THE ISEA NEWSLETTER
INL#59, November 1997
ISEA, P.O. Box 508, Succ. Desjardins,
Montreal (Qc), H5B 1B6, CANADA
Phone: (514) 281-6543, Fax: (514) 281-6728
Email: isea@sat.qc.ca
URL: http://www.sat.qc.ca/isea
___________________________________________________________________
ISEA Board Members: Peter Beyls, Janice Cheddie, Amanda McDonald Crowley,
Tapio Makela, Alain Mongeau, Simon Penny, Cynthia Beth Rubin, Patricia
Search, Wim van der Plas. Ex-officio Board members: Shawn Decker (ISEA97),
John Hyatt (ISEA98), John Brady (ISEA98)
___________________________________________________________________
* LISTSERV *
ISEA LISTSERV:
To subscribe, send a message to:
listproc@uqam.ca, no subject, with the message in the body:
"subscribe ISEA-forum first name last name"
___________________________________________________________________
* CONTENTS *
* EDITORIALS * ISEA NEWS+ INFO * JOB POSTING * CALLS * CONFERENCES *
___________________________________________________________________
* IIAC EDITORIAL*
by Roger Malina and Amanda McDonald Crowley
ISEA BOARD ESTABLISHES INTERNATIONAL ADVISORY BOARD TO WORK WITH THE COMMUNITY
At the recent meetings of the ISEA Board of Directors held during ISEA98,
the board decided to establish an ISEA International Advisory Committee(IIAC)
to provide the board with advice. The IIAC will provide input and
recommendations on policy issues facing artists and organisations working,
as well as to assist the board to decide how to move forward to ensure better
representation and networking internationally.
The purpose of the IIAC is specifically to provide advice to the ISEA Board
of Directors on: the goals and priorities of ISEA; the projects and programs
of ISEA; and the operating methods of ISEA. Roger Malina has agreed to co-
chair the International Advisory Board, stepped down from the Board of
Diretors to be able to dedicated time to this task. Amanda McDonald Crowley
as a continuing board member will also act as co-chair for this body. Their
terms will be for three years.
The IIAC has been established in order to provide input to the the
organisation to assist it move forward following the relocation of the
secretariat to Montreal. With rapid developments in this field since
the establishment of ISEA, there is a need to reevaluate the organisation
and it is hoped that all ISEA members will help plan the organisation's
future. Is ISEA still needed ? Are the ISEA Symposia meeting our needs ?
Are there other services ISEA should be providing ?
The composition of the group has not been finalised at this stage.
The co-chairs are drafting policies and procedures for the IIAC, as well as
suggested nominations.
These will be submitted to the Board of Directors for approval before the
end of the year. Individuals interested in being involved with the IIAC
should contact Line Goyette (isea@sat.qc.ca), secretary to the IIAC.
* ISEA HQ NEWS*
Some news from the HQ we would like you to share with us....
The Inter-Society for the Electronic arts was recently nominated for the
Makepeace TSAO Leonardo Award. This award recognizes organizations or
artists' groups that increase public awareness of art forms involving science
and technology through the sponsoring or curating of exhibitions. Makepeace
Tsao is a retired biochemist, professor, gallery owner, and artist who has
been a member of the Leonardo Editorial Board and an advisor to Leonardo/
ISAST for 15 years. The first recipient of the award will be announced in
late 1997. We'll keep you updated of the results ! (they will be displayed,
along with the finalists and honorable mentions both in the journal Leonardo
and on their Web site http://mitpress.mit.edu/e-journals/Leonardo/home.html
* TO ALL ISEA MEMBERS *
I would like to invite you to participate actively to our Members' Repertory,
on the ISEA Web Site (www.sat.qc.ca/isea). It will be online two weeks from
now. We have developped two different sections, a repertory with your
personal information, as well as a work repertory, where you can list your
works for them to be discovered or known better. At first, the information
displayed will be the one you filled with your membership form. The great
thing about these two repertories, is that you update them yourself. In
other words, you will be free to add, delete, and do anything you wish to
your file. As soon as it will be on, you will be given a password that
enables you to enter your own file and make the rectifications necessary.
If you have any questions regarding the repertories, don't hesitate to
contact me,
Isabelle Painchaud
Members Network Coordinator
isea@sat.qc.ca
ISEA96 PROCEEDINGS
It is still time to order your copy of the ISEA96 Proceedings.
Prices are: Members: 20 $CDN (15 $US)
Non-members: 35 $CDN (25 $US)
PLUS SHIPPING COSTS: 3$ for Canada
8$* for USA
16$* International
*Those costs can be cut by half if the package is sent by ground or by sea,
allow about 2-3 weeks for delivery
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ISEA96 Proceedings
Fill this form and send it back to:
ISEA, C.P. 508, Succursale Desjardins, Montreal, Qc, H5B 1B6, CANADA
FAX: 1.514.281.6728
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Address:_______________________________________________________________
City:________________________________State/Province:______________________
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Payment Method
( ) Money Order *
( ) Cheque on a Canadian Bank*
( ) MasterCard
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* payable to ISEA
Card Number: ___________________________________________
Expiration date: __________________________________________
Name of cardholder: ______________________________________
Signature: ______________________________________________
*******************************************************
German Leonardo Web site collaborates on Digital Content for Culture
As part of a collaboration with the Digital Content for Culture Forum,
the German Leonardo Web site is calling for participation in a
questionnaire for digital content providers and buyers. The questionnaire
---with supporting interactive visual content---can be found at:
http://www.iic.dlr.de/dcc/survey092. The German Leonardo web site can
be found at http://www.iic.dlr.de/leonardo/ Results of the survey will
be shared with those who fill out the survey. We are also interested in
additional questions you would like to see distributed. For info contact:
Barbara Lechler, e-mail: Barbara.Lechler@iic.dlr.de
*JOB POSTING*
The Faculty of Humanities, of McMaster University, invites applications
for a tenure track appointment at the level of Assistant Professor in the
area of Multimedia Design. Duties will include teaching courses in
Computer Graphics, Multimedia and Human/Computer Interface Design.
The successful candidate will have a Ph.D. in a Humanities discipline or
the equivalent, and experience in multimedia development including computer
graphics, digital audio and video, and computer-based instructional
technology. The candidate will also have demonstrated excellence in the
teaching and development of multimedia works and have research interests
in the history, rhetoric, or theory of multimedia design and the human-
computer interface. Experience in the arts or arts-related endeavours
would be an asset. The current minimum salary for an Assistant Professor
at McMaster is $41,260. The starting date for the appointment is July 1,
1998. Applications, including curriculum vitae, transcripts, a multimedia
design portfolio, and letters from three referees, should be addressed to :
Dr. Evan Simpson, Dean, Faculty of Humanities, McMaster University,
1280 Main Street West, Hamilton, Ontario, L8S 4L9. Applications received
by December 15, 1997 will be assured consideration.
