THE INTER-SOCIETY FOR THE ELECTRONIC ARTS
THE ISEA NEWSLETTER
# 31, JULY 1994
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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)
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CONTENTS
EDITORIAL . ISEA PUBLICATIONS . SEASHELL COMPUTER MODELLING CONTEST . COREL
CONTEST . DRC VIRTUAL GALLERY . US ART EDUCATION . CHAOS . MUSIC NEWS .
CALLS FOR PARTICIPATION . PUBLICATIONS . CALENDAR
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EDITORIAL
Wim van der Plas
ISEA/ASTN/ISAST MEETING AT SIGGRAPH
ISEA will organize a meeting in cooperation with ISAST/ASTN at SIGGRAPH '94.
The meeting is planned for Thursday July 28 at 12 noon. The room number will
be announced at SIGGRAPH (there is a bulletin board in the socalled BIG/BOF
Kiosk). It will be a 'BOF' meeting; BOF stands for Birds-of-a-Feather.
During the meeting, representatives of ISEA94 (Helsinki, Finland) and ISEA95
(Montreal, Canada) will present their plans. ISEA96 (Rotterdam, Holland) will
be announced and proposals for ISEA97 and ISEA98 will be presented.
Anyone interested is welcome. Anyone whishing to give a presentation on
institutes, organizations or plans in the field of the electronic arts during
the meeting, is asked to contact ISEA ahead of time. ISEA will have booth
space at the SIGGRAPH Educational Committee's booth, in the Art Show area.
SIGGRAPH, the large annual conference and exhibition on Computer Graphics and
Interactive Techniques, is held this year in Orlando (FL) from 24-29 July.
The SIGGRAPH conferences are attended by thousands of people from all over
the world. The (commercial) exhibition is attended by tens of thousands of
people.
Abbrevations used:
ISEA: Inter-Society for the Electronic Arts
ASTN: Art Science & Technology Network
ISAST: International Association for the Arts, Science & Technology
SIGGRAPH: Special Interest Group on Computer Graphics (of ACM, the
Association for Computing Machinery)
ISEA94: Fifth International Symposium on Electronic Art
ISEA95: Sixth International Symposium on Electronic Art
ISEA96: Seventh Internatioonal Symposium on Electronic Art.
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ISEA PUBLICATIONS AVAILABLE
SISEA PROCEEDINGS
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 giro.
ISEA, Rotterdam, Giro# 6236401.
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BECOME AN ISEA MEMBER NOW AND EARN US$ 149.00. STARTING 01.01.1995,
ALL ISEA REGULAR MEMBERS WILL RECEIVE THE QUARTERLY JOURNAL "LANGUAGES
OF DESIGN" FREE OF CHARGE. THE NORMAL ANNUAL SUBSCRIPTION RATE IS
US$ 199.00; ISEA REGULAR MEMBERSHIP RATE IS ONLY US$ 50.00!!!
This offer does not apply to Student Membership.
LANGUAGES OF DESIGN, is an international, interdisciplinary journal,
devoted to research in formal languages and their use for the synthesis
of words, images and sound. It 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. BOARD OF ADVISORS: W. Andersen, M. Balaban, B.
Bel, P. Berg, M. Borillo, L.C. Camilleri, D. Carrier, A. degli
Antoni, K.S. Champa, B. Galeyev, J. Kirsch, R.L. Kirsch, T.
Knight, R. Krishnamurti, O. Laske, J.P. Leavey jr., C. Machover,
T. Machover, R.F. Malina, F. Nake, D. Nardoni, Y. Okawa, G.
Prince, J.G. Rosebush, A. Rosenfeld, M. Sperka, D. Spinelli, R.
Stickrod, G. Stiny, J. Sundberg & E. Tarasti.
In our next Newsletter more information on Languages of Design.
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SEASHELL COMPUTER MODELLING CONTEST.
