FISEA93 Jun 1993


                               SPECIAL EDITION



                           UPDATE:   June 5, 1993.

CONTENTS:       Evenings: Sound / Performance / Electronic Theater
                Exhibitions, outline of features & sites
                Workshop Descriptions & Schedule
                Papers & Panels, Topics & Schedule
                Projects & Applications, Planned Features/Schedule
                Registration, Fee Schedule & Forms
                Workshop Enrollment Forms
                Accomodations, Prices, Reservation forms.
                Endorsements & International Advisor List

Use this information now to register, enroll in workshops, and make room
reservations. To insure your place at FISEA we recommend early workshop
enrollment, symposium registration, and room reservation. There are
limited spaces in the workshops, a limited block of reserved rooms. The
planned presentation halls limit the number of registrants that can be


  Wed Nov 3  Sound Performance Arts (Live), Whitney Theater
  Thu Nov 4  MCAD Auditorium & Alternate sites.
  Fri Nov 5  Walker Art Center, Electronic Theater.
  Sat Nov 6  Tedd Mann Theater (Live), U of M, Concert/Performers


Note: Boundaries are fluid. Interdisciplinary works using animation,
interaction, and sound are included in several venues. Live interactive
participation pieces may be mingled with installations and performance.

EXHIBITIONS: Reception and Grand Opening 5:00-7:30 (Nov 4), followed by
selected electronic events in the MCAD complex.  Submissions received or
expected include use of electronics with traditional media and new ex-
perimental forms. Technologies include: electrophotography, digital color
laser technology, expert systems, stereo lithography, artificial life, VR,
AI, multi media, sensors, robotics, networking, telecommunications, and

MCAD GALLERY: Selected works installed for one month: 2-D, 3-D, instal-
lations and experimental electronic forms suitable for gallery presen-
tation. Equipment, security and other factors determine inclusion in this
one month show.

INTERACTIVE and NETWORK ARTS. Emerging experimental forms will be
presented in alternative spaces during the Symposium.

SLIDE SHOW. Viewing room with continuous showing of selected visual works.

LISTENING CHAMBER. Selected music / sound art will be presented during the

ELECTRONIC THEATER. Computer animation, video, film, and experimental
form. Includes selected sequences which serve as a meaningful experience
relative to a longer work.  Presentation at the Walker Art Center, Friday
evening, November 5.

SOUND/PERFORMANCE EVENTS.  Features work that integrates electronics with
the sound/performance arts. This includes traditional music, dance and
theater, as well as new directions in non-traditional formats. Live
performance presentations include an evening at the Whitney Theater (Mpls
Community College, Nov 3) and a featured evening on Saturday as part of
the opening season for the new 1250 seat Tedd Mann Concert Hall at the
University of Minnesota.  Short electronic events in alternative spaces in
the downtown area are planned for Fri & Sat 5:30-6:00 PM.

WORKSHOPS:  WED & THU,  NOVEMBER 3-4,    Studio sites to be announced.

(1) "IRCAM Signal Processing Work Station (ISPW): Strategies and
Approaches for Live Interaction". Cort Lippe & Zack Settel, Centre Georges
Pompidou, IRCAM, Paris. Introduction to the IRCAM Signal Processing Work
station (ISPW) version of MAX and the DSP library which runs on real time
on the ISPW. Includes: beginning level intro to programming in MAX;
exploring multi-processor communication, code resource programming in C
(to create external objects), and various algorithms for synthesis and
processing. Real musical applications. (2 Days, Wed-Thu) Limit 15.

(2) "Animatronics for the Artist". Kenneth E. Rinaldo, Emergent Systems,
San Francisco. Intro to mechanisms for adding movement and computer
control to art work. Hands on experimentation will culminate in the
construction of a functioning robotic arm.  Entry level. Just right to
explore potential of robotics for one's own artistic goals. (2 Days,
Wed-Thu) Limit 15.

(3) "Software Environments for Creating Interactive Sound Art on Macintosh
Computers". Michael Pelz-Sherman, UCASD. Addresses programming tools for
creating real time human-machine interactive sound pieces. For artists,
composers, performers, others seeking to integrate inter- active sound in
their work. Programming experience not required. Helps you find the
programming environment for your needs. (Limit 20). Enroll for both days
(3), Wed only (3-W), or Thu only (3-Th).

(3-W) Day 1 (Wed). "Fundamentals & Background".  New continuum of the
instrument-system-piece; formal languages; emerging standards and hardware
interface requirements; event scheduling, data structures, linking
graphics & sound, human interface.

(3-Th) Day 2 (Thurs). "Demonstration and Assessment".  Strengths and
weaknesses of programming architectures: MAX, HyperCard/HyperMIDI, Moxie,
Macintosh Common Lisp. Which is right for me?

