THE INTER-SOCIETY FOR THE ELECTRONIC ARTS
ISEA NEWSLETTER
ISSN1488-3635
#81 May - June 2001
_______________________________________________________________
* CONTENTS *
* ISEA News * Word from the Chair * ISEA2000 * ISEA2002 * Netart on Lists *
* Artist in Residencies * New Media-New Century Awards * Avecom *
In seperate attachment:
* Conferences/Symposia/Workshops/Festivals * Exhibitions * Jobs * Calls
* Lists/URLs/Newsletters *
________________________________________________________________
**************************
ISEA NEWS
Wim van der Plas
**************************
(Apologies for the Dutch english - we had a text editing problem)
This is the first Newsletter from the new location of the ISEA coordinating
office aka ISEA HQ. Last fall financial support from several Canadian sources
quite suddenly dried up. We had the same problem when HQ was based in the
Netherlands (1990-1995): national and local institutes in general restrict
their support to include only the promotion of local or national interest.
In other words: ISEA is too international.
Looking at alternative possibilities to maintain a coordinating office,
the option of making it a students project came up. And this is what it is now.
Since the beginning of this year, students at Media Technology, a new course at
the department of Applied Sciences of Utrecht Polytechnic (Netherlands), are now
running ISEA HQ, supported by their professor (me). They get credits for doing
this work and in this way we hope to be able to manage things for a couple of
years low budget. The only sources of income we have are:
-fees that the symposia organizers (are supposed to) pay us
-membership fees.
We apologize for not appearing during the transition period. From now on,
we plan to publish the ISEA Newsletter on a bi-monthly basis again. As can be
understood from the remark on our sources of income, we depend very much on your
membership fees and on you helping us to get more members, especially institutional
members. Soon we will resume the mailing of membership invoices for the next year.
During the succesful ISEA2000 symposium in Paris, last December, we distributed a
Call for Cooperation. We invited institutes and individuals to propose ways of taking
some of the work off our hands and giving ISEA a more geographically distributed basis.
Actually we received such an overwhelming amount of positive reactions to this Call,
that the ISEA Board has still not been able to react in a constructive way.
We do apologize for this to everyone that sent us proposals and we assure you they
are appreciated. We have begun to discuss possible ways of cooperation and this
has already had some results:
-students at the Rhode Island School of Design are working on a new ISEA Web site.
-students at RPI are helping us with the editting and lay out of the Newsletter and
the Web texts.
As you can understand, a distributed organization needs careful planning and
coordination. However, in a couple of years, the task of ISEA HQ should be limited
to just coordinating the activities, while the activities themselves (Newsletter,
Web site, Membership administration, etc) take place elsewhere. Since this distribution
of activities always carries the risk of one of the nodes dropping out, we have to
make sure we have all necessary knowledge and skills in house at HQ. Only then can
we delegate these activities. This explains the rather slow progress we are making right now.
Please update your database. ISEA HQ has a new physical address:
ISEA HQ, c/o Media Technology, POB 512, 3800 AM Amersfoort, Netherlands
Tel: ++31-33-4228915, fax ++31-33-4228933
Our electronic addresses remain the same (for the time being):
isea@isea.qc.ca, www.isea.qc.ca
*******************
WORD FROM OUR CHAIR
Nina Czegledy
*******************
Dear Members and Readers of the ISEA Newsletter,
Greetings on behalf of the Board of ISEA and welcome to the latest issue
of our remodeled newsletter, freshly constructed and edited by the
hardworking ISEA HQ Team, based in the Netherlands.
While it is strictly not a Newsletter issue, please accept our apologies
for the delays in responses and ISEA procedures - the restructuring of a
dispersed virtually operated organization -mostly by volunteers-, is a
major task, slowing our progress.
On behalf of the Board and the HQ Team,
we would like to thank you for your continuous support, contributions to
the ISEA FORUM and the excellent task porposals submitted earlier.
Soon we will report on the ongoing ISEA2002 and ISEA2004 negotiations,
further ISEA meetings, supported events etc.
We are looking to your correspondence,
INL comments and to meet you online as well as in person on any or
all of these events.
Best regards,
Nina Czegledy
***************************************
ISEA2000
Wim van der Plas/Art3000/Ronnie Stevens
***************************************
The Tenth International Symposium on Electronic Art, ISEA2000, took
place from the 7th to the 10th of December 2000 in Paris, France. This jubilee
issue was organized by ART3000. We quote the following from their
official report.
"Long-awaited by the French and international art scene concerned with
new media the ISEA2000 event has taken place with great success. The
reactions of the outside contributors and the public have been very positive on
the spot as well as in the huge amount of mail we have received since then.