International Computer Graphics Exhibition
Order and chaos in nature
Australia, January 1995
Guidelines for Entrants: Specific Requirements
Entrants in the international competition are required to use mathematical
equatations of some kind to regenerate realistic three dimensional shells
(either living or fosil species) and whatever ray-tracing or graphics
rendering techniques they like in order to obtain SUPER-REALISM ... that is
to say shells that look as realistic as possible. The most challenging shells
to model are spiky murexes and frilly clams or extinct "heteromorphic"
ammonites. Extra credit will be given for exotic and pleasingly shaped shells
with interesting surface details including spikes and frills and color
patterns. But they should be real species with an accepted Latin name.
A list of suitable popular reference books is available from ISEA
or from Chris Illert.
Whatever equations you use you should employ standard mathematical notation.
A standard mathematical notation is essential for our judges to understand
what you are doing and asses it. It is not acceptable for photographs of real
shells simply to be scanned into the computer and manipulated in a minor
way then passed off as "computer generated". You must use 3D equations of
some kind to regenerate your shell and also write a concise three page text
explaining your techniques and mathematics in a form suitable for publication
(in the event that your entry wins the competition).
You may enter either individual colored pictures, or else short computer
animated movies of growing shells. Colored pictures should be submitted in
the form of five identical high-quality sharp clear color slides. These are
needed for the different judges and for printing in the exhibition
catalogue, and scientific journals after the event.
Winners will be asked to provide their pictures either on a computer disk or
as a full colored poster 1 x 1,5 meters (ready for framing and display). We
will pay for this to be done and work out the details with the winner(s) at a
later date.
Computer-animated movie off shell growth. This should be of no more than 5
minutes duration, ideally less. Entries should be supplied in the form of
thee identical VHS videotapes (In either PAL or NTSC formats). If possible
they should have a title with the name of the shell being modelled and the
name of the contestant and any credits deemed necessary. But if this is not
possible a typed page accompanying the entry should suffice. Entrants
submitting materials must write and sign a cover letter stating that they
1- understand that all materials submitted will not be returned
2- the judges Decisions are final
3- copyright of the material is freely given to the Exhibition Organisers
for use at the Exhibition, in Conference Proceedings, conference-related
journal articles etc
4- the submitted material is original unpublished work, not submitted
elsewhere, and that there are no other persons or organisations with
interests in copyright or royalties involving these images.
The winning entries will be shown at the First International Conchology
Conference and put on display at the International Computer Graphics
Exhibition from 2-7 January 1995. The winner(s) will have their paper
describing how they produced their image published in the Conference
Proceedings. The winning entries will also be widely published in popular
and technical international magazines and journals, thereby promoting the
computer artist and their work. At the very least we will exhibit, publish,
publicise and promote the work of the winning computer artist(s). But if
work is received which is deemed to be Extraordinarily Advanced the
Exhibition Organisers may see fit to pay the winning entrant's airfares to
and from Australia to attend the Conference/Exhibition.
Deadline: End of October, 1994
Submit to:
Prof. Chris Illert
2/3 Birch crescent
East Corrimal, NSW 2518, Australia
Tel/fax: 61-42-833009
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COREL CONTEST
The winners of the annual World Design Contest were announced recently by the
orgizer of this competition, Corel Corporation. It is the largest computer
graphics competition in the world, but it is limited to work done with Corel
software. 6700 entries were received, from 45 countries. The overall winner
was S. Arscott from Canada. The first prize package is valued (by Corel) at
over $100.000. In 13 categories, 6 winners were from the USA, 3 from Canada
and one from Bulgaria, France, Germany and the UK each.
They received a $11.500 personal computing package.
Corel will publish the designs in ArtShow5, a full-color coffeetable book and
companion CD-Rom.
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DRC VIRTUAL GALLERY
The Design Research Centre at Derby University recently completed the first
"wing" of its World Wide Web art gallery. The Electronic Wing of the
gallery contains work from five Derby artists who use electronic technology
as part of their work.
The URL for the gallery is:
http://dougal.derby.ac.uk/gallery/drc-gallery.html
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US ART EDUCATION
This might be of interest to US-based art education workers:
Our project, The Annenberg/CPB Project, has funding guidelines in higher ed.
One Initiative, "Rethinking Courses: Sharing Information about Technology,
Technology-Based Teaching Materials, and Teaching," is designed to fund
projects that bring together (if only electronically) faculty who all teach
the same course (e.g., intro to music) and who all have been working on
gradually or dramatically restructuring that course in light of the fact that
students can use computers, video, telecommunications, and/or other
information technologies.
