#032 Aug 1994


                             THE ISEA NEWSLETTER

                                # 32, AUGUST 1994

Editors: Dirk Boon, Wim van der Plas (Holland). Correspondents: Yoshiyuki
Abe (Japan), Ray Archee (Australia), Fernando Araujo (Colombia), Peter
Beyls (Belgium), Leslie Bishko (US/Canada), Paul Brown (Australia), Annick
Bureaud (France), Jurgen Claus (Germany), Pier Luigi Capucci (Italy),
Roger Malina (US), Ivan Pope (UK), Rejane Spitz (Brazil). Lay-out: Rene
Pare (Grafico de Poost). Text editors: Ray Archee, Seth Shostak. 
ISEA, POB 8656, 3009 AR Rotterdam, The Netherlands. Tel/fax 31-10-2020850, 
Email: ISEA@MBR.FRG.EUR.NL (Board) or ISEA@SARA.NL (Newsletter)

Wim van der Plas

This issue of the ISEA Newsletter appears right before the Fifth
International Symposium on Electronic Art (ISEA'94) in Helsinki. 
The University of Industrial Arts and many cooperating institutes have worked
hard for over two years to make ISEA'94 happen. The program looks very
impressive and promising. ISEA'94 will be opened by the Finnish Minister of
Culture, a fact that stresses the growing awareness of the importance of the
ISEA symposia.

During ISEA'94, the Inter-Society will help stage several important meetings.
One of them being the 'National Branches Meeting' (probably Tuesday during
dinner). Here, a discussion will take place on the way these branches, some
of which are already active, while others are only in a planning stage,
should be structured and organized. The aim is to create 'Guidelines for
local Branches', so that a strong world-wide organization for the electronic
arts (the main aim of ISEA) can begin to become reality.

Another important meeting will be the usual closing session, the 'ISEA
Panel'. A significant feature of this panel is information on the future
symposia. Michael Century will represent ISEA'95 (Montreal, Canada) and Wim
van der Plas ISEA'96 (Rotterdam, Holland). For ISEA'97 there are two or three
candidates: proposals were received from two American cities and one
Japanese. One of the American cities and the Japanese city will be
represented in person. As this is written, the definite candidacy of the
other American city is not certain. The Board of ISEA will try to come to a
decision on the location for ISEA'97 shortly after ISEA Helsinki. For ISEA'98
proposals are expected from the UK and the Slowakian Republic.

Also present in the panel will be Ken O'Connell, the Art Gallery Chair for
SIGGRAPH'95. ISEA aims at cooperation with all important electronic art
organizations and institutes, of which SIGGRAPH is of course one of the
largest. (See the piece below.)

In the next Newsletter we hope to present reviews and impressions from all
our correspondents present at ISEA'94. At this moment, we can only wish the
Helsinki people strength and success. No doubt it will be good.

Wim van der Plas

As has become an annual tradition, ISEA and ISAST (the International
Association for the Arts, Science & Technology, publisher of Leonardo) held 
a joint public meeting at SIGGRAPH, on July 28th, in Orlando, Florida.

SIGGRAPH is an obvious place to meet, because it is by far the largest event
in the world, related to electronic art. Of course SIGGRAPH is not as
interdisciplinary as, for example, the ISEA symposia, because SIGGRAPH is a
conference on computer graphics (and interactive techniques) only. In the
future, we should also meet during the annual International Computer Music
Conference, to create more balance, but these conferences do not have the 
scale which SIGGRAPH has.

On the other hand, the scale has to do with the fact that SIGGRAPH is not, in
the first place, an artistic event. It started out as a scientific
('technical') conference and that is still the kernel of SIGGRAPH, next to
the large trade show, the largest in its kind in the world. Art naturally
became a part of SIGGRAPH, as you can not talk about graphics without talking 
about design and communication. Still, 'emotional values' (if that comes
close to a definition of art) were never a main item in the SIGGRAPH

What a surprise then, to discover Art had become a HOT item at SIGGRAPH'94!
To begin with: the keynote speech, given by Frederick Brooks, chair of the
Computer Science department of the University of North Carolina at Chapel
Hill, the 'birth place' of Virtual Reality. This was quite a critical
keynote, as Brooks asked (referring to the practice of SIGGRAPH): "Where is
the beauty? Where is the delight? Where is the technical mastery of the
medium? Have we abandoned Art?".

During a very well attended (I had no time to count precisely, but somewhere
between 1000 and 2000 people in the room) panel session called 'Computer
Graphics- Are we forcing People to Evolve?', art, again, became a main item.
In the panel, among others Brenda Laurel (one of the keynote speakers of
ISEA'93) and Terence McKenna. The latter stated that "Cultural Cyberspace is 
being born, and beauty should be the guiding image. Artists like Kawaguchi
and William Latham show the way to a divine imagination".

The subject of Art became the main item during one of the most important
meetings of SIGGRAPH'94: a panel on the future of SIGGRAPH. Now that SIGGRAPH
has grown to be such an immense event and computer graphics have conquered
such an important place in the world of culture and entertainment, questions
arise like: "Where should we go in the 21st century?". "Should we remain part 
of ACM?" (the Association for Computing Machinery, a professional
organization of computer scientists). "Shouldn't SIGGRAPH become more
inter-disciplinary?", etc.

