THE INTER-SOCIETY FOR THE ELECTRONIC ARTS ISEA NEWSLETTER============================================= 1/2 ISSN1488-3635 #76 Februray - March 2000 _______________________________________________________________ * CONTENTS * * Editorial * ISEA News * News from Members * Feature Articles * Event Reports * _______________________________________________________________ *Une version francaise est disponible. Contacter le secretariat pour l'obtenir* ************************** EDITORIAL ************************** In this issue of the INL, we are delighted to publish the much anticipated ISEA2000 Call for Papers and Participation. From the number of requests for information we've received to date, it seems that ISEA2000 will be very much on the new media arts agenda this year. Combined with the 10 year anniversary of the Inter-Society's founding, this makes for a very exciting 12 months. Both the Symposium and the Inter-Society are, at heart, about the countless people who have enlived them over the course of the last decade. The history of the last ten years of ISEA and the electronic arts is YOUR history. That's why at ISEA HQ, we invite members and former Symposium participants to join us in marking our 10th anniversary and the 10th Symposium on Electronic Art. You can be apart of these celebratory activities in two ways: CONTRIBUTE TO THE ISEA ARCHIVES 10TH ANNIVERSARY PROJECT A multimedia CD-ROM and website launched at ISEA2000 in December will present highlights from the last 9 ISEA Symposia, and open up an interactive discussion space for recalling the last decade in the electronic arts. We are looking for former particpants and members who have any materials relating to the International Symposium on Electronic Art, especially its earlier incarnations in 1988 (Utrecht), 1990 (Gronigen), and 1994 (Helsinki). This includes audio or video documentation, proceedings, catalogues, etc. This material will be returned to you afterwards if you so desire. Was your artwork included in an ISEA Symposia? Send us a copy of the work or audio-visual documentation for the ISEA Archives and be included in an expanding and impressive Archival Collection which will be a key research tool for art historians, critics, researchers, curators, and artists. Do you have anecdotes or photographs from the last 9 ISEA Symposia? Do you recall anything outrageous, inspiring, controversial? Do you remember the first time you participated in an ISEA Symposium? Did it change your perception of art, science, new media, the creative process.....? Send us your materials, texts and comments! We look forward to reminiscing. PARTICIPATE IN THE ISEA2000 WEBCAST Like the successful webcasts undertaken by ISEA HQ at ISEA97 and ISEA98, the ISEA2000 webcast will provide live dispatches from the Paris symposium: interviews, reviews, photographs, streaming performances. If you've got a hankering to be a roving reporter, videographer, or photographer, or if you want to help organize/fundraise for this project, let ISEA HQ know. Whatever way you decide to participate, do mark your calendars -we look forward to a December rendez-vous in Paris! ************************** ISEA NEWS ************************** ISEA2000 CALL FOR PAPERS AND PARTICIPATION ISEA2000, 10th International Symposium on Electronic Art Paris, France December 7-10 2000 CALL FOR PAPERS AND PARTICIPATION Deadline: April 15, 2000 ISEA2000 is organized by ART3000 in collaboration with ISEA - The Inter-Society for the Electronic Arts, with the support and the collaboration of the Ministry of Culture and Communication (DDAT, DAP, DAI,CNC, DMDTS), and in partnership with the Forum des images, CICV Pierre Schaeffer Center, Canadian Cultural Center, ACROE and the General Quebec Delegation. ISEA2000 http://www.art3000.com http://www.isea.qc.ca Email : firstname.lastname@example.org COMPONENTS : PAPERS : See heading Information on submissions, The International Symposium, 1 PANELS : See heading Information on submissions, The International Symposium, 2 POSTER SESSIONS : See heading Information on submissions, The International Symposium, 3 WORKSHOPS : See heading Information on submissions, The International Symposium, 4 INSTITUTIONAL PRESENTATION : See heading Information on submissions, The International Symposium, 5 CONCERTS, PERFORMANCES AND "STREET SCENES" (OUTDOOR ACTIVITIES) : See heading Information on submissions, Associated public events, 6 EXHIBITIONS : See heading Information on submissions, Associated public events, 7 ELECTRONIC THEATER : See heading Information on submissions, Associated public events,8 LOCATION ISEA2000 will be held from December 7-10, 2000 at the Forum des images in Paris as well as other participating venues in the capital. INTERNATIONAL SYMPOSIA ISEA2000 continues the tradition in which each edition is hosted by a different city. The ISEA Symposium will hold its 10th edition in Paris. 1. Utrecht, Netherlands (FISEA, 1988) 2. Groningen, Netherlands (SISEA, 1990) 3. Sydney, Australia (TISEA, 1992) 4. Minneapolis, USA (FISEA, 1993) 5. Helsinki, Finland (ISEA 94) 6. Montreal, Canada (ISEA 95) 7. Rotterdam, Netherlands (ISEA 96) 8. Chicago, USA (ISEA 97) 9. Liverpool & Manchester, UK (ISEA 98) 10. Paris, France (ISEA 2000) - 10th edition PRESENTATION ISEA2000 will be a major international event for members of the artistic community involved with new media. It consists of: 1- an international symposium composed of papers and panel sessions, poster sessions, workshops and institutional presentations, 2- a program of exhibitions, concerts, performances, electronic theater, "street scenes" (outdoor activities), 3- and publications. This call for participation is open to all propositions related to the above program of activities. TARGET GROUPS ISEA2000, the International Symposium is oriented toward : - professionals in the arts and new media (creation, production, publishing and broadcasting electronic arts) - students, teachers, researchers, - as well as the general public who are invited to attend concerts, performances, electronic theater, "street scenes" (outdoor activities), and exhibitions. ISEA2000 aims to represent the diversity of those engaged in new media, and encourages submissions from artists and researchers from cultural groups that have been traditionally under-represented at global events and previous ISEA Symposia. STATEMENT OF PURPOSE ISEA is committed