#013 Jan 1993


                           THE ISEA NEWSLETTER

                          NUMBER 13, JANUARY 1993
Editors: Wim van der Plas, Dirk Boon (Holland). Correspondents: Yoshiyuki
Abe (Japan), Roger Malina (US), Ivan Pope (UK), Leslie Bishko (US), Rejane
Spitz (Brazil), Jurgen Claus (Belgium). Lay-out: Rene Pare (Grafico de
Poost). Text editors: Ray Archee, Seth Shostak. ISEA, POB 8656, 3009 AR
Rotterdam, The Netherlands. Tel 31-10-2020850, Fax 31-75-701906, Email


FISEA93                                    Roman Verostko
WORKING PAPERS 5                           Jim Demmers
KNOWBOTIC RESEARCH                         Christian Huebler
THE RAINBOW SCORES                         Prof. Celso Wilmer
GOLDEN PLOTTER '94                         Dr. Wolfgang Schneider


During the Third International Symposium on Electronic Art in Sydney, a
survey was conducted regarding ISEA. Results were published in the
December '92 issue of this Newsletter. The following are the main points
to be made from those results:
1-The membership fees are too high
2-Relatively many (30% of the respondents) are not sure they understand
the aims of ISEA
3-Many (60% !) want to participate actively in ISEA.
Some comments on these results:

1 The Fees
Apparently, many people still don't realize that associate membership of
ISEA is free of charge. One cannot call that expensive. However associate
membership is limited in time. Expensive? Most members pay by cheque, in
foreign currency (even though we have been trying to discourage this way
of paying). Ordinary individual membership fee is US$ 50. By the time it
is added to our bank account, banking costs have left no more than US$ 35.
Of student fees (US $ 25), only US$ 16 remains. Membership fees still are
our only source of income. Can we make them even lower?
The board has not finished discussing this issue. Suggestions from our
members (or from people interested in becoming members) are welcome.

2 The Aims
30% of the audience of the ISEA panel was not sure that they understood
ISEA's aims. This seems to be a large number. However, half of those
people hadn't heard of ISEA before the symposium. So, it may be that they
hadn't really had time to carefully read the aims in the ISEA brochure we
distributed at the symposium.
The lesson is: ISEA will have to profilerate itself more in the announ-
cements and calls for participation of the future symposia. The symposia
were initiated in order to initiate ISEA, so now the symposia have to
support the growth of the Inter-Society. Again, suggestions and discus-
sions concerning (the clarity of) our aims are welcomed.

3 Participation
Very many people indicated that they wanted to actively participate in
ISEA. Apparently, this even goes for many of those that say they're not
sure they understand our aims. We wondered whether everybody understood
the question correctly. Perhaps some people thought the question meant
whether they wanted to be involved in future symposia.
We hope that the results indicate that many people are interested in
playing an active role within the context of the Inter-Society. We want to
promote activities by local branches. In Holland, such a branch is
already active.
The Dutch 'branche' has organized several lectures in Holland and is
planning a Dutch Electronic Art Festival this year. The idea behind it is
to have every important Dutch group in the field (art schools, festivals,
etc) represented, thus emphasizing the meta-character of ISEA. The
festival might prove good breeding ground for Dutch representations during
future international ISEA symposia.
We strongly encourage other national (local, regional, etc) groups to do
the same. ISEA will help all it can. In principle, the branch can use
some of the membership fees that are raised in that country to cover
initial costs. Yoshi Abe has been trying to get a Japanese branch of the
ground for some time now, Rejane Spitz is very active in this vain in
Please, contact us IF the idea appeals to you at all.
ISEA means to stimulate communication and cooperation in the field of
the electronic arts. We want to hear from you.

