Hellllllllooooooooo
Jeremy Turner: I agree with Marcus Graf
Genco Gulan: people don't use WWW Andrej Tisma they use SKYPE we are old fashioned again!
Jeremy Turner: most transmissions are still pretty grassroots in terms of outreach
Marcus Graf: who reads it, who listens.
isn't it maybe only mind garbage?
over plenty, weight?
Mehmet Sinan: again the publications are quite limited as well
Andrej Tisma: I write mostly about Internet art.
Jeremy Turner: I wrote an abstract about Nanotech's potential affect on the arts that never got completed....
Marcus Graf: what is our point?
Jeremy Turner: I have been on both moderated and un-moderated net panels.
Teoman Madra: which are better?
Genco Gulan: I think live electronic art is closer to performance art than anything else... - why?
Jeremy Turner: well, the promise of Drexlerian Nanotech is that any idea could be created in the material world...even if the materials themselves never existed before.
Genco Gulan: ...than it sounds fresh and "new"...
Andrej Tisma: Beuys stuff sounds funny in the context of digital era
Marcus Graf: really, why?
carlo sansolo: some about new media: it is the stuff that can actually try in matter today, in a global manner.
Jeremy Turner: so what does this mean for New Media Performance that has a useful degree of criticality?
carlo sansolo: quite simplistic but does it make sense to you?
Jeremy Turner: if the body becomes Post Human and can merge into any other material and/or technological media, then even the body becomes "New"
Gokhan Mura: since it is happening " at the moment" it can be considered as a kind of new media, philosophically if we say that the body is renewing itself every second
carlo sansolo: the problematic thing there is the word "new", I think that´s quite problematic.
Genco Gulan: Actually I do make performances without the body, and once I gave a lecture in Koln University about virtual bodies with A.I.
Marcus Graf: When the screen between spectator and virtual space vanishes, a new medium, a mixture of bodies will occur
Jeremy Turner: yes, my current work revolves around online performance but I see the online component as transitional until bio, nano and quantum tech become more available
Teoman Madra: should net art have links with contemporary art
Marcus Graf: it is part of contemporary art
carlo sansolo: I think we should, perhaps concentrate in what is useful for making possible what one wants to do!
Jeremy Turner: yes, Carlo, I agree...that should be the fundamental concern with regards to using one medium over another.
Jeremy Turner: brb...refilling my coffee mug...
Marcus Graf: There is a war between media, as i see it...
Andrej Tisma: the post "new" and complex media is the human brain, and all media that approaching that are new.
Jeremy Turner: yes, that is one of my favorite things about net art right communication and collaboration
Mehmet Sinan: hey maybe you are also virtual Jeremy! How do we know that you are not Steve Dietz?
Marcus Graf: Jeremy said "sadly, even painting can be seen as contemporary art". That means he would like to call it non-contemporary in order to prefer another medium. New Media kills old media like the young art kills the older generation
Jeremy Turner: I agree with Andrej Tisma. We need more research into the workings of the pineal gland to explore the mechanics of visionary experience.
Andrej Tisma: Yes, Jeremy sound clever like Steve Jeremy Turner: Hey Mehmet...that is a good point. maybe I am Steve's undercover automated agent
Carlo Sansolo: at this very moment, I am applying for a new project, I mean applying for $$$$
Jeremy Turner: nope, as usual we came to absolutely no conclusion
carlo sansolo: other problem with "new" media - no women on the chat!
Genco Gulan: who needs editing, lets keep it like this
Jeremy Turner: to be true to the medium.

For full text:

Panel 3: "To Archive or Not to Archive ". (Connection interrupted. Connection restored.)

Panelists: Nina Czegledy (Toronto), Marcus Graf (Istanbul - Kadikoy), Robert Dansby (California), Ryanne de Boer (Groningen), Yiannis Colakides (Cyprus), Tim Hailey (New York), Calos Katastrofsky (Vienna), Teoman Madra (Istanbul), Genco Gulan (Istanbul), Andrej Tisma (Novi Sad), Mehmet Sinan, Umit Ozat (Fenerbahce), Real Mehmet Sinan (Japan).Thursday, January 19th, between 11:00 - 12:00 Eastern time (GMT -5).

Threads: documentation, archiving, cataloguing, data collections a nd databases, access & cross referencing, custom navigation, open archives & anti-archiving, curating information, distribution and the problem of qualitative decisions in archives!