Faculty can get our guidelines by sending e-mail to
ANNHE-GUIDELINES@CHRONICLE.MERIT.EDU
Stephen C. Ehrmann EHRMANN@SOUL.CPB.ORG
Senior Program Officer 1-202-879-9643
The Annenberg/CPB Projects 1-202-783-1036 (fax)
901 E Street, NW
Washington, DC 20004-2037
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CHAOS SEEN AS A METAPHOR FOR THE CREATIVE PROCESS IN THE ARTS:
A PROJECT
The purpose of this project is to explore the links between science and art,
the goal is to produce art by an examination of the motivations and aesthetic
positions of the fields involved. Theoretical science seeks to generalize
from measurements, the motivation in art is to particularize; the art work
functions as an intregrated whole. Artists involved in technology usually
approach the chaos /fractal ideas as sources for tools and inspiration, the
logical structure behind those tools is not very relevant to their basic
purposes.The tools of fractal geometry can provide psychological models of
aesthetic perception. Research from the following areas will be used as the
knowledge base for this general effort.
1. CHAOS COMPLEXITY THEORY - the cosmological view
This will be the big picture, the major frame of reference for the research
and the curriculum to be based on these ideas. The basic source will be
Gleich's book on chaos.
2. FRACTAL GEOMETRY - the language of chaos
In this area we shall use the work of Clifford Pickover. In addition we shall
introduce the ideas of Mandelbrot, however the emphasis will not be on the
mathematics. We will use several software programs to expand fractal images
such as fractal vision and fractint .
3 THE NATURE OF SYMMETRIES - the visual form of chaos
Here we will use the work of Hargarti and explore the nature of
symmetry in nature, in mathematics, science, and in art.
Topics
fourfold symmetries
fivefold symmetries
4.THE GOLDEN SECTION AND DYNAMIC SYMMETRY - the classical dimension of chaos
Here we shall look at the work of Jay Hambidge and explore the ideas of
dynamic symmetry as a key to the question of the golden section and the basic
ideas in the classical conceptions of order and complexity.
5 THE NATURE OF THE BRAIN - the human dimension of chaos
According to some linear memory is fractal, it consists of clusters within
clusters within clusters. The layers of memory are self-reflected, the images
of memory are self-similar. In a sense chaos here will be explored as a
methapor.
6 DRAWING WITH THE WHOLE BRAIN - the aesthetic dimensions of chaos
Here we will explore ideas of drawing which are directly connected
to the nature of the brain.
Harold J. McWHINNIE
Email: HAROLD_J_MCWHINNIE@UMAIL.UMD.EDU
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MUSIC NEWS
(Source Music Research Digest)
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COMPUTER MUSIC JOURNAL.
Here is some information on select articles appearing in the current issue
(18:1).
C.M.J. 18:1 (Spring 1994) is the third and final installment of the journal's
focus on music representation and scoring, with five articles on the subject.
Donald Byrd: "Music Notation Software and Intelligence"
John Wm. Schafer: "Threader: A Computer Interface for the Graphic
Entry, Encoding, And Analysis of Musical Scores"
Russ Ethington and Bill Punch: "SeaWave: A System for Musical Timbre
Description"
Guerino Mazzola and Oliver Zahorka: "Tempo Curves Revisited: Hierarchies of
Performance Fields"
Alan Belkin: "Macintosh Notation Software: Present and Future"
For more information on C.M.J. please contact the publisher:
MIT Press Journals
55 Hayward Street
Cambridge, MA 02142 USA
email JOURNALS-INFO@MIT.EDU
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C.M.J. INTERNET ARCHIVE AND WORLD-WIDE WEB HOME PAGE
This archive is a set of files that are stored on two Internet-accessible
servers--one at MIT and one at Stanford--for the use of CMJ readers and
members of the computer music community in general. The "root" directories
are for the archive are "mitpress.mit.edu:/pub/Computer-Music-Journal" and
"ccrma-ftp.stanford.edu:/pub/Publications/cmj."