Anyone wishing to give his or her graphical electronic art (computer
graphics, processed images, etc) exposure amongst the critical and
well-informed group of people who read this Newsletter, please, send us
pictures! Of course, colour printing is not within our reach yet, so you
should send pictures that are, or scan well in, black & white. You can
either send a hard copy or a picture file, we can read almost anything.
Please, include a copyright notice (that will be printed with the pic-
ture), A short technical description (software, hardware used) and a brief
artist's statement. We look forward to exhibiting your work!

Professor Jurgen Claus, our new correspondent for Belgium and Germany,
sent us a copy of the Centre Overoth Newsletter. Centre Overoth is a
laboratory founded by Nora and Jurgen Claus in Baelen, in the German
speaking part of Belgium, just south of the Dutch border and just west of
the German boarder (how European can you get?).
The center is an artistic laboratory with the aim of involving art in the
discussion about restoring the balance of the Earth.
The work, generated here, was shown at a network of exhibitions and
symposia in 1992. We hope to keep you informed about what happens at the
For more info, contact:
Centre Overoth, Overoth 5
B-4837 Baelen, Belgium, Phone 32-87-743791 & 92, fax   32-87-743796

This new "European Magazine for Electronic Audio-Visual Creation"
appeared for the first time (November 92 - January 93). It is bi-lingual:
English and French, and partly in full colour. Head editor is Alan McClus-
key.  The first issue contains articles like "Matter & Memory" and
"Another Television", interviews with Alexander Hahn and David Hall and
information on publications, screenings, festivals, etc.
Looks good.
The address:
POB 98, CH-1255 Veyrier, Switzerland, phone/fax: 41-22-7841395

Roman Verostko

FISEA93 : The Art Factor

November 3-7, 1993, Minneapolis, Minnesota, USA.

Participating Institutions:
Minneapolis College of Art & Design (Host)
University of Minnesota School of Music
Walker Art Center
Minneapolis Institute of Arts.

Program Chair: Roman Verostko, MCAD.
Email: roman@mcad.edu
phone: 1-612-8252720

International Endorsements: This symposium is in the series initiated in
Utrecht in 1988 and endorsed by the Inter-Society for the Electronic Arts
(ISEA), Leonardo, International Society for the Arts, Sciences & Tech-
nology (ISAST), Australian Network of Art & Technology.

Art and Electronics.
The Minneapolis symposium aims to present exhibitions and current
research, theory and practice related to art and electronics, with an
emphasis on "the art factor".  The term "art" applies broadly to forms
that address sound, image, word and body either specifically or as inter-
media. This includes works by visual artists, performers, musicians, and
artists developing new electronic formats.

Who participates?
Artists, scientists, arts critics, curators, educators, and others
interested in the use of electronics in the arts are encouraged to par-
ticipate. Beginning in 1993 this biennial series becomes an annual event
bringing together experts from the worlds of art, science and technology.

This 1993 symposium will be especially interested in artistic procedures
and information processing by artists. This includes technical procedures,
related research, and aesthetic/critical assessment of such art. Panelists
and speakers are encouraged to illustrate presentations with "works of
art". Practicing artists, who use electronic technologies, will be wel-
comed to address procedures and applications.  The symposium also seeks to
stimulate dialogue on arts criticism and foster an informed critique of
"the art factor" in the artist/machine dialectic.

Nov 3-4    Wed-Thu   Workshops/Courses
Nov 5-6    Fri-Sat   Papers/Panels
Nov 7      Sun       Poster Sessions
Nov 4      Thu Eve   MCAD Gallery, Art Show opening
Nov 5      Fri Eve   Walker Art Center, Electronic Theater
Nov 6     Sat Eve   Tedd Mann Concert Hall, University of
Minnesota, Sound/Performance  Arts

Experts from all related disciplines are invited to propose appropriate
offerings.  Workshops and courses may convene for a one or two day ses-

The FISEA 93 program committee invites presentations on topics in art,
science and technology related to the use of electronics in the arts.
Subjects may be addressed from the perspectives of the researcher, the
artist, the applications developer, the arts critic and other interested