During this panel, very fierce criticism from the many artists present was
aired. After a one year exception, the Machine Culture exhibition of '93,
curated by ISEA board member Simon Penny, the Art Gallery of SIGGRAPH was
called outdated and  boring, 'as usual'.
The whole policy of SIGGRAPH towards artists was criticized, as Jeffrey Shaw
stated: "Artists in Europe are used to a completely different relationship
towards their hosts; if this doesn't change, artists will no longer cooperate
with SIGGRAPH". 
For example, artists, whose work is in the SIGGRAPH Art Show, have to pay in
order to attend the papers & panel sessions. This happens at some other
conferences, where the oganizers have grave financial problems. However, at
the multi million dollar SIGGRAPH event, things should be different. A
sensible suggestion came from Char Davies, artist and representative of a
major graphics software company (Softimage): she stated that the exhibitors
at the trade show are quite willing to help finance the artistic part of

Anyway, during this session, the pressure to integrate Art in SIGGRAPH became
most obvious. It culminated in the plan to start a new 'Task Force' within
the SIGGRAPH organization. Volunteers were called to participate in this task
force, that will be headed by Bonnie Mitchell of Syracuse University. ISEA is
of course very much interested in this development and at least one of the
board members will offer to participate in the new Task Force. We will keep
you informed.

The ISEA/ISAST meeting drew  more attention than the room could hold. The
panel consisted of Erkki Huhtamo (ISEA'94), Michael Century (ISEA'95), Roger
Malina (ISAST) and Wim van der Plas (ISEA). Several other speakers took the
floor later during the session.

Roger Malina had several interesting news items: Leonardo (MIT Press) is
going to publish the SIGGRAPH Art Catalog (the 'Visual Proceedings') during
the next couple of years. MIT press is also planning the publication of a CD
ROM on the history of Electronic Art. So, Roger is looking for names and
addresses of Electronic Art Pioneers and requests everybody to help him.

Erkki mentioned several of the highlights of ISEA'94: Russian Art 
(there will be a cruise to St. Petersburg connected to ISEA'94), a
retrospective of Japanese electronic art, a Game Arcade (in line with the
'industrial art' background of this year's organizing institute), a session
on the integration of art education institutes in a network (August 21) and,
last but not least: "Rave and Sauna Parties" (it is probably not encouraged
to combine those).

Michael Century announced the co-incidence of ISEA'95 (September 17-24) with
the annual 'Images de Future' in Montreal . So, the two organizations will
cooperate and hopefully generate synergy this way. 'Telematics' will be an
important feature of ISEA'95 and the symposium will, of course (and for the
first time) be bilingual. This might attract more francophone attention than
the symposia have had so far.

Rejane Spitz urged the people present to start ISEA branches in their own
countries, like she did in Brasil. A discussion followed on how ISEA and
SIGGRAPH could have closer cooperation. 'Participation' seems to be the
keyword with SIGGRAPH and several (informal) appointments to this effect were

Ken O'Connell (Art Chair SIGGRAPH'95) announced that in the Call for
Participation for SIGGRAPH'95 not only 2D and 3D graphics are mentioned, but
interactive installations too. Proposals should indicate precisely what
support is needed from SIGGRAPH to realize the piece. Themes include
'interactive entertainment' and 'interactive community'. Also, SIGGRAPH'95
wants to exhibit mail art. They want to receive a thousand postcards (6x8
inch). Email info: OCONNELL@SIGGRAPH.ORG.

Other announcements during the meeting included the SCAN (Small Computers in
the Arts Network) conference in the Science Museum in Boston later this year
(they are still accepting proposals; info via Email:
RANJIT@GRADIENT.CIS.UPENN.EDU). Jim Demmers of Public Domain (regular
contributor to this Newsletter) mentioned 'Perforations' the audio and/or
video magazines that are created for and available at the electronic Public
Domain Gallery. (Info via Email: INFO@PD.ORG). 

At the end of the meeting an initiative to start a Korean branch was
announced. We also have word of the intention to start an Austrian branch.
We are doing all right!                            

                  BECOME AN ISEA MEMBER NOW AND EARN US$ 149.00

This offer does not apply to Student Membership.

LANGUAGES OF DESIGN commenced publication in 1993.  Each issue is over 100
pages. There are four issues per year. PUBLISHER: Elsevier Science
Publishers, EDITORS: R. G. Lauzzana & D.E.M. Penrose.
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 features articles employing linguistic
techniques to generate literary and non-literary texts, music, and visual
works including art, dance, theater, architecture, and all types of design.

This multidisciplinary focus is reflected by 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 grammars, and computational musicology are 
central to the subjects covered by the journal. More general subject areas,
such as formal languages, finite state automata, grammatical inference,
pattern recognition, cellular automata, semantic networks, connectionism, and
syntictical analysis are discussed in the context of their application to
productive systems. Specific analytic perspectives, such as syntactics, 
semiotics, deconstruction, hermeneutics, stylistics, narratology, filology,
morphology, prosody, harmony theory, formal musicology, and performance
analysis will be presented.
These subjects are presented in terms of their impact and influence on a
theoretical foundation for productive systems. Research results from visual,
audio and textual analysis that may have an impact on the arts are also
featured. Of particular interest is research utilizing computational methods
to verify theoretical formal analysis. Articles critisizing the assumptions 
and results of this work are also included.