Genco Gulan: Hello California and Cyprus from a cold rainy Istanbul night, I am home and hope to serve you some warm (virtual) Turkish tea!
Tim Hailey: I'm archiving coffee and a cigarette right now....not that I'm using archival methods...
Marcus Graf: So Genco, it is 18:00 now, shall we begin :)
Genco Gulan: OK. Let's start with our topic: "To archive or Not to Archive". The first question is, Markus would you keep the first sentences of the panel - the discussion- while editing or just cut it of?
Marcus Graf: No, you cannot cut it off because it is part of the interactive and strange structure of this e-panel. It is heterogeneous and non-linear. That is its biggest advantage and the risk at the same time.
Genco Gulan: But these panels create a text of 12 A4 pages, so Tim how can we edit these texts to couple of pages for the ISEA Newsletter format?
Tim Hailey: Pages? Are you printing them? Is that necessary?
Yiannis Colakides : I guess that the idea is that the whole text is saved and then edited as necessary...
Marcus Graf : An important question is: is it worth archiving? Do we not have too much information (garbage) already. is archiving really a good or evil thing. Today, is it not necessary to erase instead of archiving?
Teoman Madra: archiving live materials or the dead ones as they call it
Genco Gulan: I think we get used to the idea of "there are No rules in art" and instead of discussing the criteria's for good art we are talking about the methods of preserving.
Robert Dansby: it seems to me that indeed the site is the archive
Tim Hailey: University dumpster and city sidewalks are filled with art being archived with my tea glass collages!
Teoman Madra: there are already two panels archived
Genco Gulan: As for WB we do not archive online art, we archive these panels online for future reference.
Yiannis Colakides: I guess the main question here would be "what is an archive? and what is its purpose?
Tim Hailey: The corporate world archives to cover their ass
Marcus Graf: The biggest archive is the Brain.
Ryanne de Boer: It is all about information technology. Already there are machines filtering information from the web and storing it... as we are talking about digital art
Genco Gulan: the art historians talk about end of art maybe we should consider about "end of art history"
Teoman Madra: archiving has become business also
Marcus Graf: QUESTION: What if all archives in the world would vanish. Would that not be a new beginning. A start from zero. total freedom?
Tim Hailey: In the market, art must be archived in a way that supports the illusion(perhaps) that it is important
Genco Gulan: Archivists - they do not understand what we are doing and just talk about the technical preserving conditions.
Teoman Madra: there can also be nice mistakes while archiving
Teoman Madra: web sites are like archives … at least mine
Ryanne de Boer: archives always have a structure, a set of rules or characteristics by which it works
Robert Dansby: one of the main reasons i started art serve at Cal arts was for material not interested in that context - more people see the works on the site than ever would in a white box surrounding
Ryanne de Boer: the esthetics of the supermarket shelves ;)
Tim Hailey: ...and eat what's on them. I'm a user, not an archivist
Robert Dansby: bingo! Tim!
Ryanne de Boer: we are slowly turning in to non-materialist so maybe only the producer of an artwork will be the conservator
Tim Hailey: I'm archiving Katrina refugees now.
Marcus Graf: living means archiving. You see, you remember, you take, you keep
Yiannis Colakides: Tim i would like to know more about how you archive the refugees
Ryanne de Boer: estheticised daily life ;)
Calos Katastrofsky: sorry, wrong planet.
Genco Gulan: Yiannis, I just wanted to remind that as far as I know, there is a city in Cyprus, that is kept empty as is, by UN forces for many years.
Tim Hailey: Archiving preserves, cataloging organizes
Andrej Tisma: Digital data, art or texts, are very easy for archiving so I think we should archive as much as possible.
Marcus Graf: Or can we say that "cataloging" is the method and "archiving" is the approach
Ryanne de Boer: than the next question is how.. in many different ways as Andrej says?
Tim Hailey: Hitler (and art critics) categorize as an attempt to catalog
Andrej Tisma: For example I lost my data on several servers in America , once it was at September 11 2001, and with that experience I keep my data on CDs, HDD, everywhere.
Teoman Madra: archiving need not develop daNGEROUS(ly)
Ryanne de Boer: ok so as we are talking about art on Internet/web-art/net-art it should be stored on different media but who will archive???
Tim Hailey: Those who have a self-interest in archiving: the artist, the dealer, the CIA...
Yiannis Colakides: Would data collection constitute an archive?
Genco Gulan: or does an institution legitimize itself with a collection or database?
Yiannis Colakides: or is an archive something more important than a collection of data?
Andrej Tisma: It is one more interesting thing in my case of archiving - I keep several thousands emails in my folder which were set to me during the 1999 year bombing of Novi Sad . It took about 3 months
Robert Dansby: data collection/ data bases are a part of my work , but a component, but a very important one in terms of organization, ease of access and cross reference
Andrej Tisma: and I didn't get to open all those emails. I had to approach Internet every 3 or 4 days, so I opened and replied only to the urgent messages
Genco Gulan: In the Istanbul Museum we have data, paintings and people and information...I think "custom navigation" is a better answer to say what we have.
Andrej Tisma: So I keep the "archive" unopened for last 6 years, and who knows what is in there. People's worry about my life, health, some insults I suppose, but also some viruses, warms (my scanner warns me)
Ryanne de Boer: by buying a piece of net-art is that like buying the rights to preserve it?
Genco Gulan: For example this panel is about communicating real time on four continents, not only about documenting!
Yiannis Colakides: Ryanne de Boer whenever one buys a piece of art they assume the responsibility rather than the right to preserve it.
Genco Gulan: Markus, how do you keep the archives of your galleries?
Marcus Graf: Genco, mainly by taking pictures and texts. Though the exhibition on photo looks different, is different. Therefore, maybe we can say that the archive (sometimes) changes the archived thing