to interdisciplinary and cross-cultural communication/cooperation between the arts and the fields of technology, science, education and industry. With "Revelation" as its theme, ISEA2000 will focus on new means of representation, and will explore the effects of the technological revolution on art and society : digital images, virtual realities, multimedia, interactive installations, networks etc. ISEA 2000 "Revelation" will put into perspective the transformations undergone by different artistic disciplines : fine arts, theatre, music, film and video, architecture, design, fashion. It will attempt to understand how new information and communication technologies produce means of expression unique to digital civilizations. THEMES In April 2000, an international programming committee comprised of professionals working in art, culture and research will select the projects chosen to be part of ISEA2000. These works will concern the following themes : Digital Art Dedicated to art history and theory, various schools of thought and their relation to new technologies, this part of the symposium will consider artistic movements which have preceded and accompanied the emergence of information and communication technologies. The goal will be to gain a better understanding of how contemporary approaches to digital art have developed. We will also examine the ways in which these approaches are unique. Interactivity And Generactivity : Transmitters Of New Forms Using interactivity, global networks and computer equipment available worldwide, authors and creators of digital works are inventing new means of expression which dramatically alter the artist's relation to art and the public. The form and the manner in which a work develops are no longer solely determined by its creator. With interactive and generative processes, a work's form and development may be influenced by the reactions of the viewer, or those of its environment, and/or by a programmed autonomy. Real time and outside interventions are thus two elements of the creative process. How do these factors modify representation, speech, narrative and expression? New Arenas Of Revelation In comparison to certain powerful cultural industries, digital creation presents itself as being a laboratory of free expression which entirely modifies our relation to time, space, information, communication and art. Virtual realities and communication networks are increasingly becoming indispensable elements of our daily environment. Can this new arena of representation be considered a new space for revelation, and if so, for the emergence of which emotions and meanings? The Internet foreshadows the interconnection of a multitude of virtual spaces for exchange and expression populated by nomadic communities. International, interdisciplinary and multicultural, digital space abolishes borders and is part of a massive social and cultural transformation. It is defining new codes of representation which are unique to cyberspace and which call for analysis and questioning. The transformation of creative tools resulting from the convergence of digital techniques allows for means of expression previously unheard of, as well as new relationships between different artistic disciplines : video and film, fine arts, theatre, sound, writing, design, fashion, architecture. New artistic forms emerge from these encounters. What are their consequences? How will they affect the creative process? All proposals must be related to these mentioned themes. INFORMATIONS ON SUBMISSIONS THE INTERNATIONAL SYMPOSIUM 1-PAPERS Papers can be short (20 minutes) or long (45 minutes). The papers will be published in the ISEA2000 Proceedings after the event. All papers must be written in English and / or French. They must be original and previously unpublished. An abstract of 500 words maximum is required for the first deadline, April 15, 2000 . After a preselection, the authors will be requested to send their full dossier, including illustrations, videos, or other materials. 2- PANELS Panel proposals should contain the theme of the panel and a description of the proposed panel members. 3- POSTER SESSIONS Poster sessions are informal presentations (about 30 minutes) of research or art practice, with the aid of audiovisual equipment. Proposals should include a short description of the work, with supporting visual or audio materials (pictures, videotape, cdrom, website, etc.). 4- WORKSHOPS Workshops are thematic discussions open to the public. Workshop proposals should aim at both teachers and students in the field of the electronic arts (including music) and at Symposium participants. Proposals can cover any field of electronic art. Workshop proposals that aim at integrating electronic art in more traditional art forms are especially welcome. Workshops typically include hands-on sessions. Proposals can be for a half day session or a full day session. Workshop proposals must be sent in a short and precise text presentation form. Since available equipment at this stage is limited, it is important to indicate the equipment requirements as completely as possible in the proposal. 5-INSTITUTIONAL PRESENTATIONS Institutional presentations are open to institutes, organizations, festivals etc. in the field of the electronic arts. In principle, all relevant proposals should be accepted, but it must be noted that presenters in this category do not receive free admission to the Symposium. ASSOCIATED PUBLIC EVENTS 6-CONCERTS, PERFORMANCES AND STREET SCENES Concerts and performances will be programmed as part of the event. Individuals and institutes are invited to submit the best and most recent examples of their work in these fields. The street represents an ideal space for presenting new media creations to the general public. Artists invest the public space with a critical view of urban communication, architecture and social debate. Proposals which relate to the above mentioned topics and adapted to an outdoor exhibition are especially encouraged. 