The following questions suggest ways one might explore a paper or panel
topic. (1) How do we establish a basis for criticism in animation? music?
virtual reality? real-time performance and networked art?  (2) How do we
assess "found mathematical form" as art?  Why is one visualization (or
sound synthesis) "scientific" while another is "art"?  Are they both art?
What cultural assumptions prevail? (3) Do form-generating algorithms,
interfaces, synthesizers and networks introduce new dimensions to art
making procedures.  What challenges do these tools bring to the art critic
or curator? (4) Are networks changing the shape of world consciousness.
What are the moral and social issues associated with the use of networking
in the arts?

All subjects open. Short: 20 minutes; Long: 35 minutes.

All subjects open. Persons proposing a panel should contact potential
panelists in advance of a proposal.  Those who propose panels are urged
(but not required) to consider cross-disciplinary experts and diverse
viewpoints. Panels are assigned 90 minutes.

Video Papers.
Topics that cannot be expressed in print. Should be accompanied with an
abstract not to exceed two pages.

The last day will be  devoted to Poster Sessions, providing an exciting
opportunity for individuals to present up-to-the-minute talks on recent
research and/or artistic practice. Parallel Sessions; 45 minutes maximum.

Artists who have integrated the use of electronics in their work are
invited to submit works for the FISEA 93 exhibitions. In all instances
submissions must be conceived as works of art. Submissions for
non-conventional formats (interactive, VR, etc) are welcomed and will be
accommodated in as much as possible. Submit non-conventional formats to
the category which appears most appropriate.

A juried exhibition will be mounted in the MCAD Gallery for the month of
November.  Because of their special nature some works will be show cased
during the symposium in alternative experimental exhibition spaces.
Submissions may be 2-D, 3-D, on-line, and installations.

Artist's Slide Show
Works may also be submitted for the Artist's Slide show, a programmed
selection of artists 35mm slides.

Video, film, intermedia.  This includes selected sequences which serve as
a meaningful experience relative to a longer work of art. Works will be
selected for a premier showing on the evening of Friday, November 5, 1993
at the Walker Art Center. Some works, because of program limits, length,
and/or special features, may be show cased at alternative times and sites.

This program welcomes works which have integrated the use of electronics
with the sound/performance arts. This includes traditional music, dance
and theater, as well as new directions in non-traditional formats.
Proposed works might use computers, lasers, MIDI controlled sound and
light, digital synthesis and sampling or other electronic media.

The primary performance evening will be part of the opening season for the
new 1250 seat Tedd Mann Concert Hall at the University of Minnesota School
of Music, Saturday, November 6, 1993.  Artist performers wishing to
propose works for this Ted Mann Concert Hall evening should contact Dr.
Lloyd Ultan immediately.

Other sound/performance proposals are invited for more limited facilities
and spaces. Accepted works will be scheduled at different times in various
locations suitable to their specific requirements and appropriate for an
overall balanced program.

Listening Chamber.
Composers may also submit work for the symposium "Listening Chamber" where
recorded works will be played during the symposium.

For your entry form and all details, contact ISEA or:

MINNEAPOLIS, MN 55404-4343

Phone: 1-612-8743754
Fax: 1-612-8743732;

Jim Demmers

This marks the fifth year that PUBLIC DOMAIN has provided an informal
forum for the presentation and discussion of ideas and arts for what has
been called the crises in representation (art), legitimation (politics),
and communication.  PUBLIC DOMAIN as an organization is devoted in both
theory and practice to examinations of the relationships between art and
ideas, and more specifically, the role that technology plays in constitu-
ting modern life and thought.  To facilitate these explorations we conduct
a series of presentations called WORKING PAPERS several times a year,
publish a limited edition of the journal PERFORATIONS, and provide on-line
computer network services for PUBLIC DOMAIN members.