Robert Dansby: i've often been asked over the years if i was a photographer simply because of photographed works... as an archive
Marcus Graf: Archiving to prevent from getting destroyed. But for whom? There are archives, that nearly nobody can enter.
Genco Gulan: Turkish painter Esat Tekand ones did paintings of famous performances in art history. Than are they become painting or just records?
Teoman Madra : archiving with creativity may be as a performance like chatting
Marcus Graf: By the way, every painting is a record, therefore an archive of its own
Andrej Tisma: It is good that big museums world-wide have archives for net-art/web-art, but the problem is who is archiving, what is their criteria
Robert Dansby: i think archiving and curating are perhaps more aligned than we want?
Yiannis Colakides : Sean Cubitt in an article of his which we will be publishing in our site says: The Walker Gallery archive of net-art is emphatic - what it shows is no longer 'art' but a history of art.
Ryanne de Boer : the goal of archiving determines the content
Genco Gulan : We are networked at the moment for sure and we will archive this as well. Now how can this become art?
Tim Hailey : When I write about racing, it documents the race, but only what I think is important enough to make a readable article in a particular space.
Andrej Tisma : Archiving curators in museums have their own taste, criteria, group of interest, so those archives are fragmentary, not objective, are very subjective. Not giving a real image of situation.
Marcus Graf : Take it out of its context (translocate it)
Teoman Madra : archiving the mistakes ca n be security
Andrej Tisma : The advance of digital media is that it is easy and cheap to archive, much easier than classical art.
Marcus Graf has left the chat
Tim Hailey : Mehmet and Genco in the same chat room..?
Nina Czegledy : I am well in Toronto and eager to begin discussing archiving
Genco Gulan : The first question can be are you happy about the archives of ISEA?
Nina Czegledy : for me the first question would be to make a distinction between documentation and archiving
Real Mehmet Sinan has come in chat
Tim Hailey : I feel like persons are being archived and documented on this panel...
Nina Czegledy : I am in favor of open archives and encouraged by world wide activities
Genco Gulan : The question is are you satisfied / convinced with the methods? And are there only technical problems?
Nina Czegledy : Yes, on the surface it provides a false sense of security....
Mehmet Sinan : war n 1: the waging of armed conflict against an enemy;
"thousands of people were killed in the war"
Nina Czegledy : yet they are so aware of current political and military issues
Mehmet Sinan : encouragement n 1: the expression of approval and support
Robert Dansby : in my case it's part and parcel of making work first, but also distribution
Genco Gulan : My question was; do we need to archive/ document what ever we do?
Mehmet Sinan : discussion n 1: an extended communication (often interactive) dealing with some particular topic
Genco Gulan : Cant we really discuss about the other option, deciding not to archive at all!
Nina Czegledy : Yes, this is a big question. In a recent panel discussion David Roke by Canadian new media artists said : "I always wish to document my work but not necessarily archive it"
Genco Gulan : In Web Biennial we do not archive or document any art, only document e-symposium panel texts...
Tim Hailey : But all the artists maintain their own archives
Nina Czegledy : this can be a personal choice, however I find it intriguing that more and more collaborative projects…
Mehmet Sinan : Biennial adj 1: occurring every second year;
Yiannis Colakides : if Derrida was right in equating (in a certain manner) archives to memory, how can we not archive how can we erase our memory?
Mehmet Sinan : Japanese adj : of or relating to or characteristic of Japan or its people or their culture or language; "the Japanese Emperor"
Yiannis Colakides : My browser has just crashed...
Tim Hailey : your browser was offended!
Tim Hailey : should New Orleans be archived?
Nina Czegledy : I am all for trying alternate formats
Robert Dansby : that is a HUGE question but i say yes
Genco Gulan : so how can we really shift the parameters from medium to content, that is my real question, what do you think Yiannis?
Yiannis Colakides : In the Mac Luhan theorem the medium is the message but imposing content to it is another matter all together
Umit Ozat: well, i had looked at the previous panels and saw lots of fictitious users such as Mehmet Sinan, Osman Hamdi, so i'm trying to figure out what is really going on here
Nina Czegledy : Any more input on archiving or documentation of new media?
ümit özat : was steve dietz from the previous panels the real one or was it all theater?
Genco Gulan : I realized in the previous ISEA newsletters, there is a great emphasis on diversity but we can not see this in conferences
Robert Dansby : i mean what i do has no physical properties so how else record it?
Nina Czegledy : Due to changing formats etc., I am not sure if archiving remains constant
Genco Gulan : How can we make documentations interactive and real time like this? Is it possible with chat bots? Yiannis Colakides : I'm not sure that archive, database and safekeeping is the same.
Real Mehmet Sinan : N? au d?but des ann?es 1990 sur la sc?ne techno, le VJing est la pratique du mixage en direct de flux d'images, faisant ainsi le pendant au DJing,
Genco Gulan : Nina, before you came I was talking about "custom navigation" as we also discussed with John Ippolito.
Nina Czegledy : intend to incorporate methods whereby people can upload information which will keep the open archive fresh
Yiannis Colakides : and what separates an archive from a collection of arbitrary (or not) things?
Nina Czegledy : Genco, custom navigation is indeed a very interesting concept
Genco Gulan : open, fresh, new are some key works but how are we going to choose or understand which is real and which is not!
Robert Dansby : yes the point of digital tech is that we can access it
Nina Czegledy : It is difficult to imagine today, what will be relevant tomorrow, don't you think?
Genco Gulan : Mehmet by the way, some French characters does not show up here!
Yiannis Colakides : yes Nina but does this mean that we save everything? No qualitative measure?
Tim Hailey : Qualitative decisions happen when server space gets low

