#003 Mar 1992


                           THE ISEA NEWSLETTER

                          NUMBER 3, MARCH 1992

                 Candidates for the organization of FISEA 94

-The First International Symposium on Electronic Art (FISEA) took place in
 1988 in Utrecht, Holland. It was sponsored by the Foundation for Creative
 Computer Applications and the Utrecht School of Arts.
-The Second International Symposium on Electronic Art (SISEA) took place
 in 1990 in Groningen, Holland. It was sponsored by the Groningen
-The Third International Symposium on Electronic Art (TISEA) will be held
 in Sydney, Australia in 1992, sponsored by the Australian Network for Art
 & Technology (ANAT) and the Australian Film Commission.
-The Fourth symposium (FISEA 93) takes place in Minneapolis, USA, in 1993,
 sponsored by the Minneapolis College of Art & Design.

The Inter-Society for the Electronic Arts (ISEA) is looking for candidates
for the organization of the Fifth International Symposium on Electronic
Art (FISEA 94). There is allready a candidate for this symposium in the
U.S., but ISEA aims at having the symposia in Europe every other year. So
preferably, the Fifth symposium (FISEA 94) takes place in Europe.

The International Symposia on Electronic Art are the only scientific
congresses on electronic art in the world. They are multi-disciplinary and
a meeting ground for artists and scientists. They are an excellent
opportunity for institutes and/or regions that want to make their interest
in electronic art publically known. At the one hand the institute (and/or
region) will become known world-wide as a breeding ground for electronic
art and on the other, the symposium will provide the institute/region with
a rare collection of expertise: it is a unique chance to import knowledge.

The symposium should consist of a three-day scientific congress,
workshops/tutorials, an art exhibition, possibly also a trade show, a film
and video show, concerts and performances. At least one publication
(Proceedings) should result from the symposium.

The organizer will get all possible assistance from ISEA.

Potential candidates (non-european candidates too) can write to:
ISEA, POB 60103, 9703 BC Groningen, Holland.
Phone: 31-50-425254 Fax: 31-75-701906 (c/o D. Boon)

Jacquelyn Ford Morie

The Florida Film Festival at Orlando, an invitational exposition of film
and animation (computer and traditional), will be held from June 5 - 14,
1992, in Central Florida.
The full program includes awards, seminars, galas and showcases, for an
estimated audience of 6000. Entries are now being solicited for this
We prefer to preview works on 1/2" or 3/4" videocassettes. NTSC format
ONLY. (We will accept PAL cassettes only if the cost of transfer to NTSC
is covered by the filmmaker or distributor.)

The deadline for receipt of preview materials is April 1, 1992.


1300 South Orlando Avenue
Maitland, FL  32751
Tel: 1-407-6291088   Fax: 1-407-6296870

Entry forms can also be obtained from ISEA

Lora Jost

You are invited to participate in FAX ART RESPONSE, an art and activism
project where you can express to others your cares and concerns about your
life and community. This project is a response to election campaigns which
are often remote and unresponsive yet are intimately connected and
powerfully important to people's lives, experiences and wellbeing. You can
participate by faxing pictures, drawings, clippings, photos and other
expressive information about your cares and concerns to (1)-608-2510712
between March 1 and 31, 1992. All faxed images will be included in an
installation exhibit which will be on display at Survival Graphics (853
Williamson, Madison, WI, USA) during April. Documentation of the exhibit
will be sent to all participants.
Lora Jost
Fax Art Response
414 S. Mills
Madison, WI 53715


Frans Snijders

A four day course
Abington, UK
12-15   May
Organized by RAL (UK), CWI (NL), INRIA (France) & GMD (Germany)
Information and registration:
Frans Snijders
CWI, POB 4079
1009 AB Amsterdam, Holland
Phone: 31-20-5924171
Fax:   31-20-5924199
Email: franss@cwi.nl


Selected items from Fineart Forum ,  Volume 6 #3
                and Leonardo Electronic News,  March 15, 1992
The Inter-Society for the Electronic Arts contributes to Fineart Forum
and republishes the items on electronic art on behalf of its members.
FAF and LEN are published by the International Society for Art, Science
and Technology on behalf of The Art, Science and Technology Network.