Further information concerning WORKING PAPERS and PUBLIC DOMAIN may be had
by contacting:

P.O. box 8899
Atlanta, GA  30306-0899 USA
Tel 1-(404) 612-7529, E-mail: jdemmers@pd.org (Jim Demmers)

Christian Huebler

Call for international participation in new art/science project.

Simulation Room -Mosaic of Mobile Sound Data
We are a group of artists and scientists at the Academy of Media Arts
Cologne,  and will be showing a VR installation in February at the
MEDIALE93 - Festival for Media Arts and Media Future - in Hamburg,
Germany. The installation, housed in the freight ship Cap San Diego in
Hamburg - harbour, has three main areas.

An interactive, walk-in, data base will be installed in two of the cargo
holds (originally used as freezer rooms), on the freight ship Cap San
Diego, in Hamburg harbour.
The first cargo hold, a physical walk-in room corresponds to a self-
organising, artificial data room made up of sound data, which will be
called up, from around the world, in the form of short musical or verbal
sound statements. Visitors will navigate through the physical room with
the aid of anultrasonic room sensor and an artificial eye, (a small
monitor receiving orientation information via radio waves which is placed
in front of one eye). The sensor and private eye allows the visitor to be
informed about, and interact, with the virtual room.
As a virtual visitor you are integrated into a computer system, which
rebuilds rules of a self-organising complex organism (a model by
Prigogine). From the characteristics of the sound statements, these rules
build an interactive system similar to a cultural community and influence
the behaviour of the carriers of musical and verbal data (the agents).
The visitor can make contact with these 'agents' as he navigates through
the room, and can activate their sound information, producing a real-time
concert in the physical room.
The resulting virtual reality, with constantly changing new structures of
agent groups, can be observed at all times from the control room (the
second cargo hold). Information about progress in the virtual room is
displayed via a large video projection. Further monitors inform the
visitor about the arrival and geographic origin of the sounds in the data
bank, the state and developments in the real, and artistic sound room, and
describe the use of the ultrasonic sensor and the artificial eye display.

How to send sound files to KR+cF:
Please send your sound files in AIFF format (audio interchange file
format, see Inside Macintosh, Volume VI", chapter 22: p. 22-33).
We can also read next and wave formats. You may send standard audio tapes
or DAT tapes with your recording as well.
The sample should be a sound statement and express your personal attitude
towards the world. What we need is musical material, verbal sound or
noise, which can be collected in and help to create our virtual space.
Your sound sample should be in mono and about 6 seconds. It might be a
good idea to use your name and country as a file name, e.g.
Let us know if anything is not clear.

This is your chance to be part of a unique virtual enviroment, which will
be explored by many visitors during the duration of the exhibition.  We
look forward receiving your statements and incorporating your contribution
into the virtual room
Please send it as soon as possible.
Specific information on how to send us your details:
Parameters (preferred:  8 bit,  32 kHz):
        length:                   max. 6 seconds
        resolution:             8, 12 or 16 bit
        sample rate:            22, 32 or 44.1 kHz
        sound type:             mono
Sending your file (e.g. mike_mueller_germany.aiff):
via UNIX mail (INTERNET) type the following at the UNIX prompt:
        uuencode mike_mueller_germany.aiff mike_mueller_germany.aiff | \
        mail  krcf_snd@khm.uni-koeln.de
via anonymous ftp type the following at the UNIX prompt:
        ftp obelix.khm.uni-koeln.de
        anonymous               /* enter anonymous as login name   */
        your_name               /* enter your name as password     */
        bin                     /* switch to binary transfer mode  */
        send mike_mueller_germany.aiff
via COMPUSERVE (e.g.  on Apple Macintosh):
    use the program BinHex or STUFFIT to translate the binary sound
    file into ASCII code. Your file must be less than 560 KByte which
    can be achieved by using the preferred parameters of 8 bit
    resolution and 32 kHz sample rate.
    In COMPUSERVE enter the following commands:
        go mail
        3                                     (upload a message)
        2                                     (select a protocol)
        1                                     (e.g. XMODEM/protocol)
        1                                     (ASCII transfer type)
        mike_mueller_germany.aiff.ascii               (file name)
        1                                     (send)
        aiff file                             (subject)
        aiff file                             (subject)
        your_name                             (your name)

If you send us a standard audio tape or dat, please post it to:
Knowbotic Research
Weyerstrasse 49
5000 Cologne 1, Germany
We will send your material back.