The goals that were set for the 2000th edition have been reached:
. the participation of more than 300 contributors, experts in the fields
of creation and new media that came from 30 different countries;
. an artistic programme covering all the fields of creation spreaded out
over more than 30 partner cultural locations;
. an attendance that has clearly increased compared with the previous
ISEA editions: more than 2000 subscribers at the Symposium (and nearly 10000
on associated events);
. a rejuvenation and renewal of this public (partially due to the very
attractive costs of entry, not to mention that the majority of the
associated locations were free of charge);
. a large place given to interdisciplinarity and a strong representation
of the lesser-known sectors of digital art as for example dance and
performing arts.
Organized for the first time in Paris, ISEA2000 gave an opportunity to
France to stand out as a strong presence in the international community
of the electronic arts and to arouse the public's as well as the
establishment's interests. When it was founded in 1990 (INL comment: the
Symposium series started in 1988), this event was only the small
gathering of a committee of artists, intellectuals and researchers. The taking
place of ISEA in Paris for the tenth consecutive year (INL comment: the
Symposium was sometimes organized on an annual and sometimes on a bi-annual basis)
has made this hallowed explosion of the digital art sector and marks a
turning point in the interdisciplinary new forms of expression.
ISEA2000 in numbers :
300 speakers, 52 papers, 16 panels, 66 posters sessions and
institutional presentations, 9 seminars, 4 musical sessions and 8 musical breaks,
20 sessions of electronic theater.
Extract of the ISEA2000 press reviews:
"For an exceptional event, an exceptional date (2000) and an exceptional
crowd."
"A sumptuous and sometimes much debated program, creating furthermore
meetings and complementary uncoordinated off-exhibitions in which
everyone seems to find what they're looking for. "
Le Monde Interactif
"The ISEA2000 event continues to be the reference in matter of
electronic arts. A must in its field..."
Pixel
"Is France the land of welcome of the digital creation? The digital
arts indubitably prevailed for the beginning of the winter (In Paris, for the
ISEA2000), the digital planet got together around video projections,
live performances, lectures and round tables. Confronting point of views and
exchange of experiences were at the heart of these international meetings."
WAD
"An impressive whole of lectures, individual and institutional
presentations, round tables and seminars."
"No doubt that this event has been a great stimulation for the French
scene and that many initiatives should come out after the Symposium."
Magazine du CIAC
"Proteiform, trans-disciplinary, multi-media, international, federative
and sometimes angelic, the ISEA symposium/exhibition celebrates its tenth
anniversary in France."
"For the first time, this event opts for the access of a large public
with totally affordable costs of entry."
Creation numerique
"ISEA will be a springboard for the recognition of pluridisciplinary
artists that express themselves through the new technologies."
Musique Infos Hebdo
"For its first time in France, the International Symposium on Electronic
Art (...) doesn't do things by halves. This great rendezvous of digital
creators and artists concentrate in Paris in beginning of December the
flower of the innovation. "
Pixelcreation.fr
"The occasion to bring to light a discipline and a medium still badly
known and an opportunity of a meeting between the public and the artists of
the third millennium."
Diligo.fr"
(end of quotation, the full report can be found on the ISEA web site,
www.isea.qc.ca)
It can be seen that the reactions in the French press were overwhelmingly positive.
So were most reviews, published in other countries (see, for
example, the Berliner Zeitung at www.BerlinOnline.de). The same can be
said of most first time participants(see Ronnie Stevens contribution, below).
And there were a lot of first time guests at ISEA2000! ART3000 did an remarkable job,
and the people who were involved in organizing any of these ten ISEA issues, know what
an incredible amount of work it is (see the 'Ten Years ISEA' survey on our Web site).
ISEA has grown so big, one starts thinking of hiring professional conference organizers
and doing it in the 'corporate' way. Instead, ISEA is always organized by the
electronic art community itself, and that is the way it will stay.
This does mean however, that always many things go wrong. The more
experienced ISEA-goers often have critisism. This is a reaction by one
of ISEA's Board members, for example:
"It could be an ironic touch...but the proposal made by FACES which was
dumped in the first round, had an enormous success in Paris. Natalie
Magnan got a bit of money from the ministery of culture, we could invite a few
key women, and it resulted in a 5 hour+ presentation non-stop of women's
projects, each 5-10 minutes long -- to a packed room with people waiting
in the hall to come in - at the University of Paris 1."