Jay David Bolter

In addition to its more prosaic uses, hypertext can give us a new kind of
interactive literature and art. (Hypertext with graphics and video is
often called hypermedia, but I will use hypertext as the generic term for
all kinds of interactive presentations under computer control.) Hypertext
can bring together verbal and visual art, word and image, in surprising
ways. Even in some of the simplest hypertextual systems, graphics can be
pasted into a space above or below verbal text. And hypertext can go
beyond mere collage. In the most interesting hypertexts, pictures can
become part of the text itself: images and diagrams can enter into the
symbolic space that previously belonged to alphabetic writing alone.

"Victory Garden" is a new fiction by Stuart Moulthrop, published by
Eastgate Systems, Cambridge, MA. This large hypertext, with over 990
episodes and 2800 interconnections, offers the reader a labyrinth of
possible reading paths, and appropriately it begins with a diagram of the
labyrinth. What the reader sees is a garden of intersecting paths and at
each intersection the name of an episode. The garden serves as a visual
symbol for the whole fiction; it is also an allusion to Borges' story
"The Garden of Forking Paths." What is most important is that the diagram
functions operationally as well metaphorically to control and organize the
space of the fiction. The named intersections are linked to various
episodes: by moving the cursor over a name and clicking twice with the
mouse, the reader branches to that episode. Thus, the labyrinth is not
simply an illustration, as maps and diagrams are in printed text: it is a
part of the symbolic structure of "Victory Garden." The labyrinth functi-
ons both as a picture of the garden and as a set of symbols woven into the
fabric of the text. Hypertexts with such linked graphics remind us of
medieval illuminated manuscripts. In such manuscripts the illuminated
letters work simultaneously as abstract or figural art and as verbal
elements in the text. So too in "Victory Garden," the picture of the
garden is part of the story.

"Victory Garden" offers only a few graphics at the beginning of its
verbal labyrinth.  (This fiction is, by the way, important for many
other reasons that I cannot discuss here.) Its few graphics, however,
already demonstrate how picture elements can be textualized in electronic
writing. The electronic writing space is by nature eclectic.  Illustrati-
ons, icons, images, and full-motion video can all penetrate the space
reserved for alphabetic writing in the technology of print. The eclectic
charater of electronic writing may well encourage more collaboration
between writers and visual artists; it may help further to blur the
distinction between the visual and verbal arts in our time.
Contact: Jay David Bolter (jb121@prism.gatech.edu)

Richard Gess

PERFORATIONS, an Atlanta-based journal of language, art, and technology,
is seeking contributors for a special issue with the theme: AFTER THE
BOOK. This issue will be devoted to work about the decline of The Book As
We Knew it, the rise of hypertext, and the possibilities for writing in
the world post-ink- and-linearity. We're particularly interested in work
approaching hypertext from film and video theory, in critical work on
hypertexts, in hypertexts on-disk or in print extracts, and in work
challenging our position that hypertext, in its transcendence of the
restrictions of the paper book and the one-way movie, represents writing's
first true step beyond Sterne/Joyce and film/ video.

Essays, print and/or graphic collages, fictions, or hybrids of any sort
are welcome. No restrictions on style, no minimum or maximum length; we're
hoping that contributors will send us serious and adventurous work that
they might hesitate to submit to a more traditional journal.