Full text:

Panel 4: "New Art What is Happening in Turkey?" (Baglanti Duzeldi, Baglanti Kesildi).

Panelists: Derya Yücel, Emre Baykal, Marcus Graf, Mustafa Kaplan ve Turan Aksoy, Genco Gülan (Istanbul), Gokhan Mura (Malmö), Teoman Madra (Istanbul), Osman Hamdi, Mehmet Sinan, Galata 4, Utku, Deniz Aygün, Hakan Yilmaz, Yesim Ozsoy Gülan, Ömer Kizilirmak.

Threads: Turkish art & culture scene, lack of government support, commercial support, the need for 'offspaces' for new art - 'new media, new art, old problems'

Genco Gülan: Dear friends welcome to the panel of our e-symposium.
Gökhan Mura : Genco could you make an introduction or should we wait a bit longer?
Genco Gülan: Let's start immediately. Our title is "New Art" what do you think about it?
Emre Baykal: Is the title "New Art" or "What is happening in Turkey?"
Genco Gülan: Actually both of them...
Teoman Madra : Hello, this is a "new" technology to follow these panels from home...
Gökhan Mura : I think we should ask how new art is reshaping as the artists in Turkey are now able to use the same technologies like the "contemporary" artists
Derya Yücel: Every art movement had presented itself as new from the beginning of the 1900s.
Mustafa Kaplan: For example, I am very uncomfortable not to be able to talk now.
Marcus Graf: why did you choose us, what are you expecting from us?
Genco Gülan: You are all dealing with new art and young artists.
Derya Yücel: When we talk about new art, we always relate it with new technology, is it a true approach?
Emre Baykal: Well I wish we also discuss what is not happening in Turkey.
Mustafa Kaplan: I think, the format, I mean not being able to talk made me sick. May be at the end we will have a text on contemporary art and technology, but I become stressed about writing fast on a PC and I am in panic...
Marcus Graf: I know a lot of young artists who do old (fashioned) works.
Emre Baykal: Most of the things are because of not having the necessary infrastructure.
Gökhan Mura : What do you think we need to build the necessary infrastructure? Are galleries not interested enough in new art, or are they conservative, are they different reasons?
Turan Aksoy: Well it must be understood till now that it is not related to new technology. Newness is about producing new thoughts in the object of the art and about building a new language to express this.
Derya Yücel: The expansion of using public spaces as an exhibition space with especially with the biennials opened up new spaces and experiences for us but from the perspective of form, it is hard to say that there is a tendency towards new.
galata 1 : There are no foundations or organizations that support art production.
Genco Gülan: With the opening of private universities and museums, it seems the art and culture sphere is getting richer but statistically talking, only the crime rate is increasing in the country.
Turan Aksoy: Newness in art is a dialectic process. We should look at the reactions; keeping in mind the contemporary art of is formed by reactions at the end of the 60s
Marcus Graf: Emre, you are talking about "foundation" and "organization" in a country, in which governmental support is missing, it seems like the helping hand comes from companies.
Derya Yücel : We are talking about increasing reactions in one hand but on the other hand we are talking about the lack of museums and foundations which have close connections with the governors
Marcus Graf: I think, the Turkish art scene needs more OFF SPACE movements, alternative movements...
Genco Gülan: Art is being more related to corporations, I think this is a serious problem.
Gökhan Mura : What about the evolution of art producers into corporations? I don't have detailed information, but Ars electronica in Austria is doing commercial works in order to be able to continue its art projects. Is it applicable in Turkey , what do you think?
Turan Aksoy: Art became the carrier of sociology, politics and philosophy, instead of being sociological, political and philosophical. This creates negativity in creativity and in the market as well.
Mustafa Kaplan: there hasn't been any satisfactory debate yet on what is the equivalent of contemporary dance in Turkey
Turan Aksoy: We see many caricaturized art works that can not be free from narratives. There is the hegemony of people from sociology and their manipulations over the market today.
Derya Yücel: Besides the institutional art space, spaces arranged by artists' initiatives have increased as well, like "apartment project", "room project" or "galataPerform" in the recent years.
Genco Gülan: OK. Again, what is new for you?
Marcus Graf: Every two months, I do two exhibitions, in which I try to show "new" art. The new things can never be absolute. Always I discover new things like I can discover every day something new in the 2000 year old city called Istanbul.
Turan Aksoy: There are works, with a consideration of being new and some that are presented as new.
Mustafa Kaplan: There are approaches related to French philosophy on image and body, cyberbody, choreography research and dramaturgy.
Marcus Graf: By the way: Today, we say that the AVANT-GARDE is dead. Sooo, how come? If so, we cannot find anything new, right.
Turan Aksoy: It doesn't need to be evolutional based but it is possible to say something new on the existence of human
Marcus Graf: After Minimalism killed the author and Concept, Art destroyed the artwork as an object, and Postmodernism prooved that everything has been done before I ask you: Is it all just intellectual bullshit or do we have to find something new as an evolutional base for living?
Derya Baykal: I think new art can be defined as using the new media that technology presents Emre Baykal: I want to ask Genco, it is obvious that this is not the best format to discuss, is it new art?
Derya Baykal: New media could be used as a form as content
Teoman Madra : Creativity doesn't need to be dependent on technology
Genco Gülan: I think "new" is independent from the medium but new technology can work sometimes. What do you say Turan, you are lecturing on "art and technology"
Turan Aksoy: The technology course is on the relation of material - impact - meaning. I am talking about these three on new works and new technology.
Gökhan Mura : New is independent from the medium but as the grand master said, the medium is the message. I mean new works can be done in new media but I don't know is it possible to be avant-garde only with the newness of the medium but the things wanted to be said could be said with a new language at least.
Deniz Aygün: I believe that talking on "new" or "new art" is still a luxury for us.
Genco Gülan: If we don't see something new, what we see is only the material.
Marcus Graf: Emre, so is it really just an economical problem?
Genco Gülan: Mustafa I want to ask you, how can you produce that much good works, under this circumstances, without support, place, infrastructure, etc…
Mustafa Kaplan: Please Genco, don't exaggerate, it is only about working hard…
Mustafa Kaplan: I am trying to not see art and life not as separate things, the energy is coming from the street
Teoman Madra : Panels are a right way to solve the problem.
Marcus: I think it is more an intellectual problem, a problem of education and the value of art., because I believe that there is enough money in Turkey (Istanbul)
Gökhan Mura : I think the problem is not mainly economic, I believe it is not the money in Istanbul, in the finance metropolis where lots of money can be found and spent on luxury
Teoman Madra : We should insert new art to classical media
Gökhan Mura : the most important is the lack of importance given to art and the limited number of people art can access, maybe because of the first reason.
Marcus Graf: it is always the same: NEW MEDIA, NEW ART OLD PROBLEMS...
Emre Baykal : But new has difficulties to cope both for the producer and for the audience as well.
Derya Yücel : Maybe we should talk on how the art scene is being shaped here but it is really difficult to discuss that kind of topic
Emre Baykal : Do you think "pedestrian exhibitions" was new?
Teoman Madra : The word "art" sometimes loses its meaning.
Derya Yücel : Even the existing circles in art is dividing into smaller groups, a generation more bounded to traditional structure in one side, and artists seeking newer and more original works in the other. …
Yesim Özsoy Gülan: This was a good demonstration for the e-symposium, I think it is more appropriate everybody participates with something he/she does in own place, I mean next time…
Teoman Madra : There is texts being written down on art but it is important to be able to be underline spots after making the art