This is an example of a rejected proposal, that was organized nevertheless,
in the fringe of the official symposium, and was a huge success. Things
like that happen. I had a few points of critisism myself: there were several
(smaller) sessions in french, without translation, although the official
language of the ISEA Symposia is English. A lack of technical preparation by
the organizing crew at some sessions. The chilliness (both literally as
well as, more importantly, in a figurative way) of the shopping center
environment of the Forum des Images. However, I know the last symposium
I was involved with as an organizer myself (ISEA96 in Rotterdam) suffered
from the same shortcomings and many others (well, except for the french
language thing).
So, don't we learn? In a way, no. The nomadic character of ISEA (Mute
coined this characterization, it is right) makes it very hard to learn from
experience. Of course we (the Board of the Inter-Society), try to help
and to connect last issue's organizers with next issue's organizers, but
this often does not work out properly. Communication with Helsinki (ISEA94)
and Liverpool (ISEA98) practically came to a halt after the symposium was
over. It has much to do with the complete exhaustion of energy, funds, etc.
with the organizers after the job is done. It is almost an inhuman job, to
organize an ISEA!
Nevertheless, as was shown during the closing session, the General
Meeting of the Inter-Society, many very qualified groups in major cities all
over the world are interested in organizing one of the next issues. For
ISEA2002 there were two strong candidates: Nagoya and Melbourne. Since it has
been a long standing desire of ISEA to hold the symposium outside of the
so-called western world, and this seems the big chance to do that for the first
time, ISEA2002 will be held in Nagoya, Japan. It will be organized by Media
Select in cooperation with many universities, institutes and organizations
in Japan. See below.
Wim van der Plas
*****************
ISEA2000
by Ronnie Stevens
*****************
(unedited!)
It's only a five hour drive, but I had never flown before. So we decided
to go to Paris by plane. This was also a cheaper option, for we had a lot
of airmiles. Six hours later, we finally arrived at the hotel. In Amsterdam
the plane had to wait 1 hour because of a strike at Paris, in Paris our
luggage was lost, which took another 2 hours before we could leave the airport.
I won't fly to Paris again.
I have never been at ISEA before. Working mainly in the field of webdesign,
it was overwhelming to see so many interface-experiments. The lecture of
Roy Ascott about the three VR's: Virtual Reality, Validated Reality and
Vegetal Reality was an absolute beautifull start of the symposium. And
Lucia Leao's inspiring lecture about mapping cyberspace came right
after, making the first day a really perfect day.
The speed of the technological development of the internet forces
artists and scientist to use each others researches. During the symposium one
could clearly feel the synergy evolving from this cooperation. The lonesome
artist seemed to be without any chance of survival in the often high-tech
presentations. Creating media-art has become more and more teamwork, visual
artist working together with programmers and interaction designers. The
'wareable computing'-outfit, developed by Flavia Sparancino of the MIT
Media Laboratory in Massachussets was a clear showcase of this.
No, I met one 'lonesome' artist. The australian artist Johannes Klabbers
writes poems. His ideal was to publish his poems wireless, beaming them
to all handheld-owners within the reach of his infra-red beam. Surprisingly
none of his audience owned a Palm.
So was ISEA2000 a revelation? I did not see anything 'new'. But it is a
perfect opportunity to see all the developments next to each other.
It's a place where members of this specific community come together to see each
other, feel each other, smell each other, and look each other in the
eyes. Because despite of all the techniques shown, that is the only
communication that really counts. And to meet so many people working in the same
field, that was a revelation.
*****************
ISEA2002
Kiyofumi Motoyama
*****************
ISEA2002 Eleventh International Symposium on Electronic Art Nagoya Japan
October 27-31, 2002
Theme "Ourai"
"Ourai" is a Japanese word, used from early days, meaning people's comings
and goings, traffic, association and so on. About 200 years ago, a book titled
"Nagoya Ourai" was compiled and published in Nagoya and it was used as a
kind of textbook for teaching and writing.
ISEA 2002 Nagoya will function as a field of "Ourai" (transmission) between
art and sciences. With this purpose in mind we are planning several concrete
sub-themes. For example, how to realize the interface which concerns "Ourai"
(interaction) between the environment and the human body. Traffic between
cyberspace and real space is also important. Urban space is the space of "
Ourai" where myriad forms of information including i-mode service (Internet
access by mobile phone), GIS, ITS etc interlink. Media Art is the field
where many problematics brought by the electronic society appear at the point
where media and art encounter each other, and alternative methods are also tried
to solve them. Media art events which have been held around the world have
presented leading themes such as "life science", "creative sense" and "
artificial life" and have had a huge impact on the progress of society.