Deadline: April 15, 1992 (negotiable for authors preceding submissions
with queries). Macintosh-readable disks preferred, all formats acceptable.
Send queries and submissions to: libgess@emuvm1.bitnet   Richard Gess,
Cataloging Dept., Woodruff Library, Emory University, Atlanta GA 30322-2-

About PERFORATIONS: Atlanta's Public Domain alternative arts collective
published the first issue of PERFORATIONS in September 1991. PERFORATIONS
is a journal where theorists, critics, and artists contribute equally to
examinations of current issues in language, art, and technology. Issues
are theme-oriented: Fall 1991 is about "The Post-Mortem Condition," and
Winter 1992 is about "Conspiracies, Esthetics, and Politics" (featuring an
interview with Jean-Francois Lyotard and an on-disk hyperfiction). Spring
1992, due in June, will be "After the Book;" issues beyond will consider
"Dreams, Bodies, and Technologies," "Multi-, Mini-, and Quasi-Cultura-
lisms," and "Virtual and Performative Architectures." PERFORATIONS is
distributed to a growing audience of working artists in all genres and
scholars in all disciplines; publication in PERFORATIONS is a way of
communicating beyond the usually suspected readers for both artists and

PERFORATIONS subscriptions are $25/4 issues; first issue for current new
subscribers will be Winter 1992. Send subscription requests to:
Public Domain, Inc., 1140 Euclid Ave., Atlanta GA 30307. Checks/money

Contact: libgess@emuvm1.bitnet   Richard Gess, Cataloging Dept.,
Woodruff Library, Emory University, Atlanta GA (1)-30322-2870.

Allucquere Roseanne Stone

The Third International Conference on Cyberspace, scheduled for May 28 and
29, 1992 in Montreal, has been cancelled and rescheduled. The Program
Committee would like to thank all those who submitted abstracts and
requests to attend, and to invite them to re-submit later in the year for
the rescheduled Third Conference, which will be held in May 1993.
Contact: sstone@weber.UCSD.EDU

Ed Lantz
ASTRONAUT MEMORIAL HALL: Call for multimedia  proposals

The Brevard Community College in Cocoa, Florida USA is requesting propo-
sals for interactive science exhibits to be included in their Astronaut
Memorial Space Sience Center. The exhibits will exploit interactive
audio/video, virtual reality, cyberspace, telepresence and hypermedia.Pro-
posals with Teams involving freelance artists are encouraged.

If you are interested in proposing, send a letter of intent by March 14,
1992 with full proposals due by July 10, 1992.

Contact Ed Lantz, Chief Engineer or Mike Hutton, Director of Astronaut
Memorial Space Science Center, Brevard Community College, 1519 Clearlake
Road, Cocoa, Floida 32922, USA
ph 1-407-632-111, extension 3500

Mark Battier

Westdeutscher Rundfunk Koeln once again invites entries for Acustica
International, a competition for audio artists. The aim of this competiti-
on is to encourage the production of the acoustic art and international
co-operation in this field. The criteria and the conditions: Language,
sound, music can constitute the compositional elements of the acoustic
realization. The project may be either multi-lingual or non-lingual. The
forms may range from vocal or non-vocal collage, polyphonic sound-poetry
composition to sound mix and multi-meida sound-performance. Each concept
chosen by the jury for production will have to be specially produced for
WDR by the author/team themselves.
Any of the following may be submitted:

- detailed concepts - scores - texts

- acoustical material

The closing date of entry is March 31 1992. WDR accepts no liability for
lost entries. The jury consists of: Juan Allende-Blin, Frans van Rossum,
Gerhard Ruhm, Klaus Schoenig and Alain Trutat.
The entries should be forwarded in quadruplicate complete with a detailed
production script, biographical notes of the author, as well as declarati-
on stating that the authors possess the sole performing and copyrights,
and that WDR be absolved from any obligations to third parties, to the
following adress:

Westdeutscher Rundfunk
Studio Akustische Kunst
Acustica International
Postfach 101950
D-Cologne 1

For more information, contact the address above.