Full text:

B) Online interviewes of Gokhan Mura with Elif Ayiter and Basak Senova (uncut)

On 2/ 13/ 06, Gokhan Mura wrote: Below are my questions I think that can be asked to people to give a general idea to the readers of the newsletter.

1) As the network based new media art is based on the new communication technologies available virtually for everybody everywhere, what is the similarities and the differences of new media artworks with the artworks produced in other countries?

2) How do the dynamics of Turkish society, the chaotic city life, the problems, limitations of so called difference in main stream cultural approach effect the new media artist?

3) Is living in Turkey and especially in Istanbul as one of global cities of the world which is connected to the network of other global cities is an advantage or a disadvantage for the new media artsit? How does living in Turkey or in Istanbul inspire the artist? What are the sources for inspiration and what are the general driving forces of _expression of the artists in Turkey?

On 2/ 17/ 06, Basak Senova wrote: Regarding the first three questions of Gokhan Mura: In 2004, as NOMAD we developed a long-term project called NOMAD-TV.NETWORK which aimed to observe and establish links in the network that facilitates local digital culture. Digital minded communities, artists, musicians, architects, designers, engineers, cultural producers, magazines, initiatives, organizations, and parallel entities in Turkey contribute to make the network visible for the first time, in the first of a series of iterations in this ever-growing project. While establishing the local network on digital culture, the project links local knowledge, expertise and mode of production with international connections. NOMAD establishes an online database for NOMAD-TV.NETWORK. In collaboration with this network, special posters and objects of the project together with various publications are produced. For the first phase of this project as .01, in association with Siemens Art, we organized the exhibition ³tele-City², along with over 30 workshops, presentations, and performances, and an archive section. Also Babylon hosted the opening party with sound-art performances. For these workshops, presentations, and performances: primarily, the actors of / the producers in the local digital culture were art and design schools; artists and designers; digital video, animation, interactive design companies; software developers; production companies; database developments in specific professions; the music and entertainment business; architecture, music oriented cultural publishing such as magazines and web sites; and music production labels. We discussed and processed issues such as open source (dimensions and perceptions of open-source, authenticity versus anonymity, copy-paste culture, and hypertextuality); a constant act of re-editing and re-defining of art-production in multiple ways (designing perception, digital modes and thinking of production); technological disembodiment and networking.

On 3/ 01/ 06, Elif Ayiter wrote: I think one of the unique manifestations of New Media is that it transcends cities, crowds and cultures, thus fostering collaborations between people of different cultures, milieus and especially professions ... Looking at new media from a local perspective, trying to understand or define it from that point of view alone, for me, is missing the whole point of the new media experience. Where the local, individual experience converges with the global, collective experience is the place that we should be looking at...

4) Do we have a unique "Turkish new media art scene" Or is it proper to talk about a unique new media art?

On 3/01/06 Elif Ayiter wrote: No, I do not think that we have a unique "Turkish new media art scene". I am not a sociologist and this is a pure gut reaction based on my personal observations with students and colleagues, thus I have no way of substantiating this statement, but my gut tells me that the profile of the users as well as makers of New Media products is very akin to their counterparts worldwide.

5) What kind of new media art works collect more attention from the public, press and galleries? What is the profile of the Turkish new media art audience and what are the general tendencies of the audience?

On 3/01/06 Elif Ayiter wrote: The profile, I would imagine, is young, consisting mostly of university students and professionals of relevant fields such as the arts, music, film, design and computer science.

6) What are the current activities held in Turkey and what are the forthcoming new media art activities? What are the general problems, disadvantages of advantages of organizing such events in Turkey?