236 pages, editor Wim van der Plas 
Papers by John Whitney Sr., Peter Beyls, Michael McNabb, E. Zajec, K.
Knowlton, Patricia Search, Delle Maxwell, Simon Penny, Sally Pryor, Paul
Brown, Stelarc and other key figures in electronic art.
Hfl. 30 for ISEA members, Hfl. 40 for non-members (plus mailing costs*)

TISEA PROCEEDINGS: MIA#69, Art & Cyber Culture
140 pages, editor Ross Harley
Papers by Nancy Paterson,, Mona Sarkis, Jennifer Hall, David Tafler & Peter
d'Agostino, Cynthia Rubin, Rejane Spitz and others.
Hfl. 30 for ISEA members, Hfl. 40 for non-members (plus mailing costs*)

*)Mailing costs: Hfl 5 within Europe, Hfl.10 outside Europe.
Credit card orders are preferred for all orders outside Holland. 
Send your name, address, card company (Visa, Euro, Master), Card# 
and Exp. date to ISEA, mentioning what (and how many) books you 
order. Within Holland, send the money by Giro, indicating your 
order on the cheque. ISEA, Rotterdam, Postbank 6236401.


The ELECTRONIC CARNIVAL is a network project that will take place all over
the world from August to November,  with a grand Openning Ball - a Carnival
Cry - during ISEA'94, from August, 20 - 25. This network event will be hosted
by UNICAMP - Instituto de Artes, in Campinas, Brazil, supported by the Centro
de Computacao of this university.
To join this project, participants should create as many characters as they
wish and subscribe them to the list carnival_l. 
Interactions are expected to occur mostly in text format, but you are
encouraged to use other means such as music and images. Requests for more
information should be mailed to carnival-l@cesar.unicamp.br

From the messages exchanged by characters, an electronic book will be
produced.  The names of those participants who wish to remain anonymous will
not be listed, all the others will appear in the book. 

An Opening Ball will occur  during ISEA'94, when characters around the world
will be invited to act. ISEA'94 attendees will also be invited to create
characters and join this electronic party.

To join, please send a message to 
subscribe carnival-l CHARACTER - YOUR NAME (optional) 
in the body.

"We'll try to comunicate mainly in English but you may, if you wish, use
another language, perhaps you'll find another buffoon who'll understand you. 
Language should not be  barrier, during Carnival people speak more than they


The PRIX ARS ELECTRONICA; the world's most reknown and highest cash prized
Computer and Multimedia Art Award is over. We received thousands of entries
and would like to thank all of you.

More than 100.000 US Dollars have been given to the winners in the 4
categories Computer Animation, Interactive Art, Computer Graphics and
Computer Music.

For the one's who could not attend this years ARS ELECTRONICA, we are
offering the Highlights of this years competition:

# VHS tape with the fourteen awarded computer animations
# CD with the winner pieces in the field of computermusic
# Prix Ars Electronica 1994 book, describing the new trends in computer arts
and the award winning entries in the field of computergraphics and
interactive art, as well as general trends in the field of computer art

If you are interested, just fill in the order and email or fax it 
to us.
                 ORDER FORM

*          VHS                                 US$ 28,-
*          CD                                  US$ 13,-
*          Book                                US$ 36,-
*         Package
* (including VHS, CD and Book)                 US$ 61,-
* I would like to receive:
* Name:
* Address:
* How do I Pay:
* My credit card number:
* Inside Europe: collection-only check, by pay check or by credit   
card (Visa,  Mastercard, American Express)
* Outside Europe: Credit Card (Visa, Mastercard, American 
* All prices are prime costs and include tax as well as   
forwarding expenses.
* Return to: SCHOEBER@UNI-LINZ.AC.AT or fax it to: 43-732-6900270

Peter Schoeber, ORF Landesstudio OOE, Redaktion Ku/Wi
Europaplatz 3, 4010 Linz, Austria.

                                  COMPUTER MUSIC
                       Source: Music-Research Digest       


The Handbook of Musical Codes, under preparation since 1991, is nearing
completion.  Substantial coverage is given to notation codes (DARMS, SCORE,
et al.), sound codes (MIDI, Csound...), multi-use codes (Kern and MuseData),
conversion codes (SMX and HyTime), and task-oriented codes (ESAC, Plaine and
Easie, SCRIBE, TabCode, Braille music notation and much else).  

If you are the originator of a special-purpose code and have not previously
contributed, you may send a SHORT description (not more than 100 words)
stating the code name, place and date of origin, main purpose, major
features, and material encoded.  
This must be accompanied by complete postal address information.  

The Handbook of Musical Codes is being prepared under the auspices of the
International Musicological Society Task Force on Musical Data and Computer
Applications.  Its purposes are to increase familiarity with the basic
provisions of codes in widespread, open use and thereby to provide an
elightened forum for the discussion of the problems of musical data
interchange in the scholarly context.

If you wish to be notified when the handbook is complete, please send your
name and full postal address to Nancy Solomon at CCARH@NETCOM.COM or to the
postal address given below.

Eleanor Selfridge-Field
Center for Computer Assisted Research in the Humanities
525 Middelfield Rd., Ste. 120, Menlo Park, CA 94025-3443, USA.

The 6th International Fuzzy Systems Association World Congress will be held
22-28 July, 1995 in Sao Paulo, Brazil. The organizers are actively looking
for researchers/developers using fuzzy systems in musical applications.
For more information, please contact Ms. Sandra Sandri, Brazilian Inst. for
Space Research, electronic mail: SANDRI@LAC.INPE.BR.


Computer Music Journal
Stephen Pope
Computer Music Journal, CNMAT/U.C.Berkeley 

Giuseppe G. Englert, Paris, France

I will present below a tool for composers to provoke their thoughts, to
teach, apply criticism, and defend themselves against criticism. This
description is a "Concept" (as I will define below) of such a tool. Since the
description is concerned exclusively with the act of creation, it ignores
purposefully the listener's perception and questions of aesthetics; only
facts that can be verified in music are considered. No historical limitations
are taken into account.