7-ISEA2000 REVELATION EXHIBITIONS All forms of new media creations (interactive installations, Websites, videotapes, virtual reality works, multimedia, networks, computer aided sculpture, digital imagery, etc.) keeping with the proposed themes are welcome for ISEA2000's exhibitions. Proposals should clearly describe the contents of the materials submitted, the installation requirements (including hard and software, audiovisual equipment, necessary assistance, etc.) and include audio and/or visual material (pictures, tapes, etc.) to give an overview of the work. 8-ELECTRONIC THEATER A film and video show will be held during ISEA2000. Individuals and institutes are invited to submit the best and most recent examples of their work in the fields of computer animation, image processing and video art. A broad selection will be shown at the exhibition site. GENERAL SUBMISSION INFORMATIONS It is important to include with each proposal : - a complete list of required equipment, - a description of how the projects will be financed and produced. In order to facilitate the selection submissions, ART 3000 will set up a database of the proposals. For this reason it is strongly recommended that submissions include an html/Web presentation of each proposal ( one page maximum) which will be availabe for consultation on the ART3000 Website (www.art3000.com). Submitters who believe that a broader understanding of the context of their work is important for review may include additional supporting materials, such as a statement describing their access to technology or documentation of other work which is not intended for current consideration. Please clearly identify supplemental materials. All submitters whose work is selected will receive a letter of acknowledgment including a request to use materials for ISEA2000 publicity and for their eventual placement in the event archives. SUBMISSION PROCEDURE Deadline for all submissions : April 15, 2000 To respond to the call for participation, send a proposal accompanied by the application form and all requested documents (see instructions) to : Atelier d'ART3000 - ENSCI ISEA2000 48, rue Saint Sabin 75 011 Paris - France http://www.art3000.com E-Mail : email@example.com REPLY FORM Note : All proposals, papers or other entries should be accompanied by a cover page stating full name, address and position of the author(s), the title and a short abstract ot the contents. NAME INSTITUTE / ORGANIZATION POSITION PROFESSIONAL ADDRESS CITY / STATE / POSTAL CODE / COUNTRY PHONE / FAX E-MAIL ADDRESS / HTTP ADDRESS PERSONAL ADDRESS CITY / STATE / POSTAL CODE / COUNTRY PHONE / FAX E-MAIL ADDRESS / HTTP ADDRESS * I intend to submit a project entitled __________, and the abstract is enclosed (see instructions) * I have a proposal for : - Paper - panel - Poster session - Workshop - Institutional presentation - Concert - Performance - Street scene (outdoor activity) - Exhibition - Electronic theater * I would like to contribute to the organization of ISEA2000 * I am interested in supporting ISEA2000 (public, institutional partnership or sponsoring) * I am interested in an advertisement or a booth * Please keep me informed THE COMMITTEES The organization of the event is being undertaken with different committees. They are responsible for the selection of the projects being presented during the symposium, the exhibitions and other related events. ISEA2000 STEERING COMMITTEE - FRANCE The steering committee defines the major orientations of the event and supervises the programming, the logistical organization and the choice of partners. Nils Aziosmanoff, Chairman, ART3000 Maurice Benayoun, Artist Jean-Pierre Balpe, Writer, Director, Hypermedia Departement, Paris 8 University Jean-Baptiste Barrière, Composer Florent Aziosmanoff, Multimedia author, editorial manager - ART3000 Alain Mongeau, President, ISEA Roger Malina, Leornado and co-chair, ISEA International Advisory Committee Atau Tanaka, Artist / composer Pierre Bongiovanni, Director, CICV Pierre Schaeffer Center Michel Reilhac, Director, Forum des images Simone Suchet, Head of Cultural Industries, Canadian Cultural Center Claude Cadoz, Director, ACROE Martine Bour, Hypermedia Departement, Paris 8 University. THE INTERNATIONAL PROGRAMMING COMMITTEE The International Programming Committee (IPC) has the mission to examine and select the works emanating from the Call for Papers and Participation. Yoshiyuki Abe (Japan) Moncho Algora (Spain) Jacopo Baboni-Schilingi (Italy) Barbara Becker (U.K.) Hervé Bailly-Basin (France) Giselle Beiguelman (Brazil) Richard Castelli (France) Philippe Codognet (France) Sara Diamond (Canada) Diana Domingues (Brazil)) Odile Fillion (France) Marina Grzinic (Slovenia) Ryszard W. Kluszczynski (Poland) Machiko Kusahara (Japan) George Lewis (United States) Julie Méalin (Canada) Melentie Pandilovski (Macedonia) Niranjan Rajah (Malaysia) Peter Ride (U.K.) Josephine Starrs (Australia) Mike Stubbs (U.K.) ISEA2000 is organized by : ART3000 Art and New Technologies ART3000 has undertaken its activities for eleven years in the field of creation and new media, and constitutes an interdisciplinary and cross-cultural space of exchanges and reflexion on digital culture. The action of ART3000 is organized around : the presentation, exhibition and the promotion of new forms of expression (organization of more than one hundred events), the edition and the production of studies, and the support for creation (digital workshop). http://www.art3000.com ART3000 Atelier d'ART3000 - ENSCI 48, rue Saint Sabin 75001 Paris - France Tél. : 33 (0)1 48 06 28 10 Fax : 33 (0)1 48 06 28 83 Mail: firstname.lastname@example.org In collaboration with : ISEA - The Inter-Society for the Electronic Arts The Inter-Society for the Electronic Arts was founded in 1990 and has been based in Montreal (Québec/Canada) since 1996. ISEA is an international non-profit organization dedicated to the promotion and development of the technological arts. ISEA is committed to interdisciplinary and cross-cultural communication/cooperation between the arts and the fields of technology, science, education, and industry. http://www.isea.qc.ca Information or Membership ISEA Complexe Ex-Centris 3530 Boulevard Saint Laurent, suite 305 Montréal (Québec) Canada H2X 2VI Mail: email@example.com With the support and the collaboration of : Ministry of Culture and Communication The Ministry of Culture and Communication follows an active policy of support for creation and promotion in the field of technological arts Five head offices support the international event ISEA2000 : the "Délégation au Développement et à l'Action Territoriale" (DDAT), the "Délégation aux Arts Plastiques " (DAP), the " Département des Affaires Internationales " (DAI) et the " Centre National de la