Wed Nov 3, One Day Only

(4) "Digital Future For Art: Multi-Media and CD-ROMs". Josepha Haveman,
Artist. Multimedia and CD ROM production for individual artists. Includes:
equipment requirements, aesthetic concerns, archiving techniques, presen-
tation of dynamic art directly from disk. (1 Day, Wed) Limit 20.

(5) "Applied Cyberspace: Artists and Existing Network Structures".
Eric S. Theise, Producer of "Jacking In: A monthly Series on Cyberspace
Literacy".  Intro to major international networks. Learn how to connect to
locate, access, and disseminate resources, -- documents, programs, images,
sound files -- across the Global Matrix. Emphasizes opportunities for
artists including how to keep costs down. Entry level with material of
value to experienced users. (1 Day, Wed) Limit 20.

Thu, Nov 4, One-Day Only

(6) "Using Lisp to express musical ideas". Peter Beyls, Composer, Per-
former, Researcher, Belgium. Use of LISP for building a personalized,
integrated environment for musical composition based on open, modular
system in Common-LISP developed by the author. Detailed algorithms for
complex orchestral structures, non-realtime score processing, knowledge
based orchestration, multi-timbral MIDI control. (1 Day, Thu). Limit 10.

(7) "Programming Interactive Image, Sound, and Quicktime Stacks in Hyper-
card". Steve Wilson, interactive artist, author of "Multimedia Design with
Hypercard".  Intensive; hands on; how to program interactive events that
manipulate image, sound, and digital quicktime movies in context of
experimental art. For novices and intermediates. (1 Day Thu) Limit 20.

(8) "Computer-generated Imagery and Printmaking". Michi Itami, Artist
Printmaker, City College of New York. Focuses on producing computer
generated images on archival paper with traditional printmaking techni-
ques. Hands on demonstrations and experience especially in positive to
positive plate lithography. Sign up early and Michi will contact you on
preparing ahead of time. (1 Day, Thu) Limit 12.

(9) "Creative Digital Photography". Laurence M. Gartel, School of Visual
Arts, New York City, Gartel Computer Graphics. Overview of Canon's
Still-Video System and Kodak's DCS200 Digital Camera.
Operations and features of each system; interfacing to a Macintosh;
enhancing the image; various hard copy options are reviewed.
Beginners and intermediate users. (1 Day, Thu) Limit 20.

Half Day: Thu, Nov 5.

(10) "Desktop Video: Digital Manipulation of Tape". John Fillwalk, Media
Artist, Director: Film and Video Programs, Minneapolis Community College.
Explores image gathering, creation and manipulation on a Commodore Amiga
platform; integrates camera, videotape, and computer. Covers 2D and 3D
transitions (New Tek Video Toaster), computerized editing (using Amilink
and  SVHS), Paintbox, Morphing, Image Processing and 3D Animation. For
filmmakers, animators and computer artists. (Half Day, 1:30-4:30 PM) Limit

(11-AM and 11-PM) "Using Multichannel Biosignal Input Devices for
Controlling Computer Graphics and MIDI Music Applications". Timothy
Desley, Electronic Media Artist, Cray Research.  Explores innovative
biofeedback techniques to control computer graphics and MIDI music ap-
plications. Overview of the hardware, software, and biocontrol devices.
Entry level; introduces creative possibilities for artistic experimen-
tation. Limit 15. Half day - choice of AM or PM Session (9:00 AM-12:00 PM
or 1:30-4:30 PM).


Note: Opening session each day is plenary.  Panels & papers have been
assigned in 1.5 hour blocks. Six 1.5 hour blocks are distributed in two
parallel meeting rooms each day.  Three papers in a block indicates that
each presentation is alotted 30 minutes.  All assignments are preliminary
and subject to change.

9:00 - 10:00 AM, Friday November 5, Plenary Session (Main).

"Art and Technology: A Paradox or a Challenge to Articulate a Necessity of
Faith", Jan Hoet, Director, Museum Contemporary Art, Ghent, Belgium;
Artistic Director, Documenta IX, Kassel, 1992; President, International
Association of Art Critics.