Can the composition of music, in general, be seized by formalizations in
words? Composition deals with abstractions, even in the case of electronic
music or "musique concrete". Not only is abstract thinking always present,
but quite often composers are obliged to manipulate abstractions of
abstractions .. of abstractions. It should be possible to attempt a 
formalization, at the lowest level, of work done on abstractions.

Models, Concept, Realization

Three stages can be analyzed in the making of a composition or an 
improvisation (the latter, at its best, is a real-time 
     the Models;
     a Concept; and
     the Realization.

We can find Models in remembering what has been told to us during the years
of education, in observing our environment the immediate one at home or
experiences of traveling--everything that is met during research and study if
we keep eyes and ears open for discovery.

It is obvious that observed objects are -in their totality- often too complex
to be the starting point of a new work of art. We reduce the observation to a
"usable" image, simplifying the recorded parameters to the scale of our
artistic goal. The technical term for this process is data reduction. For
example, if one examines an analysis of an instrumental or vocal sound 
sustained for approximately three seconds, one discovers that tens of
thousands of parameter changes occur. To reconstruct (synthesize) the same
sound in an acceptable way, one can reduce the analysis data to a few hundred
pertinent parameters (according to a communication by Jean-Claude Risset at
the conference on Musique et Ordinateur, Universite Paris-Orsay, 1983). The
question is then, which parameters are pertinent and for what purpose?

A Concept is the result of an intellectual act that consists in defining
abstractly something that may exist in reality. Let us assume that a work of
art cannot be realized without a more or less elaborated Concept.

Realization is commonly associated with professional skill. We should
consider "realization" independently of the narrow standards established by
music schools. Thus Realization is the act (accurate, professional, or not)
of transforming a Concept into a communicable form.

Models are elements or structures that exist in our environment or in our
past; not the real objects as they exist(ed), but their image made by
composers for their personal use, dimming some details that they consider as
being of minor importance, emphasizing other ones. 

The Concept is the abstract representation (willfully conceived or
unconsciously springing into thought, held in mental memory or developed on
paper or other media) of what the Realization is going to be. Its
elaboration, from the chosen Models aiming at the Realization, is the core of
composing activity. Colleagues who do not use computers for making music
almost certainly would prefer the more poetic expression "vision" for this
stage of composition.

There are three aspects of a Concept:
     A. Concept of a working process:
          1. Free improvisation
          2. Organization according to the chosen means 
             for realizing a sound event
     B. Concept of a musical form (see below)
     C. Both A + B

The Concept of a musical form could be:
(in reference to the Model):
     A chosen Model
     Negation of a chosen Model
     Emphasis of one chosen Model over another
     Contradiction or distortion of a chosen Model
     Combination of several chosen Models

(in relationship to the Realization):
     Time constraints (such as performance date and time)
     Time limits (total duration and sections)
     Choice of instrument (acoustical, electronic, combination of both,         
     Number and choice of performers (instrumentation)
     Parameters and their hierarchy
     Choice of programming language
     Means of synchronization, if synchronization is wanted
     Organization of sound-space, if wanted
etc. etc.

The Realization is a transcription (one of several possible) of the Concept
to a means of communication. It is the final result of the composing process
and takes the form of a performable score, a live performance, a recording to
be presented in public, a recording for private audition, or a new not yet
experienced music activity. 

Chronologically, the Realization is not always the final stage in the
evolution towards a music event. In many cases, especially if the Realization
is communicated via a score, a performance, including the required
rehearsals, adds other problems to the music making. But we can consider the
ensemble of such problems as being part of one of the previous stages. In
fact, they might be part of a Model, and necessarily they have to be taken
into account in the definition of the Concept and in the Realization.

Appreciation of a Composition

It is obvious that the selection of Models cannot be referred to in judging
the quality of the realized composition. It might influence the degree of
interest of the listener. Indeed it is hard to imagine how a composition
based on an uninteresting Model could captivate an audience, even if the
Concept is clear and the Realization perfect. On the other hand, no matter
how tempting the chosen Model, a sloppy elaboration of the Concept or the
lack of accuracy in the Realization can only lead to a mediocre result.

In many writings about music, even by some reputedly serious critics or
historians, one encounters often the terms "inspiration" and "influence", the
first implying a positive appreciation, the second a rather negative one.
This terminology refers to the choice of Models, but does not inform the
reader about the most important criterion, how the Concept has been 
elaborated. In other words, it does not say anything about the composition.

Models in nature: 
Shapes of trees, leaves, flowers, Crystals, Nervous systems and neurons,
Coastlines, Natural laws reveled by physics, chemistry, and biology,
Topography (maps of urban or natural sites), Solar systems, comets,
constellations, Acoustical data: (spectra, Fourier or other), Acoustical

Models of culture(s):
Music theory,  Ancient or contemporary treatises, Habits of music performance
Philosophical and/or political thoughts, Structures of society, Liturgical
forms, Folk singing and dancing, Games and strategies, Literature including
poetry, prose, and vocal sounds, Rhetoric forms,  Numbers, progressions of
numbers, or other,  mathematical proportions, Logical constructions,
algorithms, Structure and technology of instruments or machines, Dramatic
performances, film, video, Paintings and graphical work, Architecture Schemes
and/or exigencies of Industrial production and last but not least: Music

Nil (absence of Models):
Since tradition and innovation are synergetic in forming culture, 
it is hard to imagine a work of art that does not refer to an 
existing model. Yet for the sake of completeness I include this 
case in the scheme; one never knows what will be discovered in 
the future.