Cinématographie " (CNC), the " Direction de la Musique, de la Danse, du Théâtre et des Spectacles " (DMDTS). http://www.culture.fr Tel : 33 (0)1 40 15 80 00 And in partnership with : Forum des images The Forum des images, located in the Halles district in the center of Paris, is a place of exchanges and meetings around the Image : cinematographic, televisual, digital... Its activities are multiple : it has an audio-visual collection of 6300 films, organizes events and festivals and proposes a sensitizing of the multimedia and a practice with it. http://www.forumdesimages.net Forum des images Forum des Halles - Porte Saint-Eustache 75 001 Paris - France Tel : 33 (0)1 44 76 63 14 Fax : 33 (0)1 40 26 40 96 Mail : AHesbert@vdp.fr CICV Pierre Schaeffer Center The CICV Pierre Schaeffer Center is an art and creation center with an international vocation. Questions of image, sound, medias and networks are at the heart of its activity. Artistic and cultural creation and experimentation are the founding roles of this structure (residences of creation, experimentation...). The technical facilities of the CICV Pierre Schaeffer Center make it possible to intervene in network, sound and image processing. http://www.cicv.fr CICV Pierre Schaeffer BP 5, 25310 Hérimoncourt - France Tel : 33 (0)3 81 30 90 30 Fax : 33 (0)3 81 30 95 25 Mail: firstname.lastname@example.org Canadian Cultural Centre The Canadian Cultural Centre in Paris is a place of discovery and innovation, the mandate of which is to allow Canadian artistic creation in all disciplines and in all its dimensions to develop, to be expressed and to be promoted in France.It represents a relay for Canadian artists and creators, and ensures the support and promotion of their work and their projects. http://www.canada-culture.org Centre culturel canadien 5, rue de Constantine 75 007 Paris - France Tel : 33 (0)1 44 43 21 90 Fax : 33 (0)1 44 43 21 99 Mel : email@example.com ACROE The ACROE-ICA is a group made up of a university research laboratory at the Institut National Polytechnique and Joseph Fourier University of Grenoble, and a center for research, creation, promotion of data processing applied to artistic creation at the Ministry of Culture and Communication. Today, the ACROE-ICA develops several research orientations on the interfaces for musical creation, as well as activities of creation (hosting artists in residence), diffusion (organization of artistic, scientific and cultural events), tutorial activities, and promotion. http://www-acroe.imag.fr ACROE Institut National Polytechnique de Grenoble 46, avenue Felix Viallet 38 031 Grenoble Cedex - France Tel : 33 (0)4 76 57 46 69 Fax : 33 (0)4 76 57 48 89 Mail: Claude.Cadoz@imag.fr ; Annie.Luciani@imag.fr GENERAL DELEGATION OF QUEBEC The Cultural Services of the General Delegation of Quebec work to promote and support artists from Quebec in France. Actions are undertaken in partnership with French organizations working to make known the specificity of the culture of Quebec, and this under the direction of Mr. Andre Dorval, Cultural Adviser. http//www.delegationquebec.fr Delegation generale du Quebec 66, rue Pergolese 75116 Paris - France Tel : 33 (0)22.214.171.124.70 Fax : 33 (0)126.96.36.199.79 Mail: firstname.lastname@example.org ***** LEONARDO UNDER ATTACK ISEA collaborator and sister organization, Leonardo (ISAST- International Society for the Arts, Sciences and Technology), has recently come under legal attack by Transasia, the independent French cousin to the US-based investment firm Leonardo Finance, for use of the word "Leonardo" in any shape or form on the web. These aggressive and outrageous tactics are only one instance in a spate of examples in which corporate bullies attempt to squeeze out pre-existing artist/non-profit organizations on the web. The now-infamous Etoy/eToys case is perhaps the most notorious example. RTMark, the corporate subversives who launched a successful counter-campaign (the giant Internet toy retailer eToys has withdrawn its lawsuit against Swiss art collective Etoy) is now posting information on similar attacks, such as the one against Leonardo (ISAST). Information can be found on RTMark, with links to a December article in Wired as well as links to Leonardo (ISAST) and Leonardo Fianance: http://rtmark.com/leonardo.html Below we reprint Leonardo (ISAST)'s most recent press release concerning the lawsuit. Updates can be found at the organization's website: http://mitpress.mit.edu/e-journals/Leonardo/ PRESS RELEASE FEBRUARY 2000 LEONARDO French Association Founded in 1967 and On the Web Since 1994 Under Legal Attack for Using the Name " Leonardo " Court Suit Threatens the Existence of a Non-Profit Organization Dedicated to Bringing Together Art and the New Technologies For the Past 30 Years THE FACTS On November 3, 1999 a bailiff and eight policemen carried out a search directed against the Leonardo Association, raiding a private residence. This highly unusual procedure was followed by the filing of a lawsuit against Leonardo by the Transasia Corporation and two co-complainants. Transasia has just recently registered the names Leonardo, Leonardo Finance, Leonardo Partners, Leonardo Invest and Leonardo Experts in France. It is suing Leonardo for a million dollars in damages and interest on the grounds of trademark infringement. Their basic argument is that a search engine request using the keyword "Leonardo" brings up not only the Transasia's sites but also the Web sites affiliated with the Leonardo arts organization. As part of this suit, Transasia has asked that Leonardo be forbidden to use the word "Leonardo," not only on its Web sites, but in any of its products and services, including its publications. This strikes at Leonardo's right to exist. LEONARDO: for 30 years the world's premier champion of a closer relationship between the arts and the sciences, providing information, promoting exchanges and stimulating thinking on both sides. The Leonardo Association is a French non-profit organization. Together with the International Society for the Arts, Sciences and Technology (ISAST), it works to forge an international community of artists, scientists and students. John Cage, Franck Popper, R. Buckminster Fuller have participated in Leonardo, an artistic and academic network founded in Paris during the 1960s by Frank Malina, a space science pioneer and kinetic artist. For 30 years now