On 3/01/06 Elif Ayiter wrote: Sadly, due to lack of time and and abundance of professional and personal commitments, I am not someone who follows "the art scene" very closely and thus am not in a position to give you an accurate calendar of upcoming events. However, NOMAD and TECHNE are the two organisations that readily come to mind where these types of activities are concerned and I do know that TECHNE is launching a New Media Festival in May, here in Istanbul. The administrators of these organistions, such as Basak Senova and Ekmel Ertan, may be in a better position to answer the question as far as the general problems, disadvantages or advantages of organizing such events in Turkey are concerned. However, I think organising these events and generating an audience is something of a feat worldwide, given the computer bound introversion of its followers, that I mentioned above giving my own students as an example.

7) Is the "different" cultural heritage and artistic tradition of Turkey direct the new media art in a "different" way than the other countries, in what sense it connects Turkey to some other cultures e.g. Asia, or erase the boundaries and contribute to a more general new media culture?

On 3/01/06 Elif Ayiter wrote: I would have to know more about those Asian cultures you are referring to and sadly I don't.

8) How is the new media art scene in other cities in Turkey other than Istanbul? Is it all about and all in Istanbul? If it is like that what is the relation of the artwork produced in Istanbul with the rest of Turkey?

On 3/01/06 Elif Ayiter wrote: I would imagine that Ankara, with the presence of METU and Bilkent Universities, both of which have related/relevant educational programmes also has its own New Media scene. I met a very interesting young sound designer named Fikret Iktu who teaches at Bilkent and we have a steady trickle of incoming graduate students from both METU and Bilkent with a strong interest in New Media output, which also leads me to assume that there is a New Media scene in Ankara as well.

Panel 5: "Virtual Real versus Real Virtual". Avatar Panel video Panelists: Distro (Jeremy Turner), BoTweener, Zepplinman, Mscdex, Dominic, Teoman (Teoman Madra), Voyd (Patrick Lichty), Dimitris (Dimitris Foutiou), Spaxinoid, MegaMan


Full video:

Panel 6: "How Much Asia?"

Panelists: Genco Gulan (Istanbul), Fatima Lasay (Quezon City), Kaoru Motomiya (Japan), Atteqa Malik (Pakistan), Kathryn Smith (South Africa), "Derya Yucel (Istanbul Asian side), Basak Senova (nomad), Ali Miharbi (Istanbul), Gokhan Mura (Malmo), Monica Narula (New Delhi), Aditya Dev Sood (Bangalore), Nathalie Boseul Shin (S. Korea) and Hou Hanru (Paris).6-10 february 2006

Threads: 'glocalization' effects of the web, localization and boundaries, individual efforts and the exotic, overcoming 'asian-ness' within the discontinuous setting of the web.