10:30 AM-12:00 PM, Room A

"Aesthetics of a Virtual World", Carol Gigliotti (OH)
"Semiotics of the Digital Image", Patricia Search (NY)
"Interactive Art & Aesthetic Experience", George Shortess (PA)

10:30 AM-12:00 PM, Room B

"Interactive Journeys...", Norie Neumark (Australia)
"Configuring Hospitable Space", Craig Harris (CA)
"Live Interaction Applications for Real-time FFT-based Resynthesis".
 Z.Settle & C.Lippe (France)

1:30 PM-3:00 PM, Room A

"Robotic Choreography: Redefining. . .", Margo Apostolos (CA)
"The Electronic Garden", Iian Whitecross (NY)
"Deterministic Chaos, Iterative Models...", Martin Herman (CA)

1:30 PM-3:00 PM, Room B

"User's Guide to the Electronic Cliche",  Delle Maxwell (NJ)
                                   Annette Weintraub (NY)
"Qualitative, Dialectical and Experiential Domains of Electronic Art",
                                   Rejane Spitz (Brazil)
"Art in the Age of Ubiquitous Computing", Rich Gold (CA)

3:30 PM-5:00 PM, Room A

"Coping With Hyperculture (Panel)", Simon Penny (FL), Chair; "Nano
Thoughts & HyperAesthetics: Art Speed and Interpretation", Peter
Lunenfeld (CA); "Controlling Attention: Hollywood & VR", L.Manovich
(NY); "Virtu-real Space", Schultz (NJ).

3:30 PM-5:00 PM, Room B

"Scientists Who Do Art & Artists Who Do Science", Trudy Reagan (CA)
"Digital Artists", Carol Flax (CA)
"Creativity & Computation...", Peter Beyls (Belgium)


9.00-10:00 AM, Plenary Session, Main

"The Soul and the Machine: Artists and Technologists in Collaboration",
Brenda Laurel, writer and researcher on interactive media and
interface design.

10:30 AM-12:00 PM, Room A

"The Network Without Walls: The Re-definition of Art in an Age of
Telecommunications (Panel)", Greg Garvey (Canada), Chair; R.Ascott
(United Kingdom), Brenda Laurel (CA), Carl Loeffler (PA), Gene Youngblood

10:30 AM-12:00 PM, Room B

"Formal Logic & Self Expression", Ken Musgrave (CT).
"Kinetic Painting, Technology and Abstraction", Samia Halaby (NY)
"The Beauty of the Algorithm", Brian Evans (TN).

1:30 PM-3:00 PM, Room A

"The Computer: A Tool For Sculptors (Panel)", Rob Fisher (PA), Chair;
Stewart Dickson (CA), Timothy Duffield (PA), Helaman Ferguson (MD),
Frank McGuire (OH), David Morris (NY), David Smalley (CT).

1:30 PM-3:00 PM, Room B

"Aesthetics & Epistemology of Artificial Life", Louis Bec (France)
"Cellular Automata Music Composition", Eduardo Miranda (Scotland)
"The Computer Virus As a Creative Tool", Joseph Nevchatal (France)

3:30 PM-5:00 PM, Room A

"Site Specific Work: Digital Lighting...", Leni Schwendiger (US)
"Interactive Architecture", Christian Moller (Germany)
"The SOLART Global Network", Jurgen Claus (Germany)

3:30 PM-5:00 PM, Room B
"Holography & the Landscape Tradition", Rene Barilleaux (SC)X
"Imaging With Color Copiers: Survey of Artworks", Mary S. Witte (ID)
"New Relationships: Artists & Tech/Sci Research", Stephen Wilson (CA)


8:45- 9:15 AM  College Auditorium: Intro to Projects & Applications

Projects & Applications sessions provide an opportunity to interact
with colleagues who are experimenting or doing research with art forms
and technologies of mutual interest. Artists, musicians, performers,
and researchers present current theory & practice in a classroom
/ studio context. College studios and classrooms will be used for
parallel sessions assigned 45 minutes each in five time blocks:

(1)  9:15-10:00 AM     (2) 10:15-11:00 AM
(3) 11:15-12:00 AM     (4)  1:00- 1:45 PM  (5) 2:00-2:45 PM

Topics received include practice and experimentation with:  Digital
photography, networked virtual reality, artificial life, robotics,
telecommunications, desktop cable TV, interactive electronic forms
including VR, autonomous/sensing sculpture, algorithmic experiments,
hypertext, holography, polyhedric form generation, biofeedback,
virtual environments, solid modeling (sculpture), electrostatic copier

Artistic forms include: multi-media, body movement, musical
composition, architecture, electronic cinema, sculpture, painting,
poetry, writing, performance.

3:00 PM    Annual ISEA Plenary Session. Assessment / view to the future

Wim van der Plas, ISEA, (Netherlands), Roger Malina, ISAST (USA), Ross
Harley, TISEA (Australia), Roman Verostko, FISEA '93 (US), ISEA '94
Director (Finland), ISEA '95, Director (Montreal).


     Nov 2   Tue      12:00 PM - 6:00 PM
     Nov 3-5 W,Th,Fr   9:00 AM - 5:00 PM
     Nov 6   Sat       9:00 AM -12:00 PM


Conference Registration Fee, US Dollars:

$295 if received by August 15
$325 if received between August 16 and September 30
$360 after September 30

Conference registration fee includes entry to all FISEA 93 events
including  papers, panels, projects & applications, art exhibit(s), 3
coffee breaks, two lunches, reception, evening events, electronic
theater, Ted Mann concert hall.