Leonardo has been dedicated to promoting artists who use science and the new technologies in their work. Its activity, long centered on print media, now also includes a Web site and online publishing. The broad juridical implications of the Transasia suit are of a matter of serious concern for all those involved in the Net. The Leonardo Association, conscious of what is at stake in this case, is preparing a legal defense based on three main arguments: Net Democracy: Forbidding someone to use a particular keyword means facilitating access to some sites and obstructing access to others. This is inequitable and contrary to the spirit of democracy that characterizes the Net. The principle of antecedence ("first come, first served"): Leonardo magazine has been published and circulated internationally for three decades. It has been available online as an MIT electronic publication since 1994 (mitpress.mit.edu/Leonardo). Thus suit betrays a bias in its choice of target: Search engines looking for the keyword "Leonardo" come up with many Web pages, some of them dedicated to Leonardo da Vinci and others to Leonardo DiCaprio! A Leonardo Legal Defense Fund has been established: donations may be sent to Leonardo, c/o ISAST, 425 Market St., 2nd Floor, San Francisco, CA 94105, USA. Leonardo/ISAST is a U.S. nonprofit 501(c)3 organization. Donations are tax- deductible in the U.S. ************************** NEWS FROM MEMBERS ************************** * PATRICK LICHTY is curating the exhibition "Through the Looking Glass" Digital Creativity at the Turn of the Millennium, which will take place at Beachwood Center for the Arts, Beachwood, Ohio April 15-30, 2000. Through the Looking Glass is an exhibition that will survey digital art forms (video, net, print, installation, etc.) to examine critical issues in digital art, and to explore the ways in which these aesthetic practices engage with the audience. Info: email@example.com * ERNESTINE DAUBNER organized a one-day conference Entitled "Art and New Technologies: The Real, the Virtual, the Auratic", held at the Montreal Museum of Fine Arts, February 11, 2000. The conference presenters included: Bill Vorn, David Tomas, as well as ISEA members ANDRA McCARTNEY ("Placing and Webbing with Sound") and MARGOT LOVEJOY ("Interactive Art: Negotiating Aura and Meaning"). Stay tuned for the next newsletter (INL#77) for more on this conference. Info: firstname.lastname@example.org * AGRICOLA DE COLOGNE's new media art project, le Musée di-visioniste, represents a network of the following Websites, which represent each one for itself a framework of projects and subprojects: www.le-musee-divisioniste.de www.a-virtual-memorial.de www.lmd-collections.de www.lmd-mediacentre.de www.javamuseum.de www.agricola-de-cologne.de Each Site represents also a platform for developing projects in virtual and real enviroments, for example by using JavaMuseum as a server for artistic online action. * ATAU TANAKA took part in the 2nd edition of the Festival de l'eau, which took place along the Mouhoun river in Burkina Faso from January 12 to February 2, 2000. Descending down the river in a boat, the festival featured collaborations and improvisations at various villages along the way between Burkenese artists and an international, interdisciplinary group of artists. This edition of the festival focused on new technologies. ( http://www.olats.org/zekri/ ). ATAU TANAKA has also recently released a new CD entitled Biorythms. Please send us information on YOUR achievements and projects! ************************** WELCOME TO NEW AND RENEWING MEMBERS ************************** Welcome and thank you to the following new and renewing members: Marie-Luise Angerer, Anna J. Bonshek, Marie-Lise Campeau, Analivia Cordeiro, Ernestine Daubner, Everett Frost, Sue Gollifer, William Law, Ilga Leimanis, Dawn Morgan, Paula Perissinotto, Réjean Plamondon, Andrea Polli, Sonya Rapoport, Ellen Sandor, Richard Ste-Marie, Bas Vroege, Marilyn Waligore, Eugene Zero ************************** FEATURE ARTICLES ************************** VIDEO AND SURVIVAL: A BALKAN UPDATE By Nina Czegledy Videomejea'99 "Video is a form of survival", the Fourth International Video Summit was held between December 3-5, 1999 in the Cultural Center of Novi Sad, Yugoslavia. This simple statement hides a complex situation and a heroic organizational effort. On December 2nd, I traveled to Novi Sad by train from Budapest. Apart from a light sheet of snow covering the country side, everything looked deceptively the same as before. On arrival, the unfailing hospitality by local hosts and friends was also very reassuring. Next morning however, my first walk took me to the Danube, where I was confronted by a surreal picture, -a picture symbolizing the local situation. Huge steel and concrete chunks of the collapsed bridges pointed to the sky from the murky waters of the Danube below. Up on the riverside, the surrounding buildings stood intact. A few people -young and old- stood by the shore and simply stared, while others briskly passed by. The bridges were destroyed over a half year ago. This act, more than any other damage, visibly touched something very deep and lasting in the heart of the city's inhabitants. In the course of the next few days, several of the locally produced videos presented at Videomedeja focused on the broken bridges as metaphors for the recent war and destruction. But just as the buildings stood untouched, (on the surface) city-bustling Novi Sad remained unchanged. Shortages, unemployment, limited prospectives are mostly invisible - furthermore there are twice as many boutiques as last summer, full with merchandise. Somehow people manage to purchase gas for their cars and food for their table. Or so it seems. Lately the very notion of video art as well as the validity of festivals has been a hotly debated topic. Videomedeja belies some of these "invalidity" assumptions. The first Videomedeja in 1996 presented works from 27 women from 9 East European countries. In 1999 -despite the extremely difficult conditions- 70 artists were represented from 17 countries. From the very beginning the festival has been promoting the work of women, however for the first time this year "men of Videomedeja" were also included. This and some other initiatives may be due to Balint Szombathy the current festival director. "This year," Balint told me, "we introduced