In accordance with Canadian immigration requirements, this advertisement
is directed to Canadian citizens and permanent residents of Canada
(please indicate status). McMaster University is committed to employment
equity and encourages applications from all qualified candidates, including
aboriginal peoples, persons with disabilities, members of visible minorities
and women.
**************************
Teacher and Researcher/Developer Needed:
MFA Computer Art program seeks a teacher and researcher to develop a course
in History of New Media in 20th Century Art. The course should explore
innovations in 20th century art with a particular focus on artists' practices
which examine or embrace new developments in the media and technologies of
their time, and related work of critics and theorists. Ideal candidate is a
recent Art History graduate specializing in new technologies and contemporary
issues in art. Position involves one semester of research and development of
course, and at minimum, one semester of teaching. This is a faculty position,
and salary is commensurate with experience. Please mail or fax resume and
brief statement addressing approach to course development by December 1 to
the address below.
Address: 209 E. 23rd St., NY, NY 10010
Fax: 212-592-2509
Attention: Jen SanMiguel
* CALLS*
ISEA 98: REVOLUTION/TERROR
[THE NINTH INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART]
04-11 September 1998
Liverpool : the revolution / Manchester : the terror
CALL FOR ABSTRACTS
ISEA [The International Symposium on Electronic Art] is one of the most
significant events in the global electronic arts calendar. Staged in a
different world city each year its presentation in Liverpool and Manchester
in 1998 represents the first time that Britain has hosted this prestigious
cultural event. ISEA has come to represent a key international forum for
debate, discussion, exchange, critique and celebration of electronic art.
ISEA98 is partnership between the Liverpool Art School at John Moores
University, The Department of Fine Arts at Manchester Metropolitan University
and the Foundation for Art & Creative Technology (organisers of the Video
Positive biennale). The Universities will be responsible for developing
and delivering the symposia and associated strands whilst the Foundation
for Art & Creative Technology [FACT] will curate, co-ordinate and organise
a wide ranging exhibition and events programme. ISEA98 will enjoy the co-
operation and partnership of many of the leading cultural institutions in
Liverpool and Manchester and will therefore be amongst the most expansive
and imaginative events of its kind ever staged in Britain.
THEMATICS
Developments in new technologies appear to be revolutionising every aspect
of our daily lives. The metaphors of 'revolution' are often applied to the
speed of exponential change that the world is experiencing, in part through
developments in computing and its applications. ISEA98 will seek to unpack
the metaphors of revolution. It is appropriate that we do so in the north
west of England as many new metaphors relating to technology [speed, progress]
have been appropriated and reworked from the experience of the First
Industrial Revolution which had Manchester at its centre and Liverpool as
its trading heart.
ISEA98: REVOLUTION will be staged in Liverpool and Manchester. It will
consist of one conference with two strands set in two locations. Alongside
this, a major series of exhibitions, entertainments and events will take
place in many of the leading visual and performing arts venues in each city.
Liverpool will identify, explore, assert and critique ideas and metaphors
associated with the theme 'REVOLUTION'. Manchester will stage 'THE TERROR'
in which these ideas, concerns and assertions will be dissected,
deconstructed and re-ordered. The conference will conclude with an
electronic global summit in Manchester. We are calling for papers,
proposals and projects for a series of critical and practical investigations.
At the same time we are particularly interested in contributions which
address gender, cultural diversity and the developing world. A special
Diversity Fund is being established to encourage, support and resource
contributors from under-represented communities.
Each element of ISEA98 will be formed and tempered in relation to an
interrogative template of the following ten questions:
Are we witnessing or making a revolution?
Is there a digital aesthetic?
Is electronic art revolutionising the terms 'artist' and 'audience'?
Do new technologies revolutionise bodies?
Is electronic media art a democratising, revolutionary or colonial force?
Are we engineering the future, or is the future engineering us?
Do subjectivities revolutionise new technology or vice versa?
Are there revolutionary electronic ethics?
How do we revolutionise materials and metaphors?
Have notions of 'public' and 'private' been revolutionised by the shiftfrom
mass-audience media to domestic leisure?
For further details and application forms please contact :
ISEA98: Revolution
Graham Parker
Research Coordinator ISEA98
ISEA98
Liverpool Art School
Liverpool John Moores University
68 Hope Street
Liverpool L1 9EB
tel: +44 [0]151 231 3110
fax: +44 [0]151 231 5096
e-mail: isea98@livjm.ac.uk
ISEA98: The Terror
John Brady
Research Coordinator
Dept of Fine Arts
Manchester Metropolitan University
Grosvenor Building
Cavendish Street
Manchester M15 3BR
tel: +44 [0]161 247 3622
fax: +44 [0]161 247 6818
e-mail-isea98@mcr1.poptel.org.uk
DEADLINE FOR RECEIPT OF ABSTRACTS : JANUARY 15 1998
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CALL FOR ARTISTS' PROPOSALS
FOUNDATION FOR ART & CREATIVE TECHNOLOGY PRESENTS
REVOLUTION 98
'True art is unable not to be revolutionary, not to aspire to a complete
and radical restructuring of society. The opposition of writer and artist
is one of the forces which can usefully contribute to the discrediting
and overthrow of regimes which are destroying, along with the right of
the proletariat to aspire to a better world, every sentiment of nobility
and even of human dignity.'
Pour un art revolutionnaire indépendent. André Breton & Diego Rivera, 1938.
(For security reasons Rivera's name replaced the real co-author Leon Trotsky)
revolution 98 will be a major international series of exhibitions,
entertainments and events staged in Liverpool and Manchester during
September/October 1998 presented in association with the ninth International
Symposium on Electronic Arts [ISEA98]. revolution 98 will investigate the
contemporary cultural response of artists, filmmakers, performers, writers,
computer programmers, musicians, designers and provocateurs to one of the
most powerful concepts in modern history. revolution 98 exhibitions,
entertainments and events will be distinguished by three complimentary
areas of artistic investigation which underlie the term 'revolution' as it
has been used historically and as it might be imagined in the future:
* preparing the ground
the investigation and examination of the raw material of social, economic
and psychological reality as a foundation for the development of new
theoretical structures.
* provocation and collective action
work that seeks to undermine the status quo, artistically, technologically
and ideologically.