The Nagoya area is one of the largest industrial areas in Japan. The areas
around Nagoya Port, which will be the main site of the ISEA 2002, are rich
in traditional culture. With 10 years of experience with ARTEC Biennale,
Nagoya has a proven reputation in a related field. With this background Nagoya
makes a new milestone for the ISEA symposium which will be held for the first
time in Asia.
ISEA 2002 will be the arena for three different kinds of "Ourai" : the
search for relations with industry, a place where participants from Asia and all
over the world can communicate and share ideas and where citizens can enjoy
events.
Like the book "Nagoya Ourai", we hope that ISEA 2002 will create a new text
of alternative literacy in the electronic age.
*Host Organization:ISEA 2002
Nagoya Steering Committee will be established in the end of June,
including such organizations as
-MEDIASELECT
-City of Nagoya, Nagoya Port Authority, other public governments
-Art Universities, School of Informatics, Institutes
-ISEA Japan, academic societies
-Nagoya Urban Institute, artport Executive Committee, other organizations
*MEDIASELECT, established in 1999, is a non-profit organization consisting of
artists, curators, engineers and teaching staff of art schools, which are
concerned with "Media Art" and "Media and Art" through organizing art
exhibitions and study programs, http://vision.mdg.human.nagoya-u.ac.jp/~mediaselect/
members:
ISHII Haruo, Artist / Aichi Prefectural University of Fine Arts and Music
http://www.land-net.co.jp/~stone/
OIZUMI Kazufumi, Artist / Chukyo University
KOBAYASHI Ryosuke, Artist / Nagoya Zokei University of Art & Design
TAKAHASHI Ayako, Curator / Nagoya University of Arts
TATEMATSU Yumiko, Curator
TSUDA Yoshinori, Artist / Nagoya University of Arts
MAEBAYASHI Akitsugu, Artist / Nagoya University of Arts
http://www2.gol.com/users/m8/
MOTOYAMA Kiyofumi, Critic / Nagoya University
http://www.info.human.nagoya-u.ac.jp/~motoyama/index.html
YAMAGUCHI Yoshiomi, Artist / Nagoya City University
http://www.sda.nagoya-cu.ac.jp/yy-1/
MOTOYAMA, K
T/F ++81-52-7894774
Media & Design Group, GSHI, Nagoya-U
motoyama@info.human.nagoya-u.ac.jp
*****************
NETART ON LISTS
Wim van der Plas
*****************
Lately, several net-artistic activities have disturbed the otherwise quiet
waters of internet lists like ISEA Forum. In Australia, the art projects by Mez
were banned from a list and some of the actions of Pavu have caused angry
reactions from ISEA Forum subscribers. I quote from a "mezandwalt" message
(ISEA-FORUM 1094):
"(...)Pierce's removal of mez (Mary-Anne Breeze) from the Australian new media
email list *recode*. mez is an internationally renowned internet artist who
posts to many rt-oriented email lists in order to construct her "net.wurk
performance texts" which often incorporate "spontaneous collaboration segments"
resulting from this "open-source performance and dispersal method" and
production (Breeze, 31/3/01). Pierce carried out the removal after concluding
that mez's latest collaborative and interactively constructed work,
_[Col][Lab [C]Logging: Agency of The N][arratively fractured][etwurk_
(http://www.hotkey.net.au/~netwurker/colablog1.htm), was inherently spam (...)"
Pavu recently sent a spam message to the ISEA Forum list. We found out that the
original source of this commercial message, a Web design company, was very
unhappy about the mis-use of their message. Pavu replied to the complaints, just
saying 'Not Business, Just Redirect'.
Of course it is one of the functions of art to create confusion and make us
think. Mez and Pavu are no doubt serious artists. I feel ISEA should create a
channel for this kind of list art: ISEA Art List. When you open a message you
know you can expect a work of art and not a dry announcement or Call for
Participation. And when you want to know where to send your latest work, you can
read ISEA Forum messages.
I welcome reactions to this idea in ISEA Forum. Will net artists be so decent as
to send their work to the Art List instead of to the Forum, or are they
consciously provoking the people that read and use the discussion lists? They
should understand that it is easy to boycot an open list like ISEA Forum: just
send enough material that subscribers don't want to read right then, and they
will cancel their subscribtions. After Pavu's action we did actually receive a
few "unsubscribes".
So: should we begin a Net Art List next to the discussion list called ISEA
Forum, and will net artists use it? What do you think?
*************************************
ARTIST IN RESIDENCIES
Wim van der Plas/DLF/Alex Adriaansens
*************************************
(unedited!)
Last March I sent a mail to the ISEA Forum requesting information on
Artist in Residence policies. Here are the results of my little survey.