a retrospective program from earlier programs including last year's Golden Sphinx Award winner. The first competition program for young artists was also initiated this year. Traditionally we hold workshops -and we have one running right now at the Academy". Balint, justifiably, feels a sense of victory by accomplishing the organization of a festival only a few months after the bombing. "It looked pretty hopeless, nothing worked," he said, "yet now, like a miracle, we have larger audiences than ever before. It really shows how hungry young people are for activities. The scale of events shrunk drastically in this city. At this point there is simply no way for large projects. Currently the Modern Museum has no on-going exhibits -only a functional office space and in the end, the whole space might be converted into boutiques." Survival -an aptly chosen title- was the festival theme of Videomedeja4. "The title of the festival came to us quite naturally" Sylvia Chamber, one of the enthusiastic, long time Videomedeja associates, told me, "we all had to develop survival tactics during the bombing". Recently Videomedeja has established a foundation and in the New Year the new Foundation plans to organize various events, workshops and presentations throughout the year. Sylvia has been working from the very beginning with Videomedeja. I have asked her how the recent situation is reflected in terms of the festival. She confirmed Balint's words: Due to funding cuts many events such as "Brahms," an established annual festival, was canceled last summer and so were others. Consequently each event gained a new significance. "After the bombing, festivals became much more important," observed Sylvia, "This year we received many more submissions than before, especially from young female Yugoslav artists. When some people who sent us work, were told that they have not been selected, their response was: it doesn't matter - we still will come." And they all came. The theater was filled up for each and every screening. My presentation of new Canadian videos was for example on late Sunday evening, outside rain was pouring and I was convinced nobody would turn up. I was wrong. In addition to the theater, all the other spaces such as the "galerija" where the installations were shown or the NS Time Club were some other events took place, proved to be too small to accommodate the audience. The three day program included international video screenings, installations, round table discussions and performances. We saw some curated programs from other countries, however only a few individual tapes came from abroad. "Somehow Yugoslavia became too exotic," said Sylvia. On Friday the 3rd of December, following the screening of the retrospective selection, and the official festival opening by Nina Czegledy and Branka Parlic, Videomedeja4 featured the premiere of Milica Mrdja-Kuzmanov's "Amarissima:Katalin Ladik and the Novi Sad Artistic Scene in the Seventies". This video, lovingly recapturing the performances of Ladik, received a standing ovation. Later the same evening we saw an eclectic selection of Finnish Female Video Artist's works. This was followed by the first Men of Videomedeja program. At least two tapes of this program focused on the Novi Sad "bridge" issue. "The name of the game" by D. Zivancevic adopted an especially wry point of view, by showing a ball game - as it turned out in the end - on one of the fractured bridges. The "Live Coals" performance by Natasa Teofilovic was also scheduled for Friday evening. Due to the large crowd and my small size, I was simply unable to see any of it. On Saturday afternoon Biljana Tomic moderated "Survival", a well attended round table session. In her introduction she described the important contributions of the video pioneers of the sixties and seventies. "Today the video scene is a different story in this country, however Videomedeja is a pioneer attempt to give a chance to young people. Video is a form of survival". Then the discussion focused on various other issues such as access to (high or low)technology, the question of "East" versus "West", politicized art etc., The conclusion was that in a difficult situation -political or otherwise- a sense of humour is the only way out. The Bulgarian video installations were formally presented on Saturday evening. These included the highly successful tapes by Borjana Dragoeva (showing her screaming present self and using her two year old voice) and the intimate work of "Close to the Body" by Zornitsa-Sofia Popgancheva as well as "Conversation" the two channel installation by Ivan Moudov and Simeon Nikolov. This voiceless conversation was conducted via passing back and forth a joint (in skillfully edited close-ups), while the viewer was sandwiched between the two monitors. The Romanian program from the University of Arts, Bucarest, curated by Roxana Trestioreanu and presented by two of her students was among the highlights of the Videomedeja. Gaspar Csongor's "Can I swim Wearing a Tampon" was one of the most popular tapes of the festival. Late that night, a considerable crowd vied to see the "Whites" performance by Olga Egorova and Natalia Pershina Kakimanskaya from St. Petersburg. The performers used video projections (of earlier performances), sound and live action, including the participation of a local (slightly bewildered) homeless person. He was served a full meal by the elaborately costumed performers, while a recorded voice recited the tale of the "Whites". The intriguing performance was a great popular success. On Sunday noon, we were treated to an official reception in the elegantly renovated City Hall, which was followed by a further round table discussion and Stephen Kovats's presentation of the Ostranenie '93 '95 '97 Forums. Through the CD-ROM presentation, the audience (including regular Novi Sad participants, such as Balint Szombathy) were able to re-capture the Ostranenie atmosphere and events. In Biljana Tomic's words: "Ostranenie was one of the few initiatives which tried to show a broad spectrum of Central and East European media art in a Western context." Taste of Landscapes a current video selection by Canadian women was presented by me, Nina Czegledy on Sunday. In this program I attempted to provide a brief glimpse of the multi-cultural contribution -ranging from Italian to Inuit background- to video art by Canadian women The