Prof. Celso Wilmer

A new system of musical notation was necessary to bring on the possibility
of a VIDEO-SCORE. That is, a music score in the shape of a videotape,
running metronomically at real time and showing through a self-evident
notation precisely what must be played at each moment.

Some could ask, "Couldn't we have done it with our traditional musical
notation?". We couldn't.

First because those usual symbols for duration depend on a convention. And
so they don't show - in a self-evident way to the eyes - how much time,
real time, the musician must attribute to each of them. As a solution to
that, Descartes would have suggested us to use a symbology in which each
time-span could be visualized in terms of the space occupied by its
related symbol. And this is what we did: the new duration symbols are
shaped like drops of different sizes. Each drop exhibits explicitly its
duration and its relation to the others, and will "fall" in the monitor
screen for a time corresponding to the drop's length.

And second because the traditional notation is commonly displayed in black
& white. If we just add the resource of colors to the musical notes, we
have a much faster way to their identification by the score reader. So, we
have built a chromatic model which is able to express musical consonance
in terms of color consonance, or color closeness. This music score of
colored drops "teaches" Chords Theory through its colors.

This new system of musical notation is called RAINBOW SCORES. It was
developed in the crossroads of my work as a Mathematics educator, visual
communicator and music teacher - in the service of music pedagogy. The
Project's Book and the First Songbook have been accepted for publication
by Editora UnB, Brasilia, Brazil. The FIRST VIDEO-SCORE is at a prototype
stage, via computer animation and sonorization. Our aims now are to find
an international co-editor for the publications, and to raise finnancial
means to produce the FIRST VIDEO-SCORE.

So, foreign editors, literary agents, sponsoring agencies, as well as
curious people are warmly welcomed to contact me:

Prof. Celso Wilmer
Departamento de Artes
Rua Marques de Sao Vicente 225
CEP 22451 - Rio de Janeiro - RJ - BRASIL
fax: (55-21) 246-2890

GOLDEN PLOTTER '94  Computer Art Competition
Dr. Wolfgang Schneider

In '94, this competition will be held for the fifth time in Germany.
Organizers are the Municipal Museum of Gladbeck and the Municipal Gallery
in the Rathauspark in cooperation with the Gesellschaft fur Elektronische
Kunst, Koln. The competition is supported by the Inter-Society for the
Electronic Arts and the Kommunalverband Ruhrgebiet. A selection from the
entries will be exhibited in Gladbeck, Ibbenburen, Cologne, England and
other places.
Winners until now:
'86: Quido Sen (Switzerland) & Petr Vrana (Germany)
'87: Mark Wilson (USA) & Eugen Brochier (Austria)
'88: Georg Muhleck (Germany)
'90: Shahin Charmi (Germany)
'92: Kammerer-Luka & Kempf (France)

For an entry form, contact:
Dr. Wolfgang Schneider
Museum der Stadt Gladbeck
Wasserschloss Wittringen
Burgstrasse 64, D-4390 Gladbeck, Germany
Phone 49-2043-23029, fax  49-2043-65240


Selected items from Fineart Forum, Volume 7 #1 and Leonardo Electronic
News,  January 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 is published by the Mississippi State
University/NSF Engineering Research Centre. LEN is published by the Inter-
national Society for Art, Science and Technology on behalf of The Art,
Science and Technology Network.