Alessandro Polistina

: PhD Thesis on Virtual reality: Technical and cultural aspects

Prof Alessandro Polistina ( Politechnico di Milano, Facolta di Architettu-
ra, Dipartimento di Progettazione dell Architettura, Via Bonardi 3, 20133
Milano, Italy. Ph 0039-02-23995061) is coordinating a Ph D thesis entitled
" To live the imaginary: the Virtual reality, technical and cultural
aspects". The authors are interested in receiving descriptions of works
involving interactive computer arts together with pictures of the work.

Judy Malloy

>From the indecipherable low whispering voices in POINT OF REFERENCE
(Hooykaas and Stansfield) to the chanted refrain of "& these are the
things we left on the moon" in THE NIXON BOOKMOBILE (Skratz and Davis),
the 8 artists, poets, and musicians who write about their work in this
issue of LEONARDO ELECTRONIC NEWS alter and/or clarify our perception
of our uneasy,twentieth century environments. Some
(Harris, Pocock-Williams) use the tools of technology to integrate and
communicate information.  Others (Shaw, Siegfried) use the tools of
technology to displace or distort information.

POINT OF REFERENCE, a video installation by Dutch artist Madelon
Hooykaas and British artist Elsa Stansfield (who have been making
collaborative video installations, video tapes, and photo works since
1975) is "visually like a dark rocky island in a sea of information."
In contrast, CONFIGURABLE SPACE by San Francisco multimedia artist Craig
Harris "is directed towards the development of a balanced
understanding about how we use the visual, aural, tactile, and
configurable capabilities of digital technologies."

Jeffrey Shaw's video sculpture ANAMORPHOSES OF MEMORY centers optically
distorted erotic memories on the bed with which they are connected.
Behavioral scientist Walter Siegfried's SOUND-TRACKS TO REALITY uses
unexpected sounds in a conventional "Walkman" tour in order to alter
participants' experience of their environment and thus increase their
awareness and involvement with the space that surrounds them.
In A CERTAIN UNCERTAINTY, her experimental music video that features
The New York Guitar Project, computer artist Lynn Pocock-Williams
focuses "on the connections between the qualities of the sounds and

Through the eyes of a culture very different from our own, poet G.P.
Skratz and composer Bob Davis look at American culture and, in
particular, at our fascination with outer space exploration.
Accompanied by visual illustrations, by a cappella duets and by sounds
produced by Davis (on unusual instruments such as large water
bottles), Scratz describes the progress through China of the American
artifact-laden NIXON BOOKMOBILE.



Madelon Hooykaas/Elsa Stansfield
Grote Bickersstraat 44 c,
1013 KS Amsterdam, The Netherlands

The video installation, POINT OF REFERENCE (1990) is a 3-channel video,
6-channel audio installation.  It consists of 5 triangular bookcases
and 108 video tape storage books.

POINT OF REFERENCE is visually like a dark rocky island in a sea of
information.  The work has a continually shifting point of reference
that has similarities to the processes of memory.  On one monitor
written psychological texts (on memory) flip over into pages of early
books on astronomy and the earth.  A finger traces the position of our
planet on a solar diagram by Copernicus (1543).  Simultaneously
another channel shows composite images from a camera that scans the
book-lined walls of a 17th century library.

On the third channel of video is a portrait of a man.  His thoughts
are projected into a triangular form, like a mind's eye.  These images
are references to our earlier videotapes.*  The audio channels contain,
among other things, low whispering voices that remain indecipherable
from every angle around this work.

POINT OF REFERENCE was shown at Foundation for Visual Arts, Amsterdam,
NL in 1990, at  Foundation Het Kijkhuis, the Hague, NL in 1991 and
European Media Festival, Osnabrueck, BRD in 1991. A single channel
version of POINT OF REFERENCE premiered on the Netherlands Art Channel
and was a part of Le Mois de la Photographie a Montreal in 1991.
ed: The video POINT OF REFERENCE includes fragments from the artists'
THE MUSEUM OF MEMORY video tape series (1985 -).