* overload
the exploitation and /or celebration of electronic and moving image media as
a revolutionary tool and a new means of communication, concentrating on work
that references popular culture and the so-called 'information revolution'.
revolution 98 requests calls for proposals of new or existing work in the
following categories:
* installation [video, electronic, interactive object, film etc]
* performance [live event for any context]
* sound [for installation, public spaces etc]
* internet and networked projects [in any context]
* cd-rom [for presentation]
* site-specific projects [in Liverpool or Manchester]
* other [please specify]
(a limited number of new works will be commissioned by FACT for revolution 98)
For further information and application forms for revolution 98 please contact:
REVOLUTION 98, FACT,
Bluecoat Chamber,
School Lane
Liverpool L1 3BX
tel: + 44 [0]151 709 2663
fax: + 44 [0]151 707 2150
e-mail: isea@fact.co.uk
DEADLINES FOR RECEIPT PROPOSALS : JANUARY 15 1998
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LIGHTFORMS'98
LIGHTFORMS'98 MARKS THE BEGINNING of an exciting new bi-annual event for
the field of lightart ! $5,000 prizes to each of three winners, award-
winning judges, prestigious sponsors. This event is a co-production of Art
& Science Collaborations, Inc. (ASCI) and The New York Hall of Science.
LIGHTFORMS'98 is an international competition and exhibition of the three
winning LightArt proposals that will be executed and installed in the Great
Hall of the New York Hall of Science, April 16 - May 31, 1998. This will be
the first exhibition of monumental, site-specific, and interactive lightart
in the world. Such an exhibition is possible only because of the uniquely
appropriate nature of the Great Hall. Complete details: http://www.asci.org
Proposal deadline: Jan. 10, 1998. To "feel" this space, imagine a blue,
honeycombed cave, or gliding through space leagues under the sea. Envision
a cathedral-like space (123' long by 70' wide) unfettered by the visual
interruption of vertical or horizontal support beams. No natural light
enters this darkened space, only that which is filtered by chunks of cobalt
blue glass embedded into cells of the grid-like concrete walls. The
undulating, modular curtain-wall forms distinct "bays" in the oddly shaped,
80' tall cylinder room. The bays vary in shape and size between 10' -15'
deep and 20' - 32' wide. (There are photos, floor plan, and wall-cell
diagrams in the Guidelines.)
A DEFINITION OF "LightArt"
Any use of the medium of light to create a unique and personally expressive
piece of art. As well as being engaging and aesthetic, this lightwork must
be appropriate for the family and school audience (40,000 public anticipated)
that will see this exhibition. Types of light sources utilized can be as
low-tech as fluorescent or incandescent lamps or more high-tech, such as
lasers (non-water cooled), electro-luminescence, and fiber optics.
REMEMBER these lightart installations must be "interactive" with the public!
We will help you with this aspect (read the Guidelines).
Award-winning judges with international reputations: James Carpenter, artist;
Don Holder, lighting designer, and Billie Tsien, architect. (bios on website)
The proposals will be evaluated based on the following criteria: the nature
of the interaction, feasibility, and concept.
WINNERS WILL RECEIVE:
- A $5,000 prize (presented at the end of the Opening Reception)
- Equipment: Donated or loaned by our theatrical & architectural lighting
Sponsors.
- A $150 per diem for 8 days (for expenses during installation; April 9-16,'98)
- 2-3 Helpers (college students) for installation.
- Round-trip airfare (if we can secure a donation for it)
- Auditorium Talk & Presentation by three winners; including past work.
- Print Publicity: winners announced in full-page ad in Discover Magazine
and photos of lightworks will be included in a Special Gallery Section of
Leonardo Journal, and editorial coverage is anticipated by our sponsoring
magazines.
- An online version of the exhibition, including all finalists' proposals.
- Exhibition Catalog: 2,000 will be distributed for free at the exhibition.
- NYC Media Coverage: we anticipate networkTV coverage.
SCHEDULE:
Design Proposals due: January 10, 1998 (email during Jan. 5-10 ONLY)
Notification of Winners: February 1, 1998
Installation: April 9 - 15, 1998
Exhibition Opening: April 16
Exhibition closes: May 31, 1998 (anticipated 40,000 public viewers)
No printed Guidelines or Application Forms will be sent. Entrants must visit
the ASCI website for complete details. Electronic submissions are encouraged.
Project concept and development: Cynthia Pannucci, Director of ASCI.
Email any questions to asci@asci.org but please read the Guidelines
thoroughly before doing so. Voice: 718 816-9796.
This event is endorsed by: IES/NYSection (Illuminating Engineering Society)
Major Sponsors include: Discover Magazine; Ushio America, Inc; Leprecon, CAE.
Media sponsors: Architectural Record, Lighting Dimensions,
TCI, The International Lighting Review, LD+A, Photonics Spectra.
Plus twelve other lighting companies have contributed to make this first
year's event possible. (See Sponsor Information in the Guidelines).
Cynthia Pannucci
Founder/Director
Art & Science Collaborations, Inc. (ASCI)
718 816-9796; pannucci@asci.org
PO Box 358, Staten Island, NY 10301
URL: http://www.asci.org
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CONTAGION: MUAE 3
At the edge of the next millennium, Malaysia's Prime Minister Mahathir
Mohammed has vowed to build a digital economy, challenging conventional
assumptions of the noble Third World savage, untainted by technology.
In the Third World, as in the over-developed world, the contagious
speed of daily life continues to transform our understanding of the
borders of nations, cities, and our bodies themselves. Immigrant
workers, cyborgs, criminals and agents of radical change are described
as viruses, increasingly in the wrong place at the wrong time.
New ethnicities, sexualities and identities are mutating and thriving.
What are the meanings of nativism and nationalism in a virtual world?
What are the implications of disease in a world defined by viruses,
where everything is, if not curable, then containable by multinational
medical industries? Contagion can be a way of describing the historical
moment of contact with civilization, the moment of invasion, the
impossibility of purity, the reality of mestizaje and the interdependence
of all things. CONTAGION: MUAE 3 will look at a world that "is not
inviolable, but always already violated by man, the social, the bricoleur,
jack, jill, technology." CONTAGION: MUAE 3 will look at events such as
the first live, interactive dialogue on the Internet by a head of state,
Malaysia's Prime Minister, Taiwanese hackers defacing the ruling
Kuomintang Party's official web site and the Aum Shinrikyo cult's release
of poisonous gas on the Tokyo subway system. Through critical essays,
fiction, poetry and artists' projects, CONTAGION: MUAE 3 will explore
what is often left out of discussions of technology: the mostly female
Third World labor pool that manufactures it. Writers and artists will
explore the era of the recombinant, in which plagiarism has once again
become an acceptable, even crucial element of literature and art.
CONTAGION: MUAE 3 will look at the viruses that are reconfiguring
today's cultural and political landscapes.
My deadline for handing in material to my publisher is January 1, 1998.
You can send material directly to me c/o Kaya, 133 West 25 Street, #3E,
New York, NY 10001, USA.
Email: kaya@kaya.com
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CRAC (Creative Room for Art and Computing)
CRAC is a digital media workshop in central Stockholm, Sweden. CRAC
combines advanced digital technology and artistic integrity and offers
a unique setting for the production of digital art and for research in
the field.
