#009 Sep 1992

               THE ISEA NEWSLETTER # 9, SEPTEMBER 1992

    Editors:        Wim van der Plas, Dirk Boon (Holland)
    Correspondents: Yoshiyuki Abe (Japan), Roger Malina (US),
                    Ivan Pope (UK),Leslie Bishko (US)
    ISEA, POB 60103, 9703 BC Groningen, The Netherlands
    Tel 31-50-425254, Fax 31-75-701906


  ISEA BOARD                           Wim van der Plas
  LANGUAGES OF DESIGN                  Ray Lauzzanna
  ICMC 1993                            Yoshiyuki Abe
  NEWS FROM THE UK                     Ivan Pope
  JMACS SS'92                          Yoshiyuki Abe

Wim van der Plas

So far, there are 5 candidates for ISEA Board positions. Since the maximum
number of members is 7, there is no need for elections. However, resumes
of the 5 candidates will be sent to all regular members, so that eventual
objections can be sent in. Together with the resumes, we will include a
proposal for new membership fees. Members are invited to react. The
results will be published in the newsletter.
Presently the ISEA board is investigating possibilities to provide ISEA
members with Email facilities at low costs. For practical reasons, we will
try to serve Holland first, then EEC member countries and then, we hope,
the rest of Europe. Of course we will not stop there! We will keep you

Editor-in-Chief: dr. Raymond Lauzzana
Managing Editor: Denise Penrose

Aims and Scope:
LANGUAGES OF DESIGN is an international, interdisciplinary journal devoted
to research in formal languages and their use for the synthesis of words,
images and sounds. LANGUAGES OF DESIGN welcomes articles employing
linguistic techniques to generate literary and 'nonliterary' texts, music
and visual works, including fine art, dance, theater, architecture and all
types of design.

The multidisciplinary focus is reflected in the composition of the
journal's editorial board, which includes literary theorists, music
theorists and composers, researchers in artificial intelligence, artists
and art critics. Formal design theory, generative grammars, shape gram-
mars, and computational musicology are the central domain of the journal.
More general subject areas such as formal languages, finite state
automata, grammatical inference, pattern recognition, cellular automata,
semantic networks, connectionism and syntactical analysis will be dis-
cussed in the context of their application to productive systems. Specific
analytic perspectives such as syntactics, semiotics, deconstruction,
hermeneutics, stylistics, narratology, philology, morphology, prosody,
harmony theory, formal musicology and performance analysis will be
presented in terms of their impact and influence on a theoretical foun-
dation for productive systems.

Research results from visual, audio, and textual analysis that may have
impact on the arts are also invited. Of particular interest is research
utilising computational methods to verify theoretical formal analyses.
Articles criticising the assumptions and results of this work are also
Subscription: Dfl. 347,- (approx US $ 217)
ISSN 0927-3034
Elsevier Science Publishers
c/o Petra van der Meer, POB 103, 1000 AC Amsterdam, Holland or
Journal Information Center, POB 882, Madison Square Station, New York,
NY 10159, USA

ICMC 1993
Yoshiyuki Abe

Call for Submissions      == tentative version ==

                 September 10 - 15, 1993
Waseda University Center for Schoraly Information, Tokyo JAPAN
         International Computer Music Association
                  and Waseda university

The International Computer Music Conference(ICMC) is an annual conference
featuring artistic, scientific, technological, and other activities that
relate computers with music. The ICMCs are presented under the guidlines
of the International Computer Music Association(ICMA). The ICMC 1993 will
be held on September 10-15, 1993 at Waseda University in Tokyo, Japan,
under the conference theme [Opening a New Horizon]. This is the first ICMC
to be held in Asia, and all who are interested are invited to contribute
and participate. The conference program will include concerts, paper
sessions, demonstrations, workshops, tutorials, panels, invited talkes,
and a vendor exhibition, with highlight features contrasting the
traditional and advanced technological aspects of music in Japan.
The categories for submission are computer music works, papers, and
demonstrations. Proposals for other conference activities are also
welcome. The official language of the conference is English.
All materials must be presented in English.