Craig Harris, 2211 Mission Street #C,
San Francisco, CA 94110, USA
Email: craig@ymt.com

CONFIGURABLE SPACE is a series of multimedia works built upon the
simulation of future creative environments. These works represent
ongoing research and artistic explorations --- probing the creative
process, and the relationship between artists and new technologies.

CONFIGURABLE SPACE is directed towards the development of a
balanced understanding about how we use the visual, aural, tactile, and
configurable capabilities of digital technologies, and how the tools
developed affect ways that we think, feel, formulate, and develop on
intellectual, spiritual, and emotional planes. The simulations
incorporate representations of interactive computer display tables,
walls, and holographic images, within a multi-dimensional sound
environment. In CONFIGURABLE SPACE I dynamically construct the total
environment and the creative tools to suit specific requirements.
The set for the original installation (constructed in a large studio in
1989) consisted of a light table, a light wall, slide projectors, a
piano bench, chair and table with accoutrements. Marion Gray shot
hundreds of photographs during multiple sessions in the environment,
in which I used sketches on transparencies, colored gels, slide
projections, and live drawing. These images capture various
perspectives of room views and close images, documenting the sketching
and representation process during the development of a music

CONFIGURABLE SPACE VII was a hybrid performance-presentation
sponsored by Yamaha Music Technologies in Marin, California, in May of
1990.  The purpose was to demonstrate the underlying concepts of
CONFIGURABLE SPACE, in a context permitting experimentation with
multimedia communication resources. The event space, appropriately
located in an office presentation space intended for corporate
communication, was built around a large, white wall. Three slide
projectors were positioned carefully with respect to image size, angle,
and proximity. The multi-layered sound environment included original
music, prerecorded music from different cultures and styles, and
prepared soundfiles of sampled and processed sound, all placed in a
variety of simulated room environments. Sound for the two
microphones was processed to create two different ambiences.  I used
one, the evocation of a large room with a distant dreamy character for
story telling and indirect communication and the other, which evoked a
smaller, less-reverberant environment for declamatory and
direct communication techniques.

During the event, I wrote and drew over the surface of the wall,
selecting multicolored marking pens of different thicknesses, with
attention towards the functional use of color, shapes and multi-
dimensional containers.  The work consisted of two movements.
Each movement was weighted differently with respect to direct, linear
presentation techniques, and indirect, non-linear modes of
communication.  Michael Czeiszperger and Scott Lyons were given score
directions for performing the visual and aural components. Writing and
drawing on the wall reinforced main points, summarized internal
sections within the presentation, followed tangential thoughts, and
drew links between graphic and textual material --- written and
projected. The performers responded to what they saw, heard, and felt.
Images changed and modulated in light intensities --- blending,
highlighting, and contrasting  with the drawing on the wall.

In CONFIGURABLE SPACE, I track the creative process, examining
tasks and the tools designed to address several circumstances. The
total environment is considered in relation to its impact on creative
activities, and I explore communication on many levels.
ed: Harris, whose works appear as pieces for concert performance, music
theater, dance, video, and art installation, is the Executive Director
of Leonardo, the International Society for the Arts, Sciences and



Jeffrey Shaw (with Dirk Groeneveld)
Javastraat 126, 1094 HP Amsterdam
The Netherlands

ANAMORPHOSES OF MEMORY (1987) is a video tape sculpture.  A horizontal
monitor, lying on a bed, has a mirrored cylinder standing vertically in
the center of the screen.  Scrolling concentric circles of text on the
screen are anamorphically reflected and read on the mirrored surface of
the cylinder.  The text (like the metaphor embodied in the sculpture)
evokes a constellation of erotic memories associated with that bed.

In 1987, ANAMORPHOSES OF MEMORY was shown in "Kunst Over de Vloer",
Entrepotdok, Amsterdam and "Municipal Art Acquisitions", Fodor Museum,
ed: Shaw, an interactive art pioneer whose works range from interactive
inflatable sculptures (WATERWALK, 1970; CLOUD, 1967) to interactive
computer graphic installations (THE LEGIBLE CITY, 1988-90; ALICE's
ROOM, 1989), lives and works in Amsterdam.