CRAC gives artists the opportunity to work with most digital tools,
including video, sound, www, 2-D and 3-D images. The equipment is
continuously updated and our goal is to always have the most up-to-date
technologies available. We sponsor seminars relating to artistic and
digital fields in order to further understanding of current and future
tools for art making. Collaborative research with other Swedish and
international participants in the field of digital technology also falls
within CRAC's agenda. Please inform us on other activities of this kind.
CRAC is run by the non-profit organization SKODK (Svenska Konstnarers
Organisation for Digital Konst) and the foundation MediaLab. SKODK was
founded in 1996 by visual artists and artists working with sound. The
goal was to start and run a non-commercial, digital workshop. With
generous support from Sveriges Bildkonstnârsfond, Stiftelsen Framtidens
Kultur, and Stiftelsen fàr Kunskaps- och Kompetensutveckling, SKODK
opened the CRAC workshop in 1997.
The members of SKODK have access to the workshop on a project-to-project
basis. You, swedish or not, can apply for SKODK membership if you have
documentation of previous artistic practice and experience with digital
technology. We also look for exchange situations so that we ( and perhaps
you) will be able to work in various places in the world. Please contact
the direction for more information and/or an application for membership
in SKODK.
Board: Peter Hagdahl, Anders Boquist, Mikael Lindgren, Gunnel Pettersson,
Carl Michael von Hausswolff, Annika von Hausswolff, Karin Hansson and
Arijana Kajfes
Technicalilties: Tore Nilsson
Administrator: Christine Odlund
Carl Michael von Hausswolff
c/o Rahm, Roslagsgatan 58, S-113 54 Stockholm, Sweden
phone: +46 (0)8 612 27 03 (alt. 08 668 4234)
contact: info@crac.org
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___________________________________________________________________
hARTware projekte e. V. is searching for media artists from Denmark
___________________________________________________________________
hARTware projekte e. V. is a non-profit organisation dealing with new media.
We are planning for 1998 an exhibition of danish media art in Dortmund, Gemany.
Please send us your suggestions to:
hARTware projekte e. V
c/o Sunderweg 1
D-44147 Dortmund
fon: ++49(0231-823106
fax: ++49(0)231-826847
mailto:hdc@knipp.de
or
mailto:mkampmann@compuserve.com
mailto:matthias.kampmann@ruhr-uni-bochum.de
Iris Dressler, Hans D. Christ, Matthias Kampmann
Visit the documentation of our recent project under:
http://www.kunstgeschichte.de/shortcuts
__________________________________________________________
Special Exhibition in the Collected Visions Gallery
http://cvisions.cat.nyu.edu/gallery
C O L L E C T E D V I S I O N S
http://cvisions.cat.nyu.edu
An interactive Web Site that explores how
family photographs shape our memories.
Exhibition VII is now on view in the Collected Visions Gallery.
This is an unusual exhibition for Collected Visions in that all of
the authors are writing about their own photographs.
Collected Visions with an attached scanner was included in the
exhibition "Telling Our Own Stories:
Florida's Family Photographs" at The Southeast Museum of Photography
in Daytona Beach, Florida, June 17 to September 19, 1997.
These photo essays were selected from submissions gathered during that
exhibition. This exhibition will be remain on view only until November 10.
Be sure to visit the Collected Visions Museum,
http://cvisions.cat.nyu.edu/museum
Our archive essays from previous Collected Visions exhibitions
For any additional information, please contact Lorie Novak
email: lorie.novak@nyu.edu
tel: 718-522-3699
fax 718-855-0788
We are seeking guest curators for the Collected Visions Gallery.
If you are interested in submitting proposals that are culturally,
historically, or regionally specific, or would like to curate an exhibition
from our submissions, please contact Lorie Novak.
Collected Visions is sponsored by the NYU Center for Advanced Technology
* * * * * *
COLLECTED VISIONS was created by Lorie Novak, Clilly Castiglia,
Betsey Kershaw, and Kerry O'Neill with additional programming by Art Johnson.
It is a participatory Web site that explores the relationship between family
photographs and memory. The most significant aspect of Collected Visions
is the ability it gives people to submit images to a growing archive of
family photographs and to create photo stories.
Visitors to the site are encouraged to search and view images from the on-line
database of more than 1200 images.
In addition to searching, participants can create and submit live photographic
essays exploring the power of family snapshots.
Those interested in writing about their own snapshots or contributing to the
archive can upload their images.
Changing exhibitions of selected submitted essays are presented in the
Collected Visions Gallery and archived in the Collected Visions Museum.
The concept for Collected Visions grew out of the photographs and installations
Lorie Novak has been creating since the early 1980s.
She uses family snapshots and images from the media to explore the
relationships between personal and collective memory.
Excerpts from her installations provide the backgrounds for the gallery,
museum, and bibliography.
C O L L E C T E D V I S I O N S
http://cvisions.cat.nyu.edu
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CALL FOR PAPERS: Leonardo Music Journal, Vol. 8 (1998)
Theme: "Ghosts and Monsters"
In his infamous 1972 essay, "John Cage -- Ghost or Monster," Cornelius Cardew
took Cage to task on issues of political correctness. Inspired by Mao
Tse-tung's "Talks at the Yunan Forum on Literature and Art" (1942), Cardew
surveys the state of new music, and Cage's work in particular, for signs of
what Mao called "ghosts" ("myth, madness, magic and mysticism," which Cardew
associates with political anarchy) and "monsters" ("anti-people ideas" having
to do with technological futurism and political fascism). The avant-garde does
not fare well under Cardew's hand, but if his histrionics seem quaintly dated
in 1997/98, those twin pillars--slightly adjusted--still have relevance.
In the realm of both technology and aesthetics, ghosts and monsters play
critical--if often covert--roles in the creation of an individual composition,
in the evolution of the body of a composer's work and in the development of
musical "schools" and scenes.
Leonardo Music Journal invites composers of many nations, styles, temperaments
and technologies to address the influence of ghosts and monsters in their own
work and (where appropriate) that of their peers. In the realm of technology,
the questions might seem obvious:
- Are you a Luddite or a Utopian (or other)?
- Do you crave tubes or Crays?
- How does music rooted in technology adapt to technological change?
In the aesthetic realm the issues are perhaps murkier:
- Did Cage ruin your life or open up fruitful vistas?
- What did Stockhausen or Boulez mean for a composer coming of age in Europe
in the 1970s?
- What happens after Minimalism?
Interested authors should contact Leonardo Music Journal Editor-in-Chief
Nicolas Collins with proposals:
e-mail TallmanCollins@compuserve.com or send proposals to the journal's
editorial office:
LEONARDO MUSIC JOURNAL
Cathryn Hrudicka, Coordinating Editor
425 Market Street, 2nd Floor
San Francisco, CA 94105
U.S.A.