The archive includes the tables of contents, abstracts, and editor's notes
for the last several volumes of CMJ (including the recent bibliography,
diskography, and taxonomy of the field), a number of useful CM-related
documents such as the full MIDI and AIFF format specifications, a lengthy
reference list, the guidelines for manuscript submission, and the full text
of several recent articles.
The files in these directories can be copied via anonymous Internet ftp file
transfer, and there also is a World-Wide Web (WWW) "home page" in the file
named "CMJ.html" that contains useful pointers into the archive (and
elsewhere) and provides hypertext access for users of web browsers such as
the NCSA's Mosaic.
The two URLs for the Computer Music Journal WWW home page are
"file://mitpress.mit.edu/pub/Computer-Music-Journal/CMJ.html" and
"file://ccrma-ftp.stanford.edu/pub/Publications/cmj/CMJ.html".
Please note that neither of these machines run local http servers, so Mosaic
users should access them using the file URLs as above.
As a World Wide Web fan and user and as a Music lover I propose the following
idea. What about creating some sort of an hypermedial Virtual Museum storing
many original music manuscripts converted into hypertextual form?
As you know, the Web offers an easy way to create imagemaps i.e., images
whose zones can be regarded as hyperlinks pointing to multimedial stuff.
Such hypergraphs might point to:
- multiple interpretations for a same mesure / group of mesures
- audio informations i.e., "how it sounds", or better, "how it sounds
according to a), b), etc"
- videoclips with realtime fingering, use of the pedal, etc.
- code modules for interaction between the hypergraphs and the users
- any information on the World Wide Web concerning music, or in any sense
related to the selected hyperlink.
Anyone interested might contact me:
-partecipating to the following WIT discussion:
http://info.cern.ch/wit/Topic1021
-visiting my prototypal system:
http://fourier.csata.it/enzo/iuv/iuvenil.html
Vincenzo De Florio
School for Advanced Studies in Industrial and Applied Mathematics
SASIAM Tecnopolis Novus Ortus, strada prov. per Casamassima, km.3
I-70010 VALENZANO (Ba), Italy
Phone: 39-80-8770265, Fax : 8770266
E-Mail: DEFLORIO@LEONARDO.CSATA.IT
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SEMINAR: INDIAN MUSIC AND COMPUTERS:
Can 'mindware' and software meet?
New Delhi, 16 August 1994
Organised by Centre for Human Sciences and India International Centre (with
financial support of the Sangeet Natak Akademi). The aims and methods of
computational musicology (an attempt to simulate human musical behaviour
through the medium of mechanical artefacts) have often been misunderstood
because of misleading claims uttered by newcomers in the field. This seminar
will be an opportunity to clarify motivations of research oriented towards
the analysis and simulation of compositional-improvisational processes in
Indian music, and its relevance to the emergence of contemporary art forms.
At present, the exclusive interest in sound and MIDI editing tools is a
threat to improvisational and interactive aspects of Indian art music. A
cognitive musicological approach is a primary requirement for bridging the
gap between expectations of musicians and the response of technology.
To quote composer and scientist Otto Laske, 'mindware' and software
are bound to meet when composers "are given tools enabling them to
manipulate objects so as to imbue them with 'soul' or experiential value,
thereby turning them from object to subject"
Prof. S. Ramaseshan (Raman Institute, Bangalore) will open the seminar with
an homage to Nobel laureate C.V. Raman.
The first session will then be devoted to the presentation of four related
projects in computational musicology initiated during the past decade, in and
outside India. Software and hardware developed in these projects will be
demonstrated by Dr. Bernard Bel (CNRS-CSH, New Delhi), Dr. (Ms.) Suvarnalata
Rao (NCPA, Bombay), Prof. H.V. Sahasrabuddhe (University of Poona) and Rajeev
Upadhye (C-DAC, Pune).
The afternoon session will start with a communication by sanscritist and
musicologist Dr. Mukund Lath (University of Rajasthan), who will address
'modernity' and 'innovation' from Indian and western view-points.
Dr. Ashok Ranade (Yashavantrao Chavan Pratishthan Mumbai, Bombay) will
contribute with a talk in favour of "rehabilitating the sense of hearing and
the dimension of sound which have been too much neglected" -- notably in
multimedia and clip-art design.