Submissions are encouraged on substantial, original, and previously
unpublished research on all aspects of computer music.
To facilitate the review process, authors are requested to specify
appropriate content areas, selecting from (but not limited to) the
categories listed below:
 *Sound/Signal Processing, Analysis and Synthesis
 *Composition and Performance
 *Education/Tutoring Systems
 *Notation Systems
 *MIDI and standardization
 *Applications of Music theory/Analysis
 *Software/Hardware Systems/Tools
 *Perception, Cognition and Emotion
 *Physical Models
 *Theory and Foundation
 *Linkage with Other Media(e.g. Virtual Reality)
 *Studio Reports
 *Others, Inter-Categorical (please specify)
Each accepted paper or demonstration is entitled to an article
in the proceedings and a certain time for presentation, according
to one of the categories listed below.
 *Long paper        8 pages    30 min.
 *Regular paper     4 pages    20 min.
 *poster            2 pages    45 min.
 *Demonstration     4 pages    45 min.
Studio Reports must be submitted as regular papers. Demonstrators must
supply their own equipment. Posters and demonstrations will be assigned
separate spaces for presentation. The Paper Committee reserves the right
to alter the requested category of presentation. Three photocopies of the
abstract, which should be 500 words or less, must be sent together with
the completed Paper or Demonstrations Submission Form to the ICMC 1993
Secretariat by Jan 30, 1993.  The abstracts will be reviewed by an inter-
national forum of referees. The accepted author(s) must prepare a
camera-ready copy of the full paper (which will be published as part of
the conference proceedings) to be presented at the conference. The final
articles must be received camera-ready by June 15, 1993.

The following six categories of music works will be considered:
 *Interactive Live Computer Music: Interactive music in various
  forms based on innovative and creative use of computers. (e.g.
  virtual reality, neuro-computing)
 *Music for Computers: Digitally-produced music assisted by
  computers. Performed in real time or using tapes produced in
 *Music for Instruments and/or Voices and Computers (live or pre-
  recorded tape): Instruments may be any acoustic ones. (Western/
  Eastern, traditional, etc.)
 *Music for Experimental Instruments and Computers (live or pre-
  recorded tape):  Any experimental instruments (digital or non-
  digital) can be used.
 *Computer Music with Visual Art (video and/or dance and others)
 *Algorithmic Compositions: Music composed with the aid of
  computer programs.
Other innovative use of computers not falling in the above categories will
also be considered.
  All submissions should comply with [the limitations] described
in the Music Submission Form.  Materials for each submission
(tapes and/or scores) must be sent together with a completed Music
Submission Form to the ICMC 1993 Secretariat by Jan 30, 1993. Non-
ICMA members who wish to submit music works must pay a sbumission
fee of 3000 yen. Music to be performed at the conference will be
selected by an international committee.  The final program notes
and composers' biographies for accepted music works must be
received camera-ready by June 15, 1993.

The ICMC Paper Committee invites proposals for conference
activities including:
 *Tutorial themes and tutors
 *Workshop themes and organizers
 *Panel discussion themes and speakers
The proposal should contain a brief description of the proposed
activity, a statement of its relevance and/or importance, the
projected agenda, and other relevant information. Proposals must
be received by the ICMC 1993 secretariat by Nov 15, 1992.
Proposals will be reviewed on receipt for approval by the Paper

 Nov 15, 1992: Proposal deadline
 Jan 30, 1993: Submission deadline
 Feb 27, 1993: Acknowledgement of receipt of materials
 Apr 15, 1993: Notification of acceptance or rejection
 Jun 15, 1993: Final camera-ready versions and performance
               materials deadline

All submissions should be sent to the following ICMC 1993
Secretariat. Conference information and extra submission kits
are available from the secretariat.

    ICMC 1993 Secretariat
    c/o The Campus Corporation
    Babashita-cho 9,
    Tokyo 162  JAPAN
    Tel: +81-3-3202-7521  Fax: +81-3-3202-7523
    E-mail: icmc93@waseda.ac.jp

This tentative version will be authorized at ICMC'92 in San Jose
next month.

Leslie Bishko

Coordinated by Brian Andreas.
In conjunction with John F. Kennedy University Graduate School for Human
Consciousness, Orinda, CA , USA
September 1992 - January 1993

The invitation to participate in the HALL OF WHISPERS goes out via e-mail,
FAX, and snail mail around the world. Participants send their wishes for
the future, their thoughts on the present, their meanings gathered from
the textures of their lives to the HALL OF WHISPERS. As these stories are
connected with the stories from other participants, the connecting links
are sent back to gather more connections. The stories and their connec-
tions will be on exhibition at John F. Kennedy University in Orinda,
California, USA in text form. The HALL OF WHISPERS Virtual Opera in its
full voice synthesized and digitized human voice form will be open to
audiences at the studio in Berkeley. There will be a chance for audiences
at both locations to respond directly to the work they read or hear.
Documentation in the form of selected audio tapes of the opera and
selected stories and their interconnections in DTP will be available to
participants both on the nets and in hard copy.