E-mail: cathryn@nmi.sfsu.edu
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Transmediale 98
11th VideoFest
February 12 - 22, 1998
Podewil, Berlin, Germany
CALL FOR ENTRIES
From February 12 - 22, 1998 the Podewil hosts the second transmediale and
the eleventh VideoFest. Associated to the Berlin Film Festival, it will
attract thousands of visitors and hundreds of accredited guests, thus making
the Podewil an international meeting place for the creative talents in media.
The festival will be organised by transmedia and Podewil, with support by
the Senate of Berlin, the European Commission, and private sponsors.
Submitted may be works from the areas of video, computer animation, television,
films with digital parts and multimedia projects (CD-ROM, CD-I, discs,
cartridge, internet) which were produced since 1996. Works will be considered
for selection which are dealing with reality in an innovative way, or those
which aim at furthering their respective medium.
AWARDS
The transmediale will award three prices for outstanding works in the fields
of video, television and multimedia.
Further awards will be donated by sponsors.
Award holders in 1997 are:
Best Video-Installation:
"Sieben Fr—’æte vom Baum des ewigen Lebens" by Rotraut Pape (D)
Best Video/TV-Production:
"The Last Angel of History" by John Akomfrah (GB / D)
Best Multimedia -Project:
the WWW-Site "jodi.org" by Joan Heemskerk and Dirk Paesmans (E)
ProPublico Award (Post production worth 10.000.- DM):
"Fake" by Sebastian Peterson (D)
MEDIA ART INSTALLATIONS
The transmediale exhibits classic video-sculptures as well as space related
installations, based on interactive or networked systems. The transmediale
invites artists to exhibit but other interested parties may also submit
their proposals. We expressly desire entries for performance concepts.
FURTHER EVENTS
The presentation of works is one side of the transmediale. In a series of
special events the festival will reflect theoretical questions of media
art, especially the crossing of the borders between the different media
territories to that the whole event is dedicated. Artists, companies,
producers and educational institutions will be provided with a platform
to present their ideas, concepts and projects to a broad audience.
transmedia questions the philosophical and social effects connected with
technological developments and uses.
Focus 98
In 1998, a focal issue of the transmediale will be a "stock taking of seeing".
Renowned artists and experts will take into critical review the past 30 years
of video culture; in the field of computer animation and multimedia it will
present the state of the art, and in the television section it will
concentrate on outstanding stations and personalities of german TV history.
DEADLINE: November 28, 1997
For further information, incl. all FORMAL REQUIREMENTS, please, contact
"transmedia" videofest@mediopolis.de
Johannes Lenz-Hawliczek
transmedia Berlin
February 12 -22, 1998
Fon *49 30 2472 1907
Fax *49 30 2472 1909
*******************************
The Second Biennial of South Africa Digital Diaspora at the Cape of Good Hope
Armin Medosch filtered by Lev Manovich
The Biennial reverts the new cultural world order. A "live"-report with
interviews and quotations by Okwui Enzori, Olu Oguibe, Catherine David and
others.
Abstract
On Sunday the 12th of October 97 the 2nd Biennial of South Africa was opened
in Johannesburg in the Newtown cultural precinct. This Biennial should be
complimented for looking at the multiple implications of globalisation from
an African point of view, thereby adding a new twist to the ever popular
discussions of the global/local problematic. It reversed the usual South
to North direction of cultural import, with more than 50% of the participating
artists being born in the Southern hemisphere. But Johannesburg was not only
the comfortable place of meeting for a pretty cosmopolitan mix of artists,
curators, theorists and journalists. The town itself offered us other zones -
not of comfort but of friction, its mere existence demonstrating what the
Biennial failed to address.
full length article
http://www.heise.de/tp/english/inhalt/sa/3125/1.html
Telepolis English Section
http://www.heise.de/tp/english/default.html
________________________________________________________
WEBART CONTEST
Casa das Rosas launches in the network the WebArt Contest, an event which
follows the activities of Arte Suporte Computador Exhibition. Its main
purpose is to incentivate and promote works and their creators who take the
advantages of Internet to elaborate their artistic works. The entry form
and rules of participation are available in the site of Casa das Rosas
(http://www.dialdata.com.br/casadasrosas/net-art).
The pre-selection will be coordinated by Casa das Rosas' staff in
collaboration with invited artists such as Artur Lara, Artur Lescher and
André Cymbalista. The pre-selected sites will be part of Casa das Rosas
digital collection and will also integrate the Arte Suporte Computador
Exhibition.
After the opening of the Exhibition, a Panel of Judges will choose three
sites. The members of the Panel are: Rachel Greene (USA - critic and editor
of the electronic publication Rhizome), Maria Ercília (Brazil - journalist
of Universo On-Line/Folha de São Paulo, specialized in matters related to
Internet), Rejane Spitz (Brazil - professor and coordinator of the
multimedia laboratory of PUC/Rio de Janeiro and the representative
of Siggraph and ISEA, associations which promote two of the worldwide most
important events in electronic art), and representatives of the magazines
Mondo 2000 and Wired, yet to be confirmed. The prizes will be awarded as
follows:
US$ 6,000 (six thousand american dollars) for the first prize,
US$ 4,000 (four thousand american dollars) for the second prize,
US$ 2,000 (two thousand american dollars) for the third prize.
All prizes will be granted in cash.
Event: WebArt Contest, part of the activities of Arte Suporte
Computador Exhibition.
Inscription: We would like to receive your entry for our Web Art Contest.
It was posted specially for your web site to November 7th.
Site: http://www.dialdata.com.br/casadasrosas/net-art
Information: http://www.dialdata.com.br/casadasrosas/net-art
Phone/Fax: (011) 251 5271 or 288 9447, with Ilo
e-mail: rosas37@dialdata.com.br
Awarding Date: to be confirmed.
++++++++++++++++++++++++++++++++++++++++++++++
DAY WITHOUT ART WEB ACTION,
December 1, 1997
http://www.creativetime.org/dwa/join.html
++++++++++++++++++++++++++++++++++++++++++++++
contact: Carol Stakenas
email: carols@creativetime.org
phone: 212.206.6674 #201
Join Creative Time in digital observance of Day Without Art/World AIDS Day
by proudly featuring a hyperlinked DWA logo on your homepage and connect
to Web Action 1997 (http://www.creativetime.org/dwa). Creative Time's DWA Web
Action is created in conjunction with Chrysanne Stathacos "The Wish Machine"
which will be located in NYC's Grand Central Terminal (December 1st - 18th).
Wrapped in the image of a wishing tree from India, this customized vending
machine dispenses the artist's wish multiples that are intended to conjure
the desires of the urban commuter. Each artwork includes a printed photocollage
depicting a plant that evokes the essence of the wish (Rose=Love) along with
a small vial of the plant's essential oil to extend the wishing ritual into
a multisensory experience.