Walter Siegfried. Lindwurm Str. 74
D-8000 Munchen 2, Germany
The Max Mueller Bhaven in Bombay organized a congress on 'SPACE' in
1991.  I was invited to participate and proposed a guided tour through
the congress area within the National Center of Performing Arts (NCPA).

During the 10 days that I was strolling around in the NCPA area, I
allowed myself to be guided by the numerous sounds around me.  They
provided me with an acoustical topography of the area.  I collected
them during the whole time span.  Out of this collection, I produced a
tape with various acoustical atmosphere related to certain zones of the
area.  In this polyphonically structured tape, sounds of horses in the
evening coexisted with, motor-launches, fast cars, alarms, exhaust
fans, cattle, crickets and birds at dawn.

This tape was the soundtrack to a walk that I guided.  In groups of a
dozen visitors, we went towards different spots in the area.  During
these walks each visitor had its own walkman on and listened to
soundscapes, which had been composed entirely using recorded elements
from the same spatial situation.

Thus, the visitors walked in a concrete space --- listening to an
artificial sound-track.  This opposition between the concrete space
and the acoustical dimension (which is at a remove from the concrete
situation) invited the visitors to look for the source of what they
heard, to see what they heard, and to imagine how certain sounds could
have been linked to the specific situation.



Lynn Pocock-Williams
37 Huemmer Terrace
Clifton, NJ 07013 USA

A CERTAIN UNCERTAINTY (June, 1991) is a continuation of my exploration
of the integration of sound and image. My art-work usually addresses
music concepts, the emotional content of music, or a combination of the
two, and I work primarily with time-variant imagery coupled with music.
Incorporating the elements of time, change, and motion allows my images
to exist most closely with their music counterparts.

In the past, several of my videos were automatically generated using
artificial intelligence techniques. That is, I developed a computer
environment that read in music data, analyzed the music, and then
generated animations that correlate to the music. These videos are
abstract and created according to a system.

My recent videos, on the other hand, are created according to
intuition, and the imagery reflects the world around us. The method by
which the videos are composed focuses on the connections between the
qualities of the sounds and visuals. One of these recent videos, A
CERTAIN UNCERTAINTY, is a 3:40 minute experimental music video
featuring The New York Guitar Project, an acoustic guitar group. The
video takes its name from the music that accompanies it, which was
written by Reinaldo Perez and R. Stuart Williams. Shot during an
intensive rehearsal weekend, the images present The New York Guitar
Project at work.

In the video, the musicians are presented on two overlapping visual
planes - one in the foreground and one in the background. The
foreground images are static and black and white, and new images are
always covering over the current image. Several of these static
pictures are digitally altered and reconstructed, adding to the
complexity of the scene.

The background images are presented in color, and they move in a slow,
dream-like manner. Abstract windows that open up into the foreground
plane allow a glimpse into the background performance. Both planes of
images are digitally processed resulting in an overall organic,
painterly quality. The resulting video of structure and non-structure
is intended to be an expression of the structure and emotional content
of the music. The video was created on an Amiga 500 computer, using
customized software for the presentation of images, and LIVE! by
A-Squared to process the resulting video.



G.P. Skratz and Bob Davis,
5524 Vicente Way, Oakland, CA
94609 USA

  Come on down
  take a leap & click your heels.
  It's good enough to pass for real.
  It's the Nixon Bookmobile,
  barrelling into town,
      barrelling into town
  --Advertising Jingle

In THE NIXON BOOKMOBILE, we examine the connections linking Richard
Nixon as nonpartisan myth, shamanism, contemporary China, astrology,
old-time medicine shows & the moon.  Sheer coincidence or conspiracy?
You be the judge.