Kaoru Motomiya wrote: I have no idea about Turkey or more global things. ;-)
Kathryn Smith wrote: Although I have never been to Asia it seems that the interest in contemporary Asia is very similar to that shown in Africa, especially in South Africa, about ten years ago.
Genco Gulan wrote: My first question to the panel is; The network of the networks has been presented as the World Wide Web (W.W.W.) since it first emerged. But is it so? Now according to your research, experience and daily practices how much does the electronic network combine or divide Asia, Africa or the others?
Atteqa Malik wrote: To be honest the only Asia that I am more connected to more as a result of the World Wide Web is my Asian (Pakistani) friends who have moved away and live in countries in other parts of the world.
Derya Yucel wrote: In my opinion, the network has a uniting effect. however, of course, it is significant to determine who possesses the power. Today, in a world like this, I don't believe that it's right to mention tough boundaries such as Asia, Europe, east, and West when art is our subject.
Fatima Lasay wrote: Recently, a BBC report on a newly declassified document written by the Pentagon in 2003 stated: "As the world turns networked, the Pentagon is calculating the military opportunities that computer networks, wireless technologies and the modern media offer." It's open season, a time for harvesting, not only in the US or North America, but also in Asia, Europe, Africa, etc.
Monica Narula wrote: Neighborhoods are cluttered with public call offices (PCO), Cyber cafes, computer grey markets, computer recycle markets, computer training institutes, digital studios, DTP operators, cable operators, music shops, DVD rentals, magazine shops, electronic shops stacked with mobile phones and cards, etc. These shops work within a tense policed environment of global intellectual property and violations of the 'planned city'.
Ali Miharbi wrote: I think it's hard to distinguish between the World Wide Web's contribution in combining and dividing different geographies. In the late 90's it was easier to view the Web as merely a global network. However after the dot-com bubble burst, the Internet returned to the real: It was no longer the magical cyber-space, but just another medium integrated to our daily lives and to the 'old' economy. It still has the unifying effect, though: Many people around the world can access news and several other information despite their suppressing governments. Accessing information is easier than ever before. On the other hand, real world boundaries can also be reflected onto the network, as in the example of the Great Firewall of China which was designed and supported with the aid of multinational companies. In this respect, we can talk about the 'glocalization' effects of the Web.
Genco Gulan wrote: Responding to Ali Miharbi's question, actually I think this panel is about localis(t)ation as well; You might take it as "How Much (local is) Asia? Now, I have a general question for all; "How do you see Turkey from the Asian side? Gokhan Mura wrote: Is the "different" cultural heritage and artistic tradition of Turkey directing the new media art in a "different" way than the other countries, in what sense it connects Turkey to some other cultures e.g. Asia, or erase the boundaries and contribute to a more general new media culture?
Aditya Dev Sood wrote: It does not necessarily promote understanding or collaboration between those who do not already seek it. The prospect of increased collaboration and knowledge sharing between india and other parts of asia, including turkey, therefore, will rest on the interest and energy of individuals who become nodes for the exchange of ideas and contacts between individuals and small groups working in these different parts of the world.
Aditya Dev Sood wrote: Like the emic and the etic, the exotic is a function of one's topos, but also of one's theory of otherness.
Paki TV wrote: a very worthwhile question! but the bidding began long ago! anyway, we at will attempt to answer you in the coming weeks. And here's an extract from an article about HOW MUCH EUROPE from last year, called "Over the Resnik Horizon": Europe as Male: Belgrade as Genitals
Atteqa Malik wrote:This is a very good question as it is very important to see in who's eyes is Asia combined through the exotic? For those who know not much about Asia as a group of countries with very old and distinct cultures, religions and traditions, there might be a tendency to group it all together as exotic. This is very dangerous as labelling so many differents as one just because they are alien to someone can cause problems when an understanding of each is required. The results of such misunderstanding are obvious these days in the volatile global politics that has emerged. On the other hand from a media point of view the different regions of Asia are forgetting their originality and trying to copy what they experience through media as the norm. This has a lot to do with media conglomerates controlled mostly by Western points of view. This even applies in the arts where many cultures are just eroding and being taken over by a more generic global culture.
Genco Gulan wrote: The Asia Panel is going slow but steady. Why do you think it is slower? Is it because of technology or culture?
Atteqa Malik wrote: So we Pakistanis see Turkey as a Muslim country with an environment that is progressive and adapting to the needs of the modern world, something that poses a challenge to all closed societies today.
Monica Narula wrote: Turkey as a space is not dissimilar to the spaces that we inhabit in India, poised between traditions, and different approaches to modernity. From 1216 - 1413 AD, a period of nearly two hundred years, Delhi was ruled by Turkish Sultans, and was for all practical purposes, a Turkish city.It is in the possibilities of a dialogue between the inhabitants of cities such as Delhi and Istanbul;
(and others all across Asia), between writers, artists, filmmakers, intellectuals and lay people that we can hope to find the foundations of a dynamic space for contemporary culture in all our societies.
Aditya Dev Sood wrote: a) not all of us have equal anxieties about our asian-ness. b) not all of us think in terms of representation on the web. c) what we think of the web, in fact, may be entirely discontinuous
Genco Gulan wrote: it is not easy - as it seems- to make an online panel and a panel on Asia is a grand thing.
Nathalie Boseul Shin wrote: "Is there Asia?" For sure, there is Asia in the map, but if you have a chance to visit some countries in so we called Asia, it is quite difficult to find some common things in-between them.
In my opinion, technology doesn't combine or divide Asia, rather it bring Asias into one platform.
In that sense, to me "combining Asias" sounds exotic and globalization is very much a tricky word, especially for us

For full text:

Review 1: Subjects in Space: The ever-present phantasmagorical rupture in the possible! by Gulsen Bal (London). The ever-present phantasmagorical rupture in the possible!

………………… a passage from the il y a of the multiple to the localisable 'being-there' from être with the big ' E ' to the appearance of a determined and specific être-là ! or in Deleuzian lexicon: a passage from Being as the virtual One or being as the actual multiple …

In his introduction, Genco Gülan describes the nature of the first Web Biennale as "it is a framework for integrating heterogeneous artists that exist in a variety of environments... based upon the virtual space. […] As a result the Web Biennial not only aims to offer an alternative approach to exhibiting online art but also for exhibiting art online." (1)

One of the things which is very current in new media art as its characteristic, as we all know, is a fluent transition between the different manifestations that can take on new meanings in multiple context re-configurations.

Gülan covers the project's issues through its dynamics deployment on " Virtual Biennial: A Biennial without a City," "The Representation Problem of the Web," "The Notion of De-centralization" and "Open Exhibition Model."

It is true that demarcations of the interactivity relative to the discourse of 'obsolescence' are the overarching entities where a mutilated representation of the individual in the net/virtual environment became the 'real' society that bind together all diverse dialogue beyond its mere presence as a work of art…

This paradox creates the space into the void, but then how do we define this space of engagement? And coincidentally to the same extent Steve Dietz problematizes that "as the net becomes a pencil - a tool in Baldessari's terms - then is the question of "web art" as a medium important or is the generalized characteristics of networking more important?"(2)

The virtual space conditions and determines the territory that reinforces hierarchies and 'representations' in which they renegotiate the existence of the real space through 'virtual/generative matrix' according to digital parameters.

This gives us no formal or material definition, but only remains in the representational theories with their internal or external forces of relations embodied in a long history of epistemological problems. This underpins the ontological opposition between "virtual reality" and the "reality of the virtual" within the discursive space of "being" and the "real" in its relation to the notion of "individuation" or "actualisation," which is the 'processes of becoming' that involves spontaneous spatio-temporal dynamisms.

Tracing through Deleuze's understanding what "being" is manifest has two definitions. Substantial being defined as "one" and modal being defined as "multiple": 'the one referring to the immanent life of a unitary being expressing itself, the other referring to the expressions or modes in which this immanent expression bring about itself.' Two definitions of being: as substantial being by itself, and as modal being by something else. Here there exists another question: how can we define the actual/virtual position of the subject in the virtual context?