This year's DWA observance features an on-line version of "The Wish Machine"
offering a web site for personal and collective action and contemplation.
Instead of hard currency, the user will be invited to submit a wish to
activate the powerful energy of imagination and hope.
Consider the broad continuum of how the HIV/AIDS pandemic continues to effect
our lives and our culture from the promising results of new drug treatments
to the ominous certainty that this fatal virus is continuing to spread.
Love, Peace, Health, Hope, Sleep, Communication, Home, Money, Lust and
Happiness -- what do you wish for?
This site also offers plentiful resources, on-line activities and a list of
DWA participants. In cooperation with ArtAIDS (UK), Visual AIDS, and the
Museum of Modern Art, Creative Time will also host The Time Capsule.
Facilitated by artist Ming Wei Lee, this interactive web site will preserve
for posterity personal accounts of the impact of the AIDS pandemic at this
specific moment.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
To link your web site, go to http://www.creativetime.org/dwa/join/html
F E E L F R E E T O C I R C U L A T E !
Be sure to send your name and URL to carols@creativetime.org.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Creative Time annually coordinates DWA Web Action to facilitate the coming
together of individuals as well as organizations to defy geographical
boundaries and publicly unite around the grave impact of the AIDS pandemic.
OTHER CRITICAL DETAILS about DWA Web Action:
WHEN SHOULD I PUT MY LINK UP? World AIDS Day/Day Without Art is officially
December 1st; however, we will begin previewing the site mid-November.
Since December 1st is the Monday following Thanksgiving (US), we highly
encourage everyone, especially USers, to post their DWA link by November 25th.
HOW LONG DOES DAY WITHOUT ART WEB ACTION LAST? We plan to proudly feature
DWA Web Action on our site year round.
DOES THIS MEAN THAT I HAVE TO REPLACE MY SITE FOR THE DAY? How you choose
to observe DWA/World AIDS Day is up to you.
Here are several strategies participants have used in the past:
1. Simply post the linked DWA icon as a special addition to your site.
2. Shift your backgrounds to black for the day and post the linked DWA
icon as a special addition to your site.
3. For an elegant solution that doesn't deny access, create a buffer page
for the user to "pass through" that features the linked DWA logo
and also offers entrance to your site.
4. For the most radical observance, disable entry to your web site for
December 1st and post the linked DWA logo on a black background.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
INTERNATIONAL CONTEMPORARY MUSIC CONTEST "CITTA` DI UDINE" 1998
1. The City Council of Udine, together with TauKay Music Publishing
House, within its musical activities, announces the Second International
Contemporary Music Contest.
2. The contest is divided into two sections:
* instrumental compositions for chamber instrumental group.
* electro-acoustic, analogical, and digital music.
3. Only unpublished musical compositions will be admitted into the contest.
The pieces may have been already performed. Composers may be of any
citizenship.
4. Musical scores for the chamber instrumental group section must be no
longer than eight minutes.
they are required to use the following instruments:
string quartet
piano
flute
clarinet
These instruments may be used in any combination.
The Composition for the electro-acoustic, analogical, and digital music
section. must be no longer than ten minutes. (dat or compact disc)
5. The City Council of Udine , together with TauKay Music Publishing House,
will organize a public performance to be held in Udine during autumn 1998.
A compact disc will be recorded. The TauKay Music Publishing House will
publish the selected compositions and has committed itself to broadcast and
publicize them by means of specialized magazines and operators.
Those composers who are committed to another publishing house are requested
to send in a copyright waiver (under-signed by both them and their publishers)
which authorizes the publication of their compositions.
6. All works must be submitted - no later than April, 30th 1998 - to:
"Comune di Udine - U.O. Coordinamento Segreteria Attività Teatrali - via
Savorgnana 12 - 33100 Udine ITALIA"
The postmark will bear witness to the date.
The jury's decision will be made public on June, 30th 1998.
7. The jury has the right to discard those works that do not satisfy the
above mentioned requirements.
8. If a work presents new graphic characters or symbols , the author is
requested to provide an explanatory table. The scores must be sent in six
copies attached to the application and together with the receipt for 35 USD
payment made by a international postal order to:
Comune di Udine Servizio tesoreria Conto corrente postale n. 14372338
The following wording must appear on the postal order as the description:
"Tassa di iscrizione per il II[ Concorso di Musica Contemporanea Città‹di Udine 1998"
If a work is selected to be performed, the author must send the single scores
for each and every instrument. The scores will not be returned, specific
agreement excepted.
The following additional documentation is requested from the author:
* First and family name, address, telephone number, place and date of
birth, citizenship.
* a recent picture
* A statement certifying that the submitted composition is unpublished
and has not been awarded any prizes in any musical contest.
* A statement agreeing to permit the composition to be broadcast or
telecast and archived without compensation.
* A statement permitting publication by TauKay Music Publishing
House, or a copyright waiver under-signed by the author
and his or her publisher as in paragraph #5.
* Curriculum vitae and curriculum studiorum.
9. The jury's decisions are final and cannot be appealed.
10. The submission of the application and the piece implies the full
acceptance of the above mentioned regulations. The non-compliance of
the above stated regulations implies the loss of any rights originating
from the jury's decisions. The Court of Justice of Udine is the place
of jurisdiction.
Further information is available from:
Settore Attività Culturali ed Educative del Comune di Udine -
via Savorgnana 12 33100 Udine ITALIA and TauKay Music Publishing House
http://www.nauta.it/taukay/
taukay@mailbox.nauta.it
************************************************
Concorso Internazionale di Musica Contemporanea "Città di Udine" 1998
Seconda edizione
Domanda di iscrizione/Application form
CATEGORIA/CATEGORY
(Si prega di dichiarare la categoria a cui si partecipa)
(please, indicate the section you wish to enroll to)
Nome e Cognome/First and Family Name
Data e Luogo di Nascita/Place and Date of Birth
Nazionalità/Citizenship
Indirizzo/Address
Numero telefonico/Telephone number
Fax
Titolo del Brano/Title
Organico/Instruments employed
Anno di composizione/Year of Composition
************************************************
Call for Entries in Digital Film/Video, Audio and Multimedia
OPEN ENTRY: DEADLINE 14 JANUARY 1998
__________________________________________________________
Lovebytes Digital Arts Festival Sheffield 23-25 April 1998
__________________________________________________________
Lovebytes Digital Arts Festival 1998 invites entries of digital art and
media to feature in a substantial exhibition of CD ROM, audio work,
internet art and screenings of films and videos which make explicit use
of digital technology.
A wealth of exciting and innovative new work is being generated out of
the fusion between digital art, graphic design, interactive multimedia
and film and video making. The aim of Lovebytes Digital Arts Festival
is to connect up this emergent energy and present it to an audience of
artists, media professionals and the public as part of a three day
conference and exhibition programme.