Workshops. Lunch included except for half day sessions. Sessions meet:
(AM) 9:00-12:00  / (PM) 12:30-4:30.  Enrollment by September 15
is expected. Sessions with low enrollment may be cancelled after
that date. Enroll early as most workshops are expected to fill.

Each 1 day session: $ 95 ( $110  after September 15)
A two day session:  $175 ( $200  after September 15)
Half day session:   $ 45 ( $ 50  after September 15)


Cancellation policy for conference and courses:

Cancellations must be in writing
If received
  - by October 1 : full refund less $25 handling fee.
  - between October 2 and October 15: 75% refund.
  - between October 16 and 25: 50% refund
  - no refunds after October 26
  - no refunds for "no shows". Alternate attendees permitted.


Registration Form (Name & Affiliation as wanted on badge):






Phone (Work)______________(Home)_______________FAX_______________

To enroll in courses circle workshop number(s) below.  For First
Choice circle workshop(s) you wish to take. Your first choices may be
filled. You may indicate 2nd or 3rd choices as alternates if you wish.

First Choice:  1  2  3  3-W  3-Th  4  5  6  7  8  9  10  11-AM  11-PM

Second Choice: 1  2  3  3-W  3-Th  4  5  6  7  8  9  10  11-AM  11-PM

Third Choice:  1  2  3  3-W  3-Th  4  5  6  7  8  9  10  11-AM  11-PM

Total amount for workshops     $______________

Conference Registration        $______________

Total Amount:                  $______________
Method of Payment:

___ Check. Payable to MCAD/FISEA 93. Payment must be included
           Registration will not be processed without payment

____Credit Card, check type:    ______Visa        _____Mastercard

    Card Number_________________________Expir. Date:_____________

    Signature of Cardholder______________________________________

Address: FISEA 93
         2501 Stevens Avenue South
         Minneapolis, MN 55404 USA
         FAX: 612.874.3732
         Fax & E-mail registration MUST include credit card info.

ACCOMODATIONS * Minneapolis Hilton Towers

Rooms are reserved at the Minneapolis Hilton & Towers,  centrally
located in downtown Minneapolis. This will be the meeting site for papers
& panels and selected auxiliary activities.

Single/Double/Twin: $100 USD per night.
Additional persons in room: $20 each per night.

An upgrade to a "Towers" room is available for additional $25 per night-
includes continental breakfast, evening hors d'oeuvres and access to the
concierge lounge.

Reservations: Contact the hotel directly by  mail, phone, or fax and
identify yourself as FISEA 93 participant.

     Minneapolis Hilton Towers
     1001 Marquette Avenue
     Minneapolis, MN 55403
     Phone: 1-612-376-1000 or 1-800 HILTONS (in U.S.)
     FAX:   1-612-376-1111

Cut off date for reservations is October 2, 1993.
You receive confirmation directly from the hotel.
Cancellation policy: 24 hours advance notice.

FISEA 93: Accomodations Form (Send to Minneapolis Hilton Towers):





___Single ___Double (2 people, 1 bed)  ____Twin (2 people, 2 beds
___Towers (Additional $25)   ____Smoking  ____Non-smoking

Arrival Date/Time_____________________(Check-in is 3:00 PM)

Departure Date   _____________________(Check-out time is noon)

Credit Card  ____Visa   ___Mastercard  Expire Date_______________

Card #_______________Print Cardholder Name_______________________

Signature (card holder)__________________________________________


ISEA     Inter-Society for the Electronic Arts
ISAST    International Society for the Arts Sciences & Technology
ANAT     Australian Network for Art and Technology
YLEM     Artists Using Science and Technology

INTERNATIONAL ADVISORS: *Roy Ascott (UK), *Peter Beyls (Belgium), Annick
Bureaud (France), *Jurgen Claus (Germany), Emanuel Dimas de Melo Pimenta
(Portugal), *Greg Garvey (Canada), *Ross Harley (Australia), *Craig Harris
(US), Theo Hesper (Indonesia), Errki Huhtamo (Finland), Itsuo Sakane
(Japan), John Lansdown (UK), *Roger Malina (US), Nadia Magenat-Thalmann
(Switzerland), *Artemis Moroni (Brazil), *Wim van der Plas (Netherlands),
Simon Penny (US), Stephen Pope (US), Christine Schopf (Austria), *Minna
Tarkka (Finland), Philippe Queau (France), Yoshiyuki Abe (Japan).
(*  Symposium presenter or plenary session officer)

Program Director: Roman Verostko. Email:,Tel: 1-612-8252720
Executive Assistant: Joan Klaiber Email:

UPDATE: Program information above as of June 5, 1993.
End of Newsletter