Project Schedule:
I. Call for participation: August - November 15, 1992
II. Interchange: September 1 - December 15, 1992
III. Exhibition: November 15 - December 15, 1992
IV. Documentation: December 15 - January 30, 1993

Project Guidelines are available from ISEA or from:
Brian Andreas, 2972 Otis St., Berkeley, CA 94703, USA
Tel: 1-510-5483452, Fax: 1-510-5485742, E-mail: briney@well.sf.ca.us


Ivan Pope

Ivan Pope, artist and ISEA correspondent, has been awarded a grant from
the Live Art Travel & Research Fund of the Arts Council of Great Britain
to travel to TISEA in Sydney. This is the first time this fund has been
available and the grant is an indication of the interest that the Arts
Council is showing in electronic media.
The following is quoted from the funding application: "As an artist who
works with electronic media in live art, I am involved in a number of
projects that seek to promote experimentation with and integration of live
work and electronic media. In addition to my work as an artist, I am
concerned to promote the fusion of new technologies and live art practice,
with the emphasis on art, not technology".

Nothingham, UK
Between 2nd and 15th October 1992, Contemporary Archives will present Now
'92. Now '92 is billed as a showcase of " the most daring and remarkable
performers from the UK and beyond in a six week programme spanning dance,
theatre, visual arts, films, video, music and many shows which defy
description by combining elements of all these."

-New Media Weekend
17th-18th Oct 1992
A weekend event of discussion, debate and performances on the theme of the
integration of new and broadcast media into the live arts. New Tech-
nologies, New Opportunities: A Symposium. A day of discussion about the
opportunities created for performing artists through the development of
new and broadcast media such as virtual reality, video, TV, satellite,
cable, sound sampling etc. Steve Rogers Memorial Lecture: Each year the
Lecture is given by an individual whose work has advanced the field of
live art. Artist Talks: Philip Jeck and John Jordan in discussion.

-Vinyl Requiem
Philip Jeck - Vinyl Requiem: The Brass Section. Installation, work in
progress and performance of the newest part of Philip Jeck's "scratch

-Forkbeard Fantasy
An experiment in contraprojection.
For more details contact box office, tel: 44-602-419419

A new magazine, Hybrid, will be launched in February 1993. UK magazine to
cover cross-platform arts and technology Hybrid will cover live art,
performance art, multi-media work, new technology, new music, video and
film experiments, dance theatre, carnival, popular culture, installations,
time-based art and collaborative work across art forms.
Hybrid is financially and practically supported by the Arts Council of
Great Britain and has been started after the failure of Performance
magazine, the work of which it will continue and extend.
Info tel: 44-71-8315143 (David Hughes)

Nothing Travels Faster Than Light, An Installation by Simulations, London
Unwahr Gallery, Kl. Hamburger Str. 16, Ecke Auguststr, Berlin,
19 September - 4 October 1992
"Nothing travels faster than light" is an experimental work to be shown in
the Unwahr Gallery in Berlin. The work is conceived and executed by the
artists collective of Simulations. It consists of 200 electric light bulbs
and computer generated videographics electronically linked by an accom-
panying soundtrack, thus forming an integrated system. Simulations is a
fluid organisation, participants moving freely in and out of the group.
For this project Simulations consists of James Kelly, Stephen Klimas, Jens
Heise and Kevin Rowe. Klimas and Heise are German, Kelly and Rowe British,
reflecting Simulations European focus.
"Nothing travels faster than light: seeks to raise questions concerning
our faith in the absolute postulates of science. It does this by utilising
the latest commercial applications of technology. Ideological content
attempting to subvert material form.
Information tel: 49-30-6115510 (Marcel Hager, Unwahr Galerie, Berlin)
or: 44-71-3596715 (Kevin Rowe, Simulations, London)

Yoshiyuki Abe

Japan Music And Computer Science Society(JMACS) held the Summer Sym-
posium(SS'92) on Sept.1-3, at Waseda University in Tokyo. Since JMACS was
established in 1985, its bimonthly meeting and annual summer symposium
have been providing a good place to communicate with person from other
fields.  This year, Summer symposium, the main event of JMACS, was
featured as the rehearsal for the International Computer Music Conference
1993 (ICMC'93). Researchers, educators, artists, students and so on, who
are in the fields of computer music, computer science and engineering,
computer art, musicology, psychology, from academic and industrial sites,
totally 120 attended at Paper session and Tutorial, and a large
audience(150+) enjoyed the substantial program of the tape and live
concerts performed in the well equipped hall.