Since the paradox introduced here as 'actuality constituting itself when a virtual and/or supplementary component' is added to the pre-ontological "real;" the question might be, whether every actual is the result of the actualisation of the preceding virtual, or is there an actual that precedes the virtual? Alternatively stated, the extraction of the virtual from the real constitutes reality - actual reality is the real percolate through the virtual in its relation to the paradoxical problematic of actualisation conceived as the actualisation of the virtual, after its lineage from the preceding actual?

Following from these arguments, then, "it [actualisation] does not result from any limitation of a pre-existing possibility... They are thereby substituted for the identity and the resemblance of the possible, which inspires only a pseudo-movement, the false movement of realization understood as abstract limitation." (3)

In such a process subject/object relations are disrupted, presupposing that multiplicity is not a 'subject', nor unity of 'object' referred to a subject; so far the "theory of multiplicity that does not refer to subject as preliminary unity" in its reference to "divergence of actualisation" in a space for possibilities. Then what is the nature of relation?

It looks like the epistemological portrayal of this argument needs to be re-evaluated in the entry of the subject through a discursive realm of representation.

Zizek in Cyberspace, Or, The Unbearable Closure of Being (4) rejects the referential argument for representation in an understanding that there is no external reality beyond the stream of simulacra , merely because virtual reality carries the phantasmagorical reality to its extreme: "handing-over of the subject's "self" to the Symbolic Order that shares this same virtual logic, […] besides a Symbolic Order whose virtuality in prior has been forgotten with all of its apparent Cartesian self-consistency."

For Zizek , the key dilemma is the ongoing "virtualization of reality" that allows the subject to see the "sublime object" as arbitrary ideological proxy bearing no intrinsic meaning; but having lost the object which kept the Symbolic Order intact. The potential is then unfolded for the subject to fully accede to the "real."

"...The main aim of the Web Biennial [...] is to put the artwork itself before everything else and in its purest form. That means liberating art from the curator, the gallery/ museum/ institution, the sponsor, the media and the physical location or city. In other words, we are trying to get rid of the middle man or 'the noise factor.' Direct from the artist to the audience; one to one but also many to many. This de-constructed structure of the exhibition stands outside of current Biennial models [...] But it also tries to re-construct new ways for effective communication and navigation. We are trying to inter-link the de-centralized structure of the WWW." (5)

It is entirely possible that I might miss something profound in the discussion; however, in respect to the Web Biennial, attempts to address some of the issues mentioned above in as much as evokes another concept that emerges not from a process of conflictual/ negative differentiation, aiming for either "virtual" and the "real," but for both; something in-between emerging from a process of negotiation. The in-between refers to two fundamentally different notions of space whose only intersection is continuously negotiated by our-Self: the physical presence in the space of performative presence of "becoming in the virtual," and as Zizek prompts: this order realizes the oxymoron of
"being actually virtual."

Regardless of the fact that a closed, pre-defined world such as Gülan offers seems more transparent and less ambiguous to its temporary inhabitant, the multitude as it designates new spaces as its journeys establish new residencies;
embracing contradictions as a way of seeing possible alternatives.

------------------------------------------------------------------------------------------------------------------------------------------------ Footnotes:
1) Please refer to:
2) WB05, Panel 1/ Net-art versus Web Art, Friday 9 / 12/ 2005, organised by Genco Gulan
3) ibid, p. 212
4) Slavoj Zizek , Plague of Fantasies - chapter: "Cyberspace or the Unbearable Closure of Being," London : Verso, 1997, pp. 127-164
5) Art Today , An interview with Genco Gulan by Kun-Sheng Wang,


ISEA Newsletter Contributors: Genco Gulan, Gokhan Mura, Mecedes Gonzalez de Garay, Trebor Scholz, Steve Dietz, Andrej Tisma, Dimitris Fotiu, Jeremy Owen Turner, Markus Graf, Andrej Tisma, Osman Hamdi, Carlo Sansolo, Mehmet Sinan, Nina Czegledy, Robert Dansby, Ryanne de Boer, Yiannis Colakides, Tim Hailey , Calos Katastrofsky, Teoman Madra, Derya Yücel, Emre Baykal, Mustafa Kaplan, Turan Aksoy, Fatima Lasay , Kaoru Motomiya, Atteqa Malik, Kathryn Smith, Derya Yucel, Basak Senova, Ali Miharbi, Monica Narula, Aditya Dev Sood, BoTweener, Zepplinman, Mscdex, Patrick Lichty, Spaxinoid, MegaMan and Hau Hanru.

Crisscrossed and interjected by HTML, e-panels and chat sessions ask for a strange form of editorial restraint. To curb a web biennale into the straightjacket of the 'bulletin' of ISEA newsletter poises interesting though exasperating questions of text-base material. Missing out on the velocity of reactions - the blinking signal of sudden or awaited riposte - some kind of performative added value seems to get lost in its documentation. As a consequence, to keep close to the format of the chat-session, implies a lot of scrolling! Apart from the some what forced collision of chat and newsletter, we would like to thank you for your contributions and interesting statements!

ISEA Newsletter Online Design: René Paré (MAD).

ISEA Board Members:
Peter Anders, Chris Csikszentmihalyi, Nina Czegledy, Gunalan Nadarajan, Anne Nigten, Julianne Pierce, Wim van der Plas, Cynthia Beth Rubin, Mark Tribe.

Nadia Palliser, Coordinating Director

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