                           CALLS FOR PARTICIPATION

The 8th Annual 1995 Cleveland PERFORMANCE ART FESTIVAL
March 10 - April 23  1995, Cleveland State Univ. Art Gallery, Cleveland,
Ohio, USA 
You are invited to apply to the largest festival of performance art in the
world. A nationally recognized panel selects emerging artists of highest
quality to presernt performances, workshops, residencies and continuous
audience discussions in a festival atmosphere at theaters, galleries,
universities and community centers. Featured artists receive fees,
accommodations, transportation. The Performance Open offers time, space and
a small honorarium to any and all performance art applicants.

Send application form, 5 min. VHS-NTSC tape (SAS envelope for return of
tape), two B&W photo's, other materials (optional). All applicants from
outside the US must be received at PAF by October 5. If application is
received later, enclose US$10 entry fee.
Forms and info:
Thomas Mulready, Festival Director, PAF, 1365 Webb Road, Cleveland, OH 44107,
USA. (Sorry, no phone#, fax# or email address mentioned)

August 28 - September 1  1995, Maastricht, Holland
Themes: Computer Graphics, Multimedia and Virtual Reality.
Proposals are welcomed for: Tutorials, Conference (Research) Papers, State
of the Art Reports, Panels and Demonstrations. 
Entries are welcomed for a Slide, Video, CD-i and CD-ROM competition. This
competition is open only to works in which computation plays a prime role in
the generation, not merely the manipulation of the image(s).
October 3 :Tutorials
January 9 :Papers, Reports, Panels
March 13  :Demonstrations
May 15    :Slide, Video and CDs
Info and forms: Ms Anna Baanders, CWI, POB 94079, 1090 GB Amsterdam, Holland
Tel 31-20-5924048, fax 5924199, Email: ANNA@CWI.NL

April 1995, ARTEC, Nagoya, Japan

Apart from the International Invitational Exhibition, there is an 
International Open Competition and Exhibition. "A great opportunity for
artists to get excellent international exposure". 
Prizes: 1st 1.000.000 yen, 2nd 500.000 yen, 2 prizes of 200.000 
and 45 recommendatory prizes of 100.000 yen.

The deadline for promotional and explanatory materials is November 10, 1994,
and the final deadline for finished projects is April 1995. There is an
application fee of 8000 yen per entry (plus eventual money transfer costs).
To be submitted for the first deadline:
-Official Apllication Form
-Photos, videos, maquettes, sketches and/or other promotional aides to show
example of finnished work
-Technical requirements
-Receipt as proof of 8000 yen payment
Forms and info:
The International Open Competition, The Council of the International Biennale
c/o Chinichi Shimbun, 1-6-1, Sannomaru, Naka-ku, Nagoya, 460-11, Japan.
Tel: 83-52-2210753, Fax: 2210739, Email: LDF00226@NIFTYSERVE.OR.JP

November 23 - 27  1994, Utrecht, Holland
International Competition for Applied Animation in the following categories:
-Commercials, Promotional films
-Music Videos
-Educational and Documentary
-Station Calls, Film Intros
16 and 35 mm film, or video: Betacam, Betacam-SP, BVU, U-matic (PAL, NTSC or
SECAM). For video entries, Betacam-SP PAL is prefered.
All films must have been premiered after February 1st, 1992. 
Application Form and Consultation Video: September 3
Screening copies: October 24
Forms and Info: Holland Animation Film Festival, Hoogt 4, 3512 GW Utrecht, 
Holland. Tel: 31-30-312216, Fax: 312940

November 7 - 10  1994, London, UK
Part of the Computer Graphics Expo.
Categories: Art, Commercials, Games, Education, Feature Films, Short Films,
Music Videos, Research, Student, Simulation, Broadcast Graphics.
All material must be entered on PAL U-matic video and completed after January
1993. Deadline: September 7, 1994
Info & forms:
Alison Nolan, Effects & Animation Festival, 10 Barley Mow Passage, Chiswick,
London W4 4PH U.K. Tel: 44-81-9953632, Fax: 9953633

August 28 - 31  1995, Seoul, Korea 
Papers presenting original research in computer graphics are being sought.
For info and submissions:
Sung Yong Shin, Computer Science Dept, KAIST, 373-1, Kusung Dong, 
Yusung-ku, Daejon 305-701, South Korea.
Tel: 82-42-8693528, Fax: 8693510, Email: SYSHIN@CS.KAIST.AC.KR

December 11 - 13  1995, Hong Kong
Third International Conference on Computer Science. This conference will
focus on a broad spectrum of research topics related to image analysis
applications and computer graphics.Info:
Prof. Roland T. Chin, Dept of Computer Science, Hong Kong University of
Science & Technology, Clear Water Bay, Kowloon, Hong Kong.
Fax: 852-3581477, Email: ICSC@CS.UST.HK 

March 2 - 5  1995, Connecticut, USA
Connecticut College Center for Arts & Technology announces that the general
deadline for submissions has been extended to October 15, 1994


The Connecticut College Center for Arts and Technology, in collaboration with
the many other departments is pleased to announce CONVERGENCE.
The Symposium will consist of paper sessions, panel discussions, art
exhibitions, concerts of music, mixed media works, video, dance and
experimental theater.  Selected papers and presentations will be published by
the Center as both printed and interactive multi-media CD-Rom Proceedings.