Ermel Step

Call for Articles

The Electronic Journal on Virtual Culture has been created and will be
published by Arachnet. Virtual culture is computer-mediated human ex-
perience/behavior /action/interaction, such as electronic mail, conferen-
ces, and journals; information distribution/retrieval; the construction
and visualization of images/representations/models of reality and/or
worlds; and global connectivity.
The purpose of the refereed journal is to foster, encourage, advance, and
communicate scholarly thought, (including analysis, evaluation, and
research) in multiple disciplines about virtual culture.

Send manuscripts by electronic mail to:
Ermel Stepp
The Arachnet Electronic Journal on Virtual Culture
BITNET   M034050@Marshall, Internet M034050@Marshall.wvnet.edu
Call For Editors

Editors are sought for The Arachnet Electronic Journal on Virtual Culture.
General qualifications include an academic degree, expertise in computer
networking and/or electronic journals, nominations and suitable referen-
ces, and verifiability.

Subscription Details

The Journal will be available via listserv@uottawa through the electronic
conference Arachnet. To subscribe to Arachnet send an e-mail message to
listserv@uottawa with a one-line message in the text:

subscribe Arachnet Your-first-name Your-last-name

Of course, use your own real first and last name.

SIGGRAPH '92 Visual Proceedings available
Steve Cunningham

SIGGRAPH has recently received the SIGGRAPH '92 Visual Proceedings from
the conference, and we got more than we expected -- we're overstocked.
This is a wonderful publication with well over 100 color plates in its 112
pages.  Our normal member price is $25.00, but through January 15, 1993,
we are pricing it at $20.00 for all orders to trim our stocks and to make
it available to everyone in the graphics community.  For this same time,
we are also reducing the price on the 1989 through 1991 SIGGRAPH art show
catalogs from $20 to $15, and since we expect people to want to order
several years' catalogs at once, we are making the entire four-year set
available as a bundle for $60.

SIGGRAPH publications may be ordered from
Publications Marketing Manager
ACM Press
1515 Broadway, New York, NY  10036,  USA
1-800-342-6626, 1-410-528-8596 fax single-copy orders
+1 410-528-4261 customer service, or orders outside the USA or in
MD or AK (8:15 - 4:15 M-F US Eastern Time.)
e-mail inquiries: ACMPUBS@ACMVM.BITNET

To expedite your order, the order numbers are:
     SIGGRAPH '92 Visual Proceedings: 428922
     SIGGRAPH '91 Computers in Art and Design: 428912
     SIGGRAPH '90 Digital Image -- Digital Cinema: 429904
     SIGGRAPH '89 Computer Art in Context: 428891


Call for Participation

Subject: The general subject of the exhibition should focus on the visual
arts. Preference will be given to those proposals which address subjects
generally seen in traditional art museums.
Content: The exhibition should not primarily address the history of art,
but rather should deal with one or more of the following areas:
     a. issues of connoisseurship
     b. issues of aesthetics
     c. social, collecting or other histories of art
     d. looking at or seeing art
     e. the role of the artist
     f. the materials of art and art making
     g. interpretation of art in museums

Goal: The goal of this exhibition experiment is to develop models which
might be used in creating more effective, more meaningful exhibitions in
art museums.

Proposals should be mailed to:
The Experimental Gallery
Smithsonian Institution, AI 1240-MRC 0441
Washington, DC 20560, USA.
Tel 1-(202) 633-9006 Fax, Internet address:  asmem117@SIVM.SI.EDU

For additional information, please call:
Kimberly Camp, Director, The Experimental Gallery, Tel: 1-(202) 786-2850