The last session will be a round-table: "Can 'mindware' and software meet?".
Admission will be on invitation basis. Priority access will be given to
scholars, artists, art critics, and persons belonging to cultural or
scientific institutions. Invitation cards will be sent in August. Please
send a fax or letter indicating professional status and motivation to:
Bernard Bel, Centre for Human Sciences
2, Aurangzeb road, New Delhi 110 011, India.
Fax: 91-11-3016441.
IRCAM WWW SERVER
Ircam is a french research and education center in acoustics and music. Its
WWW server is now accessible on the Internet. It is, for the time being, only
in french, and offers:
1. Informations on Ircam's activities in music (incl. the 94-95
musical season) and research (acoustics, digital signal processing, etc,
together with sound illustrations).
2. Information on its degree-granting programs.
3. Access to Ircam's music library and sound archive catalogues for online
searches, as well as to a bibliography of published papers by Ircam
people.
4. Ircam's publications and recordings, and how to order.
5. Ircam's licenced software as well as its ftp server.
Moreover, it provides access to other WWW servers through thematic searches
(by keyword, e.g.), in a database we set up.
The URL for Ircam's WWW server is: http://www.ircam.fr
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CALLS FOR PARTICIPATION
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CALL FOR ELECTROACOUSTIC MUSIC
The Dept. of Music of the University of Brasilia promotes concerts of
Electroacoustic Music for tapes-solo. The concerts are presented during lunch
time, in the open air, for a large audience of students and faculty.
Composers are invited to send tapes to the address indicated below. Tape
format may be digital recordings DAT 48kHz, 44.1 kHz or 32 kHz, and analogic
recordings 7.5 ips or 15 ips (19cm/sec or 38cm/sec) full track mono or
half-track stereo. Cassette tapes with a very good quality are also accepted.
We are looking for not very purist composers: the concerts are exposed to
aleatory sound events of nature, traffic and even of critical audience. All
tapes are presented without a previous selection. After each concert, the
organizer sends the printing-program and press-cuttings to the composers.
Contact:
Prof. dr. Jorge Antunes
Laboratorio de Musica Eletroacustica
Universidade de Brasilia
Instituto de Artes
Departemento de Musica, Sala 21
70919-970 Brasilia-DF, Brasil
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TECHNOLOGY PHOTO CONTEST
You could win the annual photo contest of Technology Review, a national
science and technology magazine with 100,000 subscribers. This year's theme
is "THE TECHNOLOGY OF GETTING THERE." Whether the photographer's interpretion
is literal, involving transportation, or broad, concerning the process of
solving a problem or creating something, the judges will be interested in how
it involves technology. Technology Review will publish a selection of winning
photographs and award prizes of $500, $300, and $200 to the first-, second-,
and third-place winners.
To enter, photographers should send no more than six previously unpublished
entries--prints or slides in a sleeve--to Photo Essay Contest, Technology
Review, MIT, Bldg. W59-203, Cambridge, MA 02139, USA. Entries sent by
overnight mail should be addressed to
Technology Review's street address: 201 Vassar St.
All entries must be postmarked no later than October 1, 1994.
Technology Review acquires the right to publish the award-winning
photographs, including honorable mentions, in one issue. Entries without
return envelopes and sufficient postage will not be returned, and the
magazine cannot take responsibility for loss or damage. Photographers should
include cardboard for protection and their names on each slide cover or the
back of each photograph, and note the type of film and photographic equipment
used.
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COMPLEMENT to debut at NOISE -A- PALOOZA show.
'Complement' is an attempt to collect and showcase unusual, fringe, and
generally experimental arts of all medias. If successful, it will be
accompanied by a catalog and will be displayed as openly as possible.
COMPLEMENT SEEKS "ARTISTS" TO SUBMIT ITEMS TO BE INCLUDED! Lookin for:
DadaFluxusIndustrialartExperimentalNoiseDifficultmusicUnusualprint
UncategorizablephotocollageRoboticartVideoexperimentsProgrammingart
No/lowprofitNoncommercialOffthewallDoityourselfUniqueNovelties.
The idea is give odd art a home. Each artist will submit an item
for display and catalog/documents describing what else they do.