CONCERT SESSION I (Tape Concert) included the latest works of
Marc Battier, Chris Chafe, Trevor Wishart, Tommy Zwedberg, Pierre Bernard,
Francis Dhomont, Carlos Gratzer, Hans Mittendorf, Gerard Pape, Brigitte
Robindore,Zack Settel,Cort Lippe, Shoji Yamashiro, Takuya Shigeta,
Masahiro Miwa, Shohin Kanki, and Suguru Taninaka.

CONCERT SESSION II (Live Performance) included Sakae Fuchino: "Farbenlehre
II" for Piano and computer(1991), Shigenobu Nakamura: "Interface Concerto"
(Live computer music for keyboard player and MIDI-system(1992)), Takehito
Shimuza: "void main" in quest of the interactive world between a
Shakuhachi-player and a computer music system(1992), Kazuo Uehara: "Chaos
alpha II" for MIDI piano and computer with sound-objet and video(1991),
Ikue Furitsu: "Curious fish" from "Myth of 20th century" for NeXT
and Koto with video performance(1991), Hinoharu Matsumoto: "Le premier

During the symposium, "Nervous nest" by Saburo HIRANO was demonstrated
at the lobby.

PAPER SESSION presented following 12 titles.
(Minor changes for the title are given onto Hatayama's and Yamada's
to prevent misunderstandings.)
Y.NAGASHIMA, "An experiment of Neuro Granulation", B.BELET, "Using the
Kyma digital synthesis system as a single, unified environment for
real-time software synthesis, algorithmic composition, and live perfor-
mance", A.YOSHIKAWA, "Composition support system using fuzzy operation"
M.HATAYAMA et al, "Music performance system consists of 90 personal
computers connected through local area network", S.WAKE et al, "The
session system reacting to the sentiment of player", M.AKITA et al,
"Extracting a score from polytone using four-layered feedforward neural
networks", M.FUKINO, "A way to place three dimensional sound sources"
M.YAMADA et al, "Evaluation of naturalness of Ocarina sounds simulated by
frequency and/or amplitude modulated sine waves", S.OMURA et al, "Effects
of pitch information on metric interpretation in melody perception"
T.MURAO, "Identifying structural tones through an objective assessment of
closure points", Y.HORIUCHI et al, "A computer accompaniment system
considering independence of accompanist", W.INOUE et al, "Automated
accompaniment system for singing"

TUTORIAL: Toshio HAYASAKA: "Non-science of musical instruments"

Toshiaki Matsushima, JMACS SS'92 Chair
e-mail:  matusima@tansei.cc.u-tokyo.ac.jp

Information about ICMC'93 are available from
ICMC 1993 Secretariat
c/o The Campus Corporation, Babashita-cho 9, Shinjuku-ku, Tokyo 162, JAPAN
Tel: +81-3-3202-7521, Fax: +81-3-3202-7523, Email: icmc93@waseda.ac.jp


Selected items from Fineart Forum ,  Volume 6 #9
                and Leonardo Electronic News, September 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.

Jane Veeder

This year as I completed a two-year term as Director-at-Large of SIGGRAPH,
I launched a new SIGGRAPH committee (ADM) dedicated to giving the computer
arts, design, and media community a voice within the organization.  This
community is active and makes contributions throughout the computer
graphics field. Through formal efforts under the SIGGRAPH umbrella, there
is great potential to enrich the environment within which this community
works, e.g. promotion of Artist-in-Residencies in research and industry,
endowed arts awards, collaboration with arts organizations abroad, and
conference events.  The initial definition is broad, including fine
artists, all types of designers, and creative arts workers in commercial
media production.  More specific focuses within the ADM committee will be
formed and the future may bring splinter groups with their own distinct
identity and mission.

The SIGGRAPH Arts, Design, and Media Survey (approx 470 distributed at the
conference) was an effort to collect information about this community in
order to assess current SIGGRAPH programs and lay plans for the future.  I
also conducted the first  meeting of the ADM Committee, attended by about
75 people and witness to lively dis

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