Hoping this Newsletter reaches you in time we forward this announcement:
The Virtual Environment 'Menagerie' is on show in the Centre Pompidou in
Paris. It is part of a series of exhibitions on the theme of virtuallity.
'Menagerie' is an installation by Scott Fisher. The interactive animations
for this installation were made by Susan Amkraut & Michael Girard, the 3-D
sound is by Mark Trayle. The interface is a so-called BOOM (Binocular Omni
Orientation Monitor) connected to a Silicion Graphics Indigo Elan.
January 11-24, 1993
14.30 - 19.30 hours
Galeries Contemporaines
Centre Georges Pompidou, Mezzanine Sud
75191 Paris, France, Phone: 33-1-42771233

During the month of February, Carl Eugene Loeffler will conduct presen-
tations on the subject of NETWORKED VIRTUAL REALITY at the following:
Computer Science Laboratory, SONY Corporation, Tokyo.
College  Art Association, Seattle.
Simulated Presence: Critical Response to Electronic Imaging, Arizona
State University, Tempe.
The Project investigates the basis for multiple users located in distant
geographical locations, to be conjoined in the same virtual, immersion
environment. The project employs telecommunication hardware, as well as
the hardware associated with virtual reality: head mounted display (HMD)
and multi-directional navigation devices., and utilizes WorldToolKit, a
virtual world development program, available from Sense8 Corporation.
Carl Eugene Loeffler
Project Director Telecommunications and Virtual Reality
STUDIO for Creative Inquiry, Carnegie Mellon University
Email: cel@andrew.cmu.edu

The Second Coming of the Cryptics-Video as Art Festival
1 February 1993
Contact: Monitor 93, Bbox 63 S-421 21 V Frolunda, Sweden,
phone + (0)31 85 16 65, fax + (0)31 85 16 67

The Westin St. Francis Hotel, San Francisco, CA, USA
3-5 February
Contact:  Christine Hoffman, Rodgers and Hammerstein Archives
of Recorded Sound, The New York Public Library for the Performing
Arts, 40 Lincoln Center Plaza, New York, NY, 10023-7498, USA,
tel: 212-870-1662, fax: 212-787-3852, E-mail: 4642927@MCIMAIL.COM

12th Monte Carlo International Forum on New Images
17-19 February 1993
Contact:  M. Philippe Queau, INA, 4, avenue de l'Europe,
F-94366 Bry-sur-Marne Cedex, France, Tel 33-1-49832714, fax: 33-1-49832582

Conference on Human Factors in Computing Systems, ACM conference
April 24-29, 1993
RAI Conference Center, Amsterdam, Holland
Advance Program available from:
Interchi 93 European Office:
Soerenseweg 32, 7314 CE Apeldoorn, Holland
Phone: 31-20-5485591, fax:   31-20-6441746
North-American Office:
POB 1279, Pacifica, CA94044, USA
phone: 1-415-7381200, fax: 1-415-7381280, Email: IC93-OFFICE.CHI@XEROX.COM

28-30 April 1993
SOBRACON (Brazilian Society for Numerical Control, Industrial Automation
and Computer Graphics) will be carrying out - together with WCGA (World
Computer Graphics Association) and FENASOFT - the COMPUGRAFIC ' 93, which
will be constituted by the following events:

-    EXPOCAD/CAM (International Exhibition of Equipments, Products and
     Services on Computer Graphics)
-    CICOMGRAF (International Congress on Computer Graphics)
-    ENSIGRAF (Meeting on Computer Graphics Teaching).

The events will be held at the Convention Center of ANHEMBI PARK, in Sao
Paulo, SP, Brazil.
For further information contact:
SOBRACON, Rua General Jardim 645 - 7o. andar, cjto. 72
CEP 01223-011, Sao Paulo - SP - Brazil
Phone: (55-11) 256-1192, Fax: (55-11) 256-9496

ISEA distributes a hard copy version of 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 addresses men-
tioned in this Newsletter by contacting ISEA.

The Inter-Society aims at joining a world-wide network of artists, scien-
tists 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 at the address on the front page.

Support: Groningen University, Amsterdam University, De Fabriek/Hollandia.
End of Newsletter


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