If you produce film/video, audio or multimedia using computers and digital
processes this is your opportunity to get it shown. If selected,
your work will be featured as part of an extensive programme exploring
new media technologies, alongside a conference which seeks to make
a significant contribution to defining 'digital art' through critical debate.
Established five years ago, Lovebytes has a growing reputation as a regional,
national and international meeting point of digital arts and cultures.
Lovebytes 98 will take place at the new Sheffield Media and Exhibition Centre
which is the largest independent cinema and multi-media centre in the UK.
There will be a Multimedia Gallery offering open access to computer based
multimedia, a Digital Soundspace for music and audio works whilst film
and video screenings will be presented in the new Showroom Cinema.
____________________________________
Please read the GUIDELINES FOR ENTRIES and use the official APPLICATION FORM
available from: e-mail lovebyte@syspace.co.uk
http://www.lovebyte.org.uk
or Lovebytes Tel +44 (0) 114 221 0393
for GUIDELINES FOR ENTRIES see http://www.lovebyte.org.uk/callo.html
and APPLICATION FORM see http://www.lovebyte.org.uk/form3.html
____________________________________
What are we looking for?
INTERACTIVE MULTIMEDIA WORKS. Interactive works can be anything from,
a 1Mb piece sent on a floppy disc, to a CD ROM or console game.
We will endeavour to show the widest range of work. Work will be shown
as part of a multimedia gallery at the Festival.
Some of the most intriguing work may also be projected. Audio, sound and
music work very welcome.
FILM / VIDEO PRODUCTIONS. We are looking for imaginative uses of computer
based media in film and video, which explore the conceptual and creative
aspects of digital processes. All films and videos must have some kind of
digital input which is evident in concept or content - this may include,
for example, animation, special effects, tricks and transformations and
digital post-production. We welcome work produced using high-end computers
or lo-fi productions made on desk-tops or in back bedrooms.
INTERNET ART. E-mail your URLs for the Lovebytes Multimedia Gallery Bookmarks
and Festival web site links to lovebyte@syspace.co.uk. Please supply GIF
pointers / buttons as attachments. Include details of any browser plug-ins
required.
PRINT: Print work and supporting material may be submitted but wall space
is limited so we cannot guarantee it will be displayed. Please send digital
previews of work for selection and please do not send originals.
_______________________________________________________________
Lovebytes is funded by The European Regional Development Fund, Yorkshire
and Humberside Arts, The National Lottery, Sheffield City Council, Arts
Council of England, Photo98 - The Year of Photography and the Electronic Image.
Sponsored by The Electronic Telegraph http://www.telegraph.co.uk/ and
Sony Playstation.
_______________________________________________________________
DON'T DELAY! Deadline 14 January 1998 ENTRY IS FREE!
_______________________________________________________________
Lovebytes
Unit 320
Workstation
15 Paternoster Row
Sheffield
S1 2BX
http://www.lovebyte.org.uk
tel 0114 221 0393
fax 0114 279 6522
*CONFERENCE*
ART AND TECHNOLOGY: IN THE AGE OF INFORMATION
Liverpool, UK - 1-3 July 1998
Conference Announcement and Call for Contributions
1. Conference Idea
We live in a world that depends increasingly on electronic communication
technologies. The global diffusion of these technologies is creating
what has been called the virtual planet. The new technologies promise
to restructure every aspect of modern life, from science to art, from
education to entertainment, from business to politics. Fundamental
changes are already taking place in the way we experience and think about
the world. Among these changes are: Information and images take the place
of conventional knowledge; the reconstruction of the world in terms of
recombinable "bits" of information; the substitution of transient parts
and fragments for stable wholes; the emphasis on speed and motion rather
than static structures; the dissolving of traditional divisions in social
and cultural life, e.g., between art and technology.
Art has always reflected major changes in science and technology.
Photography is one example of a technology that can be said to have redefined
art. Photography introduced new ways of seeing and form-making.
Cinema revealed further possibilities of visual form. The new electronic
technologies - computers, video, virtual reality, artificial intelligence,
cybernetics, robotics, TV, etc., - dramatically extend our capacity to create
new worlds of form and in-formation. Art can be seen as a running commentary
and reflection on these technological developments. No longer concerned with
simple representation, art draws attention to itself as a form-making activity
and so raises fundamental questions about the ways in which we construct our
world and about our role in the construction process. It's this revealing of
the world as a source of in-formation that brings art and technology together.
2. Call for Contributions and Participation
This conference is aimed at a wide range of participants. In addition to
academic specialists in areas such as Art Theory and History, Cultural/Media
Studies, Sociology, Philosophy, Psychology, and Literature, we would like to
invite artists, technologists, art critics, art teachers as well as interested
members of the public to take part in this conference. Indeed, one of our main
aims is to create discussion among these different groups about art and
technology in the age of information.
Contributions for this conference are therefore invited from all the different
groups mentioned above. The form of such contributions is negotiable. While
we invite the academic paper that will analyse the art-technology-information
relationship in conceptually imaginative and provocative ways, we also invite
contributions that will express and explore the conference theme in visual
forms e.g., demonstrations, small exhibitions, performances, computer
installations, etc. If you are not sure about the appropriateness of your
intended contribution, please feel free to contact one of the organisers
informally (see contact details below).
3. Possible Conference Themes
The conference themes will depend on the contributions submitted. These might
include discussion of questions such as:
- What does the art-technology relationship mean for the ways we construct
and represent our world? What does the history of art tell us about changes
in this process?
- What exactly are the new electronic technologies, e.g.,hypermedia,
hypertext, digitalisation, video, virtual reality, etc.? How are they
used in art?
- What is Art in the Age of Information?
- What does the meeting of art and electronic technology mean for our
experience of space and time, e.g., cyberspace, hyperspace?
- What are the implications of the new electronic technologies for the public
showing of art, e.g., the electronic museum?
- What are wider implications of electronic technology for the dissemination
of art in mass society?
- What do the new sciences of information (e.g., information theory,
cybernetics, chaos theory) have to say about recent developments in art
and electronic technology?
- Art and the Machine.
- The Aesthetics of In-formation.
- Technology and the art of performance.
- Techno-Aesthetics.
- Technology, art and time.
- Hybridity, technology and art.
This is by no means a definitive list and other ideas are more than welcome,
especially if they promise to deepen our understanding of the art-technology
relationship in the terms we have outlined here.
4. Conference Speakers
Conference speakers will include:
Paul Crowther, Oxford University.
Ron Day, literary theorist/information specialist, San Francisco, USA.
Dan Fern, Royal College of Art, London.
Martin Kemp, Oxford University.
Celia Lury, Goldsmith's College, London University.
Suhael Malik, Goldsmith's College, London University.
Mike Michael, Goldsmith's College, London University.