Papers and Presentations:
A detailed two-page abstract including audio-visual requirements should be
sent to the address below no later than October 15, 1994.  Authors of
accepted papers will be notified by November 15, 1994.  Finished papers must
be submitted in camera-ready form by January 15, 1995.  In order for material
to be considered for inclusion in the CD-Rom version of the Proceedings, it
must also be submitted on disk in one of the following formats: Word or 
Wordperfect. The Center encourages research papers and presentations in all
areas of the arts and technology, but is particularly interested receiving
papers concerned with Interactivity, Virtual Reality, Cognition, Information 
Technologies, Applications in Video and Film, Music (composition,
performance, theory, interactivity, etc.), Experimental Theater,
Compositional Process, Speculative Use of Technology in Education, Computer
Simulations of Physical Phenomena, Scientific Visualization and Social and
Ethical Issues in Arts and Technology.

Music Compositions:
Works for instruments and tape, or tape alone, or interactive compositions
are being solicited at this time. Available instruments are: flute (doubling
on piccolo), oboe, clarinet (doubling on bass clarinet), bassoon, trumpet,
horn, trombone, percussion (two players), piano, and strings (2,1,1,1). 

Works should not exceed 15 minutes in length and should be submitted with
accompanying score, where appropriate. Tapes for selection purposes should be
on cassette or 1/2 inch VHS. Tapes for performance should be 15 i.p.s. stereo
or quadraphonic, or DAT. Video works should be 3/4 inch Umatic or 1/2 inch
VHS. A self-addressed, preposted envelope should be included for the return
of materials within the U.S.A. Foreign materials will be returned at our

Works of computer-generated or computer-aided art, or computer - controlled
interactive art are encouraged.  Animations, Video or other works of computer
art on tape will be shown in concert settings and in less formal settings
throughout the Symposium.  Slides or video (VHS) and complete descriptions of
works should be submitted by the general deadline of October 15, 1994.  Black 
and White photographs for publicity and for possible reproduction in a
printed insert to the Proceedings must be sent by January 15, 1995.  
Reproductions of  accepted works for the CD-Rom Proceedings  must be sent on
disk (Pict, Tiff, PCX) by Jan 15, 1995.  Funds for the shipping of artworks
are extremely limited. Call or write the address below for more information
on the shipping of artwork.

Choreography and Dance Studies:
Computer-generated or computer-aided choreography is being solicited for live
performance or for videotaped presentation. Specially produced dance videos
are of particular interest, as opposed to concert tapes or other archival
uses of video for dance. Also of interest are proposals for demonstrations of 
software for dance notation, choreographic analysis, or for interactive
studies in dance.  Workshop proposals are also welcome.

Videotapes or complete descriptions of performance works (not longer than 20
minutes), demonstration or workshop proposals should be submitted by the
general deadline of October 15, 1994.  
Tapes for selection purposes should be VHS.

Proposals for panels are welcome.  The proposals should include prospective
panelists, and should be directed to topics which fit the general description
of the Symposium.  Of particular interest for 1995 are panels on the general
topic of =Convergence= which might include explorations of cross-disciplinary
approaches to arts and technology issues.

Please include a self-addressed preposted envelope envelope for the return of
materials within the US.  Foreign materials will be returned at our expense. 
The Center encourages email submissions for text materials.  Material should
be sent to:
Center for Arts and Technology, Box 5365, Connecticut College
270 Mohegan Avenue, New London, CT 06320-4196, USA.
Tel: 1-203-4392001, Email: CAT@CONNCOLL.EDU


Catalogue of the NEXT WAVE Festival, May 1994, Australia. 
Includes essays by Joan Brassil, Hank Bull, Sadie Plant, Jon McCormack, Gary
Warner, Symposium Program, Participating Artists Directory, Colour
Reproductions of Art Work.If you are interested, send a note to ISEA.
The price is not known yet.

Software, produced for the Wakayama Prefectural Museum in Japan. 
Interactive walkthrough through 4 different microcosms, each representing a
certain era in Japan's history.
Needed are a Macintosh Quadra (16 MB RAM, 1.5 GB HD) Radius Video Vision
digital video card, Multi Scan monitor.
Cyber Entertainment, 5111 Denny Ave #10, N. Hollywood, CA 91601, USA.
Tel: 1-818-5051837, Fax: 5051548
Cyber Network (Japan), Tel: 83-3-32251411, Fax: 32251412, 

18:2  Summer, 1994
Composition and Performance in the 1990s--1

-Editor's Notes: Electronic Resources for Computer Music--Stephen Travis Pope
-ISEE: An Intuitive Sound Editing Environment--Roel Vertegaal and Ernst Bonis
-Machine Tongues XVII: CLM--Music V meets Common Lisp--Bill Schottstaedt
-Discovering Inner Complexity: Time-Shifting and Transposition with a  
Real-Time Granulation Technique--Barry Truax
-Composition and Performance in the 1990s--Leigh Landy
-Live Interactive Computer Music in HMSL 1984-1992--Larry Polansky
-The Computer-Extended Ensemble--David A. Jaffe and W. Andrew Schloss

-Four Views of the 1993 International Computer Music Conference -- Tokyo,
Japan, 10-15 September, 1993 -- Robin Bargar, Insook Choi, Brad Garton, and
Takebumi Itagaki.
-First International Conference on Cognitive Musicology -- Jyvaskyla,
Finland, 26-29 August, 1993 -- Mauri Kaipainen and Otto Laske.
-International Workshop on Knowledge Technology in the Arts -- Osaka, Japan,
16 September, 1993 -- George W. Logemann

-Deryck Cooke: The Language of Music -- Stephen Smoliar
-Deta Davis: Computer Music Bibliography Supplement -- R. L. Blevins
-N. Fletcher and T. Rossing: The Physics of Musical Instruments --
S. Schwerman

-Opcode Galaxy Plus Editors for Apple Macintosh Computers -- M.Desnos
-Symbolic Composer for Apple Macintosh and Atari computers -- Giancarlo Sica


IRCAM is a leading non-profit organization of musical creation, R&D and
education in acoustics and music, located in the center of Paris (France),
next to the Pompidou Center.  It hosts composers, researchers and students
from many countries cooperating in contemporary music production, signal
processing, acoustics and psychoacoustics and their interrelations.  