festival ended with the jury's announcements. The jury consisted of Andrej Tisma, Sava Stepanov, Darka Radosavljevic. The Bogdanka Poznanovic prize to the best emerging artist went to Biljani Klaric for "Jovan's life". The Golden Sphinx for a lifetime opus was awarded to Dragana Zarevac. Vesna Vesic received the "Videomedeja Medallions" for "Wash me and I shall Be Whiter Than Snow". This prize was shared by Olga Egorova and Natalia Pershina Kakimanskaya for the performance "Whites" and the ATA Center for Contemporary Art in Bulgaria for their program selection. Videomedeja4 proved to be a testament to the artistic vigor, enthusiasm and heroic "survival" of the Novi Sad artists as well as the festival organizers. Nina Czegledy is an independent media artist, curator, and writer and a member of the ISEA Board. Currently at www.ljudmila.org/co (in progress!!) ************************** EVENT REPORTS ************************** Resistant Media: NxT Northern Territory Exposure Multimedia Symposium 30 September - 3 October, 1999 Darwin, Australia http://www.nxtnt.net http://www.anat.org.au/resistant-media Report by Lisa Bode and Shuddhabrata Sengupta in collaboration with Amanda McDonald Crowley During 1999, the Australian Network for Art and Technology developed a series of projects under the heading of resistant media. The final component of the project, Resistant Media - NxT, took place at the NxT Multimedia Symposium hosted by QANTM Multimedia Centre and 24 Hour Art - NT Centre for Contemporary Art in Darwin from 30 September to 3 October, 1999. The presentations by all the artists were really well received, and the space was also available to members of the local community, with the East Timorese community in particular being encouraged to access the facilities available in the venue for the duration of the event. The presentations and the conference party were also streamed live to the web and a number of people were able to participate remotely via CU-SeeMe to ensure that an international audience also had access to the event. The artists who participated in panel discussions, workshops, performances and presentations as part of Resistant Media were Ian Andrews, Shuddha Sengupta, Geert Lovink, Josephine Starrs, FTR, and Sam da Silva. International guest artist Shuddhabrata Sengupta of Delhi, India and Syndney- based ANAT member Lisa Bode both provided dispatches from the Darwin event. Extracts from their impressions below: Shuddha wrote: "Working with the new media can sometimes lead us to believe that e-mails, news groups, IRC, websurfing, webcams and virtual conferences exhaust all the possibilities of human interaction. After all you don't necessarily have to budge from your cozy digital perch anymore if you want to know what other people are thinking, or doing with their machines, no matter where, in which corner of the world they, and you, maybe located. After all, don't we all know that "connectivity" is just a matter of logging in through the right portal? My experience of being a part of the Resistant Panel group at the NxT Symposium proved how misplaced such assumptions can be. "Perhaps it was the fact that here we were in the middle of a conference that felt comfortable under palm trees and looking on to a spectacular ocean sunset. Perhaps it was the fact that Amanda Mcdonald Crowley and her team at ANAT, together with Mary Jane Overall from QANTM NT, and Geraldine Tyson from 24HR Art had gotten together and made welcome this curious assortment of people with a diversity of backgrounds and concerns - artists, programmers, techies, and activists, - people whom you wouldn't normally expect to see in the same place, at the same time, doing things together, or getting to engage with each others concerns and questions. Perhaps it was this delicate balance that the event achieved between the demands of cutting edge arts practice, and grassroots activism, without any agenda overtaking the conference. Or the urgency of what was going on, not so far away from Darwin in East Timor, which sharply foregrounded the task of thinking about the social and political implications of working with new media technologies. But there certainly was something remarkable in what I witnessed and grew to be a part of in the course of those four days in Darwin. No amount of cyber chatter could have generated the human chemistry that for me was the most important aspect of the event. "And it wasn't only a matter of getting to know people and their work, forming new friendships, and establishing valuable alliances for the future (although all that was important too). More crucially, what the resistant media space, and the other discussions and events at NxT provided for was focused attention on the reasons why all of us are working in the new media. That it allows for broader public access to the means of communication and expression, for the innovative recombination of older and existing media practices and art forms with new technologies. That it challenges the separations between artist and spectator, or artist and activist, that have dominated mainstream and conventional arts practice. That it forces us to think about what happens when people with different cultures, contexts and histories start creating something together. "Whether it was Bong Ramillo talking about the virtues of low tech activism, the BRACS (Broadcast Remote Aboriginal Community Scheme) Project emphasizing the immense potential of radio in giving marginalized communities a voice , Geert Lovink's incisive theoretical insights into the political contexts of new media practice, Josephine Starrs initiating us into the delights of subversive gaming, Ian Andrews' and Sam de Silva's reflective interventions on the directions that a media activist might take, Michael Buckley's delination of the possibilities of the usage of the new media as a repository of community memory, or the stimulating debates that occurred on themes of cultural identity and the philosophical questions that emerge from the human being- digital technology interface." Lisa Bode added: "While most of us involuntarily changed from our metropolis black to hibiscus prints in keeping with the stunning beauty and relaxed nature of our surroundings, we were nevertheless constantly aware of the nagging troubled presence of East Timor like an abscess over the horizon. This crisis, as well as the more