J. Hillis Miller, University of California at Irvine, USA.
Nicholas Royle, Stirling University.
Roy Stringer, hypermedia architect, Amaze Ltd.
Mark C. Taylor, Williams College, Massachusetts, USA.
5. Organisation of the Conference
a) Organisers
The conference is organised by: Toby Jackson (Curator of Education, Tate
Gallery Liverpool) Fiona Candlin (Tate Gallery Liverpool/Department of
Visual Arts, Keele University) Robert Cooper (Professor of Social Theory
and Organisation, Centre for Social Theory and Technology, Keele University)
Olaf Boettger (Centre for Social Theory and Technology, Keele University).
Questions about contributions to the conference should be addressed to:
Toby Jackson
Tate Gallery Liverpool
Albert Dock
Liverpool L3 4BB
United Kingdom
Tel: ++44 (0)151 709 3233
Fax: ++44 (0)151 709 3122
or
Robert Cooper
Centre for Social Theory and Technology
Darwin Building, Keele University
Staffs ST5 5BG
United Kingdom
Tel: ++44 (0)1782 583421
Fax: ++44 (0)1782 584272
Email: mna13@keele.ac.uk
Further information and latest updates are available on the WWW pages of
the Centre for Social Theory and Technology at:
http://www.keele.ac.uk/depts/stt/cstt2/tg/
b) Place and Time
The conference will take place at:
Liverpool Institute of Performing Arts
Mount Street
Liverpool L1 9HF
United Kingdom
from 4.00pm on Wednesday 1st July, to 5.30pm on Friday, 3rd July, 1998.
c) Submission Deadlines
We require five copies of a one-page abstract of your contribution by
Saturday, 31st January, 1998. If you are unsure about the suitability
of your contribution, please contact one of the organisers well before
this date. Five copies of your abstract should be sent to:
Toby Jackson
Art & Technology Conference 1998
Tate Gallery Liverpool
Albert Dock
Liverpool L3 4BB
United Kingdom
You will be notified by the end of March 1998 if your submission has been
accepted.
d) Costs
(i) 200 pounds sterling full rate for conference attendance, accommodation
and meals
(ii) 130 pounds sterling full rate for conference attendance and meals
(iii)120 pounds sterling concession for conference attendance, accommodation
and meals
(iv) 80 pounds sterling concession for conference attendance and meals
Please note the following important points:
* All payments must be made in cheques in pound sterling, made payable to
"Tate Gallery Liverpool".
* All concessions require evidence of status (e.g. photocopy of student card).
* All rates above are valid for payment before 31st May 1998. For payments
after this date, the above rates will be increased by an administration
fee of 30 pounds sterling.
* Conference fees are non-refundable after 31st May, 1998. You can, however,
send a replacement delegate in case you cannot attend the conference.
* Resident fees include bed and breakfast and all meals from registration
on Wednesday, 1st July, 1998, at 4.00pm to finish of conference at 5.30pm,
on Friday, 3rd July, 1998.
* Non-resident fees include lunch and dinner for the period of the conference.
* If you feel unable to pay the full rate, please contact Toby Jackson or
Robert Cooper in confidence.
******************************
CODE RED
conference.performance.media.art.discussion.strategy.action across Australia
November, 1997
CODE RED is an international event bringing together writers, artists and
activists who interrogate and critique contemporary media and information
culture. It dissects the mass media, opening up the body of information for
analysis and scrutiny. CODE RED is about strategy, and asks the question -
how as cultural thinkers and practitioners can we work as active agents in
defining and creating a diverse and smart information culture? CODE RED is
curated by Julianne Pierce and presented by the Australian Network for Art
and Technology (ANAT) in association with The Performance Space, Sydney. It
is part of an ongoing series of events which brings together international
and Australian cultural and media experts to discuss contemporary issues
around art and technology.
Please find the CODE RED program enclosed....
full program details available at http://www.anat.org.au/projects
*************************************************************************
Sydney
Nov 22 - 26
The Performance Space, 199 Cleveland St, Redfern
Bookings: (02) 9319 5091
Saturday November 22
Free opening event in the gallery (open from 12pm)
4pm ZINA KAYE (Australia)
(Humble Under Minded) Psychic Rumble Part 2
Soundz of the underground brought to you by the Anti-Destination Society.
5pm MARKO PELJHAN/PACT (Slovenia)
178[ East - Another Ocean Region (research and performance)
A presentation resulting from a two week residency (Nov 10 - 22); 178 [ EAST
is a legal and practical research of Australian telecommunication laws
with emphasis on interception and privacy. Prior to the public presentation
on Nov 22, viewings are available by appointment.
Sunday November 23
Forum event in the theatre
Admission: $20/$15 (includes lunch)
11.45am Welcome address JULIANNE PIERCE (curator) and AMANDA MCDONALD CROWLEY
(Director, ANAT)
12pm - 1pm GEERT LOVINK (Netherlands)
Strategies for Media Activism
1 - 1.45pm JEFFREY COOK (Australia)
The Symborg Manifesto
1.45 - 2.45pm Lunch
2.45pm - 3.30pm LINDA WALLACE (Australia)
Luminous
3.30pm - 4.15pm BRAD MILLER (Australia)
Art in the Age of Collaboration
4.15 - 4.45pm Afternoon tea
4.45pm - 5.30pm CORNELIA SOLLFRANK (Germany)
The Production of Visibility
5.30pm - 6pm Wrap up and general discussion
Roundtable discussions
Monday November 24, 6 - 8pm
GEERT LOVINK (Netherlands) and McKENZIE WARK (Australia)
Wednesday November 26, 6 - 8pm
ZINA KAYE (Australia), JULIANNE PIERCE (Australia) and CORNELIA SOLLFRANK
(Germany)
National tour
Geert Lovink - University of Newcastle, Binary Code (Melbourne), Australian
Centre for Contemporary Art (Melbourne), University of Western Sydney (in
association with Streetlevel), Perth Institute of Contemporary Arts
Marko Peljhan - Contemporary Art Services Tasmania, Media Resource Centre
(Adelaide)
Cornelia Sollfrank - University of Western Sydney (in association with
Streetlevel), Media Resource Centre (Adelaide)
CODE RED is presented by the Australian Network for Art and Technology in
association with The Performance Space. Supported by the New Media Arts
Fund of the Australia Council, the federal government's arts funding and
advisory body with additional support from the Goethe Institut.
********************************************************************
The Inter-Society aims at joining a world-wide network of artists, scientists
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 mentioned in this
Newsletter by contacting ISEA.
Support: Fondation Daniel Langlois, Ministère de la culture et des
communications du Québec, Montréal International, ANAT, FACT,
Liverpool John Moores University, Manchester Metropolitan University,
Leonardo, SAT, McGill University, Université du Québec à Montréal.
***********************************************
end of newsletter