One position will be available in October in the "Real-time platform" project
in the R&D department.

The candidate will perform the following task : development of the 'Max'
software in a multi-platform environment. 'Max' is a graphical user interface
dedicated to musical applications.

o  Excellent experience in C programming.
o  Excellent experience in developpement of GUI on at least two of the
followings : X/Motif, NeXTStep, Windows and Macintosh.
o  Experience in software engineering techniques
o  Knowledge in digital signal processing and computer music.
o  Network programming (Internet, TCP/IP)
o  Use of multi-platform graphic toolkits and interface builders.
The salary range is FFrs 160,000-190,000/year approx. ($32,000-38,000).
Position is available in October.
Please send resume and detailed work experience to the following 

The Universitat Pompeu Fabra, Institut Universitari de l'Audiovisual &
Fundacio Phonos offers an education:
(academic year 1994-1995)
For info contact the address below or ISEA (mention 'MU08942'):
Institut Universitari de l'Audiovisual, La Rambla 31, 08002 Barcelona, Spain
Tel: 34-3-4123991, Fax: 4124162

Centre Pompidou, Paris, France
July 6 - September 26, 1994
L'Art des Jeux, a virtual environment by Matt Mullican 'Five into 
One' and the universe of video games.
September 14, 18.30 hrs: Debate with Alain Le Diberder, Matt 
Mullican & Florian Rotzer.
Centre Pomopidou, South Gallery, Mezzazine.

September 7 - 11  1994, Osnabruck, Germany
This international event for innovative experimental film and video art is
accompanied by an inspiring exhibition presenting video installations and
interactive projects. Also: Seminars, Workshops and television projects.
Info: Postfach 1861, D-49008 Osnabruck, Germany.
Tel: 49-541-21658, Fax: 28327, Email: EMAF@BIONIC.ZER.DE

September 10 - 14  1994, Brasilia, Brasil
Symposium, lectures, performances, colloquium, concerts. 
Foundation of the Brazilian Society for Electroacoustic Music
Laboratorio de Musica Eletroacustica
Universidade de Brasilia, Instituto de Artes
Departemento de Musica, Sala 21, 70919-970 Brasilia-DF, Brasil

September 12 - 17  1994, Aarhus, Denmark
Info: ICMC 1994, Musikhuset Aarhus, Thomas Jensens All, DK-8000 Aarhus C,
Denmark. Tel: 45-8931-8171, Fax: 45-8931-8166, Email: ICMC94@daimi.aau.dk

September 12- 16  1994, Oslo, Norway
15th Annual Conference of The European Assiciation for Computer Graphics
Email: eg94@si.sintef.no

September 15 - 19  1994, Milan, Italy
The 26th edition of the International Exhibition of Musical Instruments, High
Fidelity, Video and Consumer Electronics in the Fiera Milano. This year it
includes a Virtual Reality Theater, coordinated by Maria Grazia Mattei. This
includes a Virtual Reality History (on video), a Virtual Reality Show (15 
installations) and a Virtual Images Show (computer animation).
SIM HI.FI, CP 15117, 20150 Milano, Italy. Tel: 39-2-4815541, Fax: 4980330

September 18 - 23  1994, Edinburgh, UK
The 6th ACM European Conference on Hypermedia Technology. 
22 Technical Papers, 4 Technical Briefings, 4 Panels, 2 Hypertext literature
events (drawn from over 150 international submissions), 18 Courses,
pre-conference Workshops  and a Commercial Briefing.
Advance Program & Info:
In Conference Ltd, 22 Great King Street, Edinburgh EH3 6QH, Scotland, UK. 
Tel: 44-31-5569245, Fax: 5569638, Email: ECHT-REGISTRATION@ACM.ORG

September 28 - October 2  1994, Ottawa, Canada
International Animation Festival
Info: 2 Daly St., Ottawa, Ontario K1N 6E2 Canada
Tel: 1-613-232-6727, Email: ab027@freenet.carleton.ca, Compuserve: 71203,3350

Symposium, September 30 - October 1st  1994, Paris, France
The Metafort is an initiative of the cities of Aubervilliers and Pantin,
supported by the Ministry of Culture. It is a cultural, social and
industrial project, in order to explore the relationships between creation,
research and contemporary art. 
The actual opening doesn't take place until 1997. The international symposium
is meant to introduce Metafort's and other similar institution's objectives
and activities.
The symposium will be opened by the French minister of Culture. There will be
workshops, an animation space, an expression space, a social innovation
space, an industrial space and an enlarged virtual environment.
Metafort, 4, avenue de la Division Leclerc, F-93300 Aubervilliers, France.
Tel: 33-1-48354901, Fax: 48350821 