incremental ones facing Australia's Indigenous community, could not help but haunt many of the artist/activist presentations, panel discussions, and informal chats. "Pertinently, Shuddhabrata Sengupta's ebullient talk on 'tactical media in times of crisis', gave much food for thought. Focusing in part on the use of the internet during the Indian - Pakistani war in Kashmir, he detailed how anonymous citizens in both countries created a plain-text website to forge links across borders and battle-lines. The site also provided an outlet for the expression of alternative voices to those touting nationalist hysteria in the mainstream press. From this he turned to the problems of focusing on 'crises of the everyday', and broad access to communications technologies in countries like India. We were gently reminded how the information carried by electronic networks can be channeled through other low-end tech tendrils such as word of mouth and broadsheets - in this case to connect thousands of exploited factory workers in New Delhi with others in similar situations. "The emphasis on older and low-tech media as co-existing adjuncts to the internet - extending its reach to sections of the local and global communities without online access - arose in a few discussions both formal and otherwise. "Reminding us of what can be done with very little money and access to technology, Ian Andrews' showcased some very entertaining political low-res scratch-video from early 80s Sydney, created on dodgy rented VHS machines out of the scraps of game shows, soaps, advertisements etc. As well as historically situating the work, he stressed the greater political effectiveness of only hijacking issues and images in current public circulation. This point was well illustrated by how 15-16 years had glossed those videos presented with a distracting patina of nostalgia, stemming from their outmoded televisual codes, music and hairstyles. "I left Darwin bowled over that such a diverse fired-up range of individuals could be given the opportunity to link up, compare strategies and enrich each other (and hopefully the local community), in this particularly politically charged locale." ***** Round Table at the 3rd etats generaux de l'ecriture interactive Organized by Art3000 Forum des images Paris, France November 16-17, 1999 http://www.art3000.com A Non-Exhaustive Brief on Computer-Aided Generative Music By Pascale Malaterre As abstract art par excellence, and one which is not subject to the dictates of linearity, music is building its future by developing its initial proposition. It is through the development of musical constructions that the computer can optimise the articulation of sonic tessitura. Besides making routine the contrapuntal and synaestheic relationship between the rhythm of images and musical tone, the tools developed by computers in these last few years promise a future which sings for the composer -provided that she or he does not fall into the trap of technological fascination. The presentations concerning the theme of music at the =83tats géneraux presented multimedia creators the results of research conducted in the domain of electronic music. Jacopo Baboni Schilingi, a composer who has already employed generative tools, underscored the ontological difference between creation and generation: "If an artist is capable of creating something from nothing, ex nihilo, the computer must, on the contrary, base itself on an existing system in order to generate something -that is to say, to produce and shape a new state of work..." Jacopo Baboni Schilingi employs the computer as an ideal orchestra which draws on all the possible variations and paths of a model which remains his conception, and for which he assumes paternity. At each level of writing he then chooses what he will keep after proofreading. For him, therefore, generative tools make more sense if they are used in real time, live, in order to take advantage of this principle of permanent discovery. If the energy of surprise is lost, the results frozen in a medium are less convincing. The composer Jean-Baptiste Barriere, who was in charge of the panels on music at the =83tats généraux, added in agreement that since the the decompartmentalization of the arts, the idea of the computer as an essential agent of synthesis and the site where interactivity between the 'active' spectator and different media is regulated, is now a a key subject of research. Born out by his creative experience, Jean-Baptiste Barriere strongly recommends designing non-linear tools through which the user dialogues with the artist's initial proposition and permanently modifies it. Sensors and computer tools, then, translate the living materials in a synthetic fashion and create a relationship of counterpoint between the different media, permitting the creation of a real interdisciplinary practice, such as that as envinsioned by opera. For that matter, is multimedia not simply the opera model liberated from the subjugation of different disciplines to a musical range centered on the vocal kingdom, which exludes all interactivity? Imagine the computer as a vectoral site for the encounter and confrontation between the arts and the human.... By presenting his CD-ROM work on negritude and its Francophone poet Leopold Sedar Senghor, Roland Cahen showed an excellent example of interactivity between music and poetry. And his notion of 'Silence in Art' said a lot about his conscience and the 'have-nots' of technology. I would like to finally slip away with the ethnomusicologist Frederic Voisin, who over the course of his research on so-called 'exotic' musical forms, is seeking to put the computer tool in the service of the Other, an important facet of interactivity which Art3000 also attempted to emphasize. Pascale Malaterre writes plays and performances counterpointed by technological media. She lives and works in Montreal and Paris. ************************** JOBS AND CALLS ************************** To be sent under separate cover. ISEA NEWSLETTER============================================= Editor: Katarina Soukup /Translation: Katherine Liberovskaya, Natalie Melancon, Katarina Soukup Contributors: Lisa Bode, Nina Czegledy, Pascale Malaterre, Amanda McDonald Crowley, Shuddhabrata Sengupta ______________________________________________________ ISEA, 3530 boul. 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