COMPLEMENT will debut at NOISE-A-PALOOZA 2 -- the second annual
noise/experimental music fest held August 12th in Ann Arbor Mich. USA
Noise-a-palooza will bring together several atypical fringe-dwelling
musicians and surround them with visual experiments of all sorts.
If you are AT ALL interested in attending/showcasing/etc please --
email: jon@kzsu.stanford.edu visit: http://kzsu.stanford.edu/uwi.html
write: UWI - P.O.Box 4060 - Ann Arbor, MI 48106-4060 USA
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SCULPTURE CITY INTERNATIONAL NETWORKSHOP '94
September/october 1994 the Foundation ATTILA (based in Rotterdam, The
Nethetlands) is organising an international electronic workshop.
The idea is to send and to receive 3D-models for SCULPTURE-BUILDINGS.
Buildings which are sculptures, and sculptures actually being buildings.
Buildings are regarded as sculptures to work and to live in. All the
received 3D-models will be assembled together to form a virtual "Global
City", sculptured by an international group of artists and designers.
The SCULPTURE CITY INTERNATIONAL NETWORKSHOP '94 will be part of an
exhibition in Gallery RAM in Rotterdam, The Netherlands called
SCULPTURE CITY ROTTERDAM. The resulting Global City will be exhibited
at the exhibition during september and october 1994 (on monitors
and in coloured plots, artist's names will be mentioned).
You can participate as an individual or with a group (students or
professional designers/artists), so the manifestation will become
a global workshop.
-Topic
The main topic of the manifestation will be the relationship between
Architecture, Art and Electronic media.
With the increasing influence of electronic media on our physical world,
the way we experience our physical environment changes.
The tendency of communication spaces becoming more and more a-topic can
be of great influence on the design of architectural-, sculptural- and
cyber-space. In the near future the electronic networks might be entered
from every physical place. With this intertwining of physical and electronic
space every physical space becomes connected to virtually every other space
and becomes in itself a-topic even though it is geographically fixed.
What can be said about designing architectural or sculptural space
in the paradoxical situation that arises when you superimpose virtual and
real spaces; a situation of being in two spaces at the same time? Nowadays
the schizophrenic zones between architecture, art and electronic media is
approached from the separate points of view of the architect, artist or
computer specialist. We would like to question this one-sided approach by
confronting the different fields and thus create a dialogue between them.
The dissolving sensorial boundaries between electronic and physical
space will be explored during the event by connecting cyber-spatial-design
to physical interfaces, such as milling-machines and VR-installations.
-Deadline
Since the exchange of files will take place during the actual
manifestation the deadline is September/October 1994.
-Submissible works
Models of your own electronic designs; designed in electronic space.
-Data formats
The data format of the SCI models depends on the programs used by
the participants. At least the following data formats will be
supported:
.DXF
.DWG (Autocad)
.3DS (3D-studio)
If it is not possible for you to submit your models in one of these
formats, please let me know.
-Data exchange
Thanks to the CAD-training center of the Technical University of Delft
there is an FTP-site available.
-Subscribtion
If you and/or your organisation would like to participate in the exchange
of ideas and models during the SCULPTURE CITY INTERNATIONAL NETWORKSHOP
in september 1994 please send mail to :
--Menno Rubbens
attila@well.sf.ca.us
containing the following items:
Name,
Email address,
Organisation,
Country.
and a short note why you would like to participate, and if you will
participate as an individual or with a group.
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PUBLICATIONS
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CD-ROM DIRECTORY 1994
This 11th edition claims to be the "definite international guide to all
CD-ROM & Multimedia CD titles published in the world, plus all companies
involved in the industry."
Available in Book version (95 Pound S.) and, of course, CD-ROM version (128
Pound S.). The combined set goes for 187 Pound S.
(All prices incl. overseas surface mail).
Orders:L F.M. Bevis, TFPL Publishing, 17-18 Britton St., London EC1M 5NQ,
UK. Tel: 44-71-2515522, Fax: 2518318
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SPECULATIONS AND RESEARCH ON ART EDUCATION
vol 1 no 1, fall 1994
special theme
IMPLICATIONS OF TECHNOLOGY FOR TEACHER EDUCATION
1 .focus on new technologies in art education
2 .implications of multi-media in art education
3 .implications of computer and computer graphics
4 .success stories about teaching infusion with technology
Send paper in either of two formats
a. by e-mail
b. on disk ibm word perferct only
Harold mc Whinnie, College of Education, University of Maryland
College Park, Maryland 20742, USA.