October 15 - 20  1994, San Francisco, USA
This Second Annual ACM Multimedia Conference & Exposition has now become
independent; last year it was combined with SIGGRAPH. 
It features: Interactive Exhibits, Conference Videotape, Demonstrations,
Elerctronic Proceedings, a Special Vendor Track, the Ubiquitous Art Zone
and Best Paper Awards.
In the Advance Program only these phonenumbers can be found: 
800-5241851 (from within North America) or 1-508-4433330. The address of the
conference management: Danieli & O'Keefe Associates Inc, 490 Boston Post
Road, Sudbury MA 01776, USA

October 17 - 21  1994, Washington DC, USA
5th annual IEEE Conference. Tutorials and a symposium on Volume
For info (also Call for VIS'95): Tel: 1-510-4239369, Email: VIS94@LLNL.GOV

October 18 - 20  1994, Lausanne, Switzerland
An International Business Meeting to establish the new partnerships required
for developing successful multimedia products.
October 18: Practical Workshops, October 19-20: Business Meetings
UK: TFPL Ltd, 17-18 Britton St., London EC1M 5NQ.
Tel 44-71-2515522, fax 2518318, email: 100067.1560@COMPUSERVE.COM
USA: TFPL Inc., 1301 Twentieth St. NW #702, Washington, DC 20036
Tel 1-202-2966009, fax 2966343, email 74044.3166@COMPUSERVE.COM

October 20 - 21  1994, Lyon, France
A typographic symposium in celebration of the fiftieth anniversary of the
invention of the Lumitype-Photon phototypesetting machine.
Info: Museum of printing and banking, 13 rue de la Poulaillerie, 69002 Lyon,
France. Tel 33-78-376598, Fax: 33-78-382595

October 20 - 22  1994, Ghent, Belgium.
Contact: Marc Leman, University of Ghent, Institute for Psychoacoustics
and Electronic Music, Blandijnberg 2, B-9000 Ghent, Belgium.
Tel: 32-9-2644125, Fax: 32-9-2644196, Email: Marc.Leman@rug.ac.be.

November 5 - December 4  1994, Saint-Denis, France
Third biennial exhibition. Objective: to explore the relationship between
art, new technologies and interactivity. This year: the relation between
storing memory and accessing to memory, the ideas of collection, archive and
secret. Installations, a Laboratory section, a Library section.
Open every day except Monday, 10.30 am - 19.00 pm
Majorie Micucci, Direction des affaires Culturelles, Hotel de Ville, 2 place
Victor Hugo, 93200 Saint Denis, France. Tel: 33-149-336386, Fax: 336969

November 8 - 13  1994 (Preceding seminars: October), Rotterdam, Holland
Dutch Electronic Art Festival. Organized by ISEA Holland, V2 Organization,
WDS and Lantaren/Venster. Locations: V2 location in the Witte de Withstraat
and Lantaren/Venster theater.
Themes: Digital Nature, the Dutch State of the Electronic Arts, Multimedia.
Exhibitions, performances, shows, symposium.
Related activities will be organized by ISEA Holland (Dirk Boon) in Zaandam.
More info will follow in the September issue of this Newsletter.
4 Seminars on electronic art, preceding DEAF, will be held in theater
Lantaren/Venster. Program:
October 3: Electronic and Computer Music
October 10: Computer Graphics and Animation
October 17: High Tech Performance Art
October 24: Interactive Art & Media
Price for all the whole series: Hfl 100.
Info & Seminar registration forms:
Dick Hollander, Lantaren/Venster, Gouvernestraat 133, 3014 PM Rotterdam,
Holland, tel 31-10-4361311, fax 4361331, Email: ISEA@MBR.FRG.EUR.NL 

November 20 - December 4  1994, Sao Paulo, SP, Brazil
The emphasis of this year's VIDEOBRASIL Festival is the poetical
approach of video making. Videos, video installations, and lectures.
Contact: Solange Farkas, Associacao Cultural VIDEOBRASIL
Rua Conego Eugenio Leite 920, Sao Paulo - SP - Brazil
Tel: 55-11-280-6031, Fax: 55-11-883-3288

January 13 - 16  1995, Palais des Festivals, Cannes, France
International Illustrated Book and New Media Publishing Market.
Large bilangual conference.
Although we received the impressive looking preliminary program, 
an address or phone number could not be located in it. We suggest 
you contact the Palais des Festivals if you are interested.

June 20 - 24  1995, Linz, Austria
Theme: Mythos Information; Welcome to the Net Worlds.
"Ars Electronica 95 will ask critical questions to dogmas and myths of
postmodern information society".
Info: Brucknerhaus, Untere Donaulande 7, A-4010 Linz, Austria
Tel 43-732-7612244, fax 7612350

April 1995 , Bogota, Colombia.
Directed by Cecilia Casas.
Inquiries can be made to : Cra 9 74-99 Bogota, Colombia.
Tel: 57-1-2484969, Fax : 571-2484969

June 18 - 21  1995, Graz, Austria
World Conference on Educational Multimedia and Hypermedia
Papers, short papers, panels, tutorials, workshops, demonstration, posters
Info: ED-MEDIA 95/AACE, P.O. Box 2966, Charlottesville, VA 22901, USA.
Tel: 1-804-973-3987, Fax: 1-804-9787449, E-mail: AACE@Virginia.Edu

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.

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.

Support: Erasmus University Rotterdam (Law Dept),   Amsterdam University,
V2 Organisation,  YLEM,  ISAST,  Renderstar Technology, Media Research, 
Museum der Stad Gladbeck,  Corel Corporation,  The Council for the Int.
Bienale in Nagoya,  CSL Computers,  Viking Eggeling-Salskapet,  Bratislava
Academy of Fine Arts & Design,  Softimage Inc, Lokman Productions.
End of Newsletter

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