      Moonrise over Gushan, or "Drum Hill," east of
      Fuzhou: the Nixonauts--Sabina & the
      Dwarf--perform a chant for a spontaneous crowd of
      over 50 curiosity seekers:

           & these are the things we left on the moon
                american flags
           & these are the things we left on the moon
                laser ranging device
           & these are the things we left on the moon
                 a one hundred pound seismometer
           & these are the things we left on the moon
                 walking boots, equipment boxes
           & these are the things we left on the moon
                 aluminum poles & urine bags
           & these are the things we left on the moon
                 television cameras
           & these are the things we left on the moon
                 richard nixon's autograph
           & these are the things we left on the moon
           & these are the things we left on the moon


      We ate popcorn & watched a slideshow at the Nixon
      Bookmobile.  A bolt of lightening struck a
      manzanita tree which almost fell on the Nixon
      Bookmobile.  We were married by the captain of the
      Nixon Bookmobile.  It would take days to read all
      there was to read at the Nixon Bookmobile.

ed: THE NIXON BOOKMOBILE is a 2-man performance that consists of spoken
text, songs, and audio-visual effects.  In 1991, it was performed by
Skratz and Davis at Intersection in San Francisco and at Small Press
Distribution in Berkeley.

                          CALENDAR - APRIL 1992

20 March - 4 April  1992
ENCUBES, Video Installations

31 March - 4 April 1992
7th VIDEOFORMES, Video Festival

Contact: Multimedia Space
rue Leo Lagrange
POB 71, F63003, Clermont-Ferrand

01 April - 21 June 1992

Rediscovering Pompeii, Accademia Italiana, London

Contact:  Accademia Italiana, 24 Rutland Gate, London SW7 1BB,
UK, tel: 071 225 3474, fax: 071 589 5187.
05-09 April 1992

Association for Computers and the Humanities and Association
for Literary and Linguistics Computing, Oxford University, England

Contact:  Susan Hockey, Oxford University Computing Service, 13 Banbury
Road, Oxford OX2 6NN, UK, email: susan@vax.oxford.ac.uk.
07-12 April 1992

10th World-wide Video Festival
Kijkhuis, The Hague, Holland

Contact:  Noordeinde 140, 2514 GP Den Haag, The Netherlands, tel: 31 70
3644805, fax: 31 70 3614448.
14 April 1992

Asbjorn Schaathun in IRCAM's Studio 5

Contact:  Marc Battier < Marc.Battier@ircam.fr >.
21--24 April 1992

Cybernetics and Systems Research
11th European Meeting on Cybernetics and Systems Research
Vienna, Austria

Contact:  EMCSR 92 - Secretariat, Osterreichische Studiengesellschaft
fur Kybernetik, Schottengasse 3, Wien 1 A-1010, Austria, email:
sec%ai-vie.uucp@relay.eu.net, tel: 43 1 53532810, fax: 43 1 630652.
22-25 April 1992

Videoformes/Rencontres Internationales
Clermont-Ferrand, France

Contact:  Videoformes, Creation Video, BP 71, F-63003 Clermont-Ferrand

Cedex, France, tel:  73 906758, fax:  73 924418.
30 April - 3 May 1992

Hyperculture: Virtual Presence in Complex Systems
Gwent College of Higher Education, Caerleon, Wales

Contact:  Sheila Hill, Faculty of Art and Design, Gwent College of
Higher Education, Caerleon NP6 1XJ, Wales, tel: 44 0 467 20584 or 44 0
633 421292, fax: 44 0 467 25181.

ISEA distributes this Newsletter in order to keep its members, who have
no access to Electronic Mail, informed. Those members can, if they desire,
get in touch with the Email addresse mentioned in this newsletter by
contacting ISEA.

The Inter-Society aims at joining an already existing world-wide network
of artists, scientists and their institutes, making it easier for the
institutes and individual members to share expertise with each other.
The aims of the Inter-Society are to promote a structured approach to
electronic art and to help finance worthy electronic art projects. For
membership information contact : ISEA, POB 60103, 9703 BC Groningen, NL.


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