To subscribe send me your e-mail
Free to all
Will be published and mailed on oct 1 1994
Harold J. McWHINNIE, Email:Harold_J_McWHINNIE@umail.umd.edu.
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CALENDAR
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SIGGRAPH 94
July 24 - 29 1994, Orlando, Florida, USA
Info: Smith, Bucklin & Associates, Siggraph 94 Conference Management
401 N. Michigan Ave., Chicago, IL 60611, USA.
Tel: 1-312-3216830, Fax: 3216876, Email: SIGGRAPH94@SIGGRAPH.ORG
TRIPLE X FESTIVAL
July 27 - August 17 1994, Amsterdam, Holland
Performances: until August 7. Exhibition: until August 17.
Location: Westergasfabriek, Haarlemmerweg 8-10, Amsterdam.
Some of the program is electronic art: for example an installation by
Nicolas Baginsky (Germany) and the Triple X Oscillate Night: Ambi Grooves
& Live Electronic Mood Music on August 6-7, from 8 p.m. until 10 a.m.
The program and a data base containing info, visuals and sounds will be
accessible via World Wide Web. There will be a system with internet access
at the site.
Info: Triple X, Van Diemenstraat 410, 1013 CR Amsterdam, Holland
Tel: 31-20-4205316, Fax: 6389160, Email: TRIPLEX@HACKTIC.NL
1st BRAZILIAN SYMPOSIUM ON COMPUTER MUSIC
August 3 - 4 1994, Caxambu, Brazil
Departamento de Ciencia da Computacao, Universidade Federal de Minas
Gerais - UFMG, Belo Horizonte, MG, Brazil
Email: MAURICIO@DCC.UFMG.BR
ANIMA MUNDI 94
August 12 - 21 1994, Rio de Janeiro, RJ, Brazil
International festival on traditional and computer animation. Workshops,
lectures and presentation of the best animations produced in 1994.
Contact:
Marcos Magalhaes, Centro Cultural Banco do Brasil
Rua Primeiro de Marco 66, Rio de Janeiro - RJ - BRAZIL
ISEA94 THE 5TH INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART
August 20 - 25 1994, Helsinki, Finland.
Info: ISEA'94, University of Arts and Design UIAH, Hameentie 135c, 00560
Helsinki, Finland. Tel: 358-0-7563344, Fax: 7563537, Email: ISEA@UIAH.FI
EUROPEAN ART MEDIA FESTIVAL
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
FIRST BRAZILIAN MEETING FOR ELECTROACOUSTIC MUSIC
September 10 - 14 1994, Brasilia, Brasil
Symposium, lectures, performances, colloquium, concerts.
Foundation of the Brazilian Society for Electroacoustic Music
Info:
Laboratorio de Musica Eletroacustica
Universidade de Brasilia, Instituto de Artes
Departemento de Musica, Sala 21, 70919-970 Brasilia-DF, Brasil
INTERNATIONAL COMPUTER MUSIC CONFERENCE 1994
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
EUROGRAPHICS ' 94
September 12- 16 1994, Oslo, Norway
15th Annual Conference of The European Assiciation for Computer Graphics
Email: eg94@si.sintef.no
OTTAWA 94
International Animation Festival
September 28 - October 2
Deadline for submissions: July 15
Info: 2 Daly St., Ottawa, Ontario K1N 6E2 Canada
Tel: 1-613-232-6727, Email: ab027@freenet.carleton.ca,
Compuserve: 71203,3350
PARTNERSHIPS IN MULTIMEDIA
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
Info
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
INTERNATIONAL COLLOQUIUM ON NEW MUSIC RESEARCH
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.
FESTIVAL VIDEOBRASIL
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
IV FESTIVAL INTERNACIONAL DE MUSICA CONTEMPORANEA
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
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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, Tell Productions, 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.
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End of Newsletter