My request:
I am interested in artist-in-residence programs. We don't have such a
thing in Holland, only very occasional sponsoring of individual artists. Of
course local and national government bodies sponsor more art here than
in f.e. the USA. However, especially for electronic artists the connection
to (corporate) business can be interesting.
Can anybody tell me more about such programs? I know artists like John
Whitney Sr (in the US) and William Latham (in the UK) were sponsored by
IBM and Karl Sims did an Artist in Residency with a transputer company (this
remark is corrected below, wvdp).
-How common is this practice in the USA?
-Is it a practice in other countries?
-Is it getting less?
-Is it tax deductable for the company?
-Do they provide the artist with more than just facilities?
-Does anyone know of more good examples?
-Is there anything to be found on the Web?
Scott deLahunta <sdela@ahk.nl>
The Collaborative Arts Unit at the Arts Council in the UK has been doing
some research into artists in residency --- and convened a brain
storming meeting about a month ago on the topic. The preparation document is
here with a bit of overview and some links to artists in residency programmes
<http://www.dartington.ac.uk/~s.delahunta/ace/res.html> -- however, the
focus of that discussion was on the full range of artist in residency
like programmes. If you are looking specifically at residencies in industry
then it's crucial to keep the IP issue in mind -- and, although, it's short
notice -- in a little over a week the CODE (collaborative ownership in
the digital economy <http://www.cl.cam.ac.uk/CODE/> conference in London
will attempt to unpack some of the thorny issues regarding intellectual
property.
For some indepth research into the relationship between artists/
scientists/ technologists in terms of how good conditions for productive
creative collaborations can be established... the work of Ernest Edmonds
and Linda Candy at Loughborough University on the COSTART project is
very interesting -- <http://www.ernestedmonds.org.uk/ace>
And a short general bibliography might include:
Century, Michael. Pathways to Innovation in Digital Culture. Centre for
Research on Canadian Cultural Industries and Institutions, Next Century
Consultants, McGill University. Report supported by the Rockefeller
Foundation). 7 July 1999.
<http://www.music.mcgill.ca/~mcentury/PI/PImain.html>
Harris, C. Art and Innovation. The XeroxPARC Artist-in-Residence Program.
MIT Press: Cambridge, MA, 1999.
Jennings, Pamela. New Media Arts / New Funding Models. Report prepared
for Creativity & Culture, The Rockefeller Foundation. December 2000.
<http://digital-Bauhaus.com>
03/27/2001, kasey <kasberry@humanorigins.org>
Xerox PARC initiated a program of residencies some years ago with the
idea that artists are researchers with another angle on creative problem
solving. To that end artists in residence were and are encouraged to do their
own work for its own sake using PARC resources, including collaborating with
other researchers. Rich Gold administered this program for the period that I
was associated with it: rich_gold@parc.xerox.com.
Information artist and professor Steve Wilson participated in it:
swilson@sfsu.edu and was my initial connection with it.
MITPress published a book about it 2 years ago, I can't remeber the name
of it but I'm sure you can find it in the catalogue.
For me this program was invaluable both supporting my work and opening
my mind to the creative possibilities of business.
With Xerox' financial reversals I'm not sure of the status of the
program but Steve Wilson could tell you more.
I was given a 4-month professional salary, a team of 7 teenaged (paid)
informants, admin staff, a fully equipped 2-room lab with audio-video
editting bays, computers for everyone with high speed connections(this
was in '96), a conference room with live board, PARC libraries, conferences
and seminars. Staff researchers as resources. Venues to present our results.
This was a project called Future Workscapes- where we looked into what
the future of work might be. They treated me very well and I continue to
have friendships there that mean a lot to me. As an information designer it
was huge support.
03/27/2001 "Conor McGarrigle" <conor@stunned.org:
I don't know much about the US experience but we have some interesting
artist in residence programmes here in Ireland. These tend not to be
with companies but in publicly funded arts organisations.
Arthouse digital media centre in Dublin <http://www.arthouse.ie> have an
extensive residency program consisting of two paid six month (currently
myself and Saoirse Higgins) residencies, which include a workspace and
computer with whatever software is required and access to video and
audio production facilities and assistance from the experienced staff. The
residency payment comes under the artist tax exempt status.
There is also an ongoing program of shorter term residencies which
are the same as above but without payment and up to three months duration.
Both are open to international artists.
The Irish Museum of Modern Art in Dublin <http://www.modernart.ie> also
have a very extensive residency program which includes a studio and
apartment on the grounds of the Museum and a living allowance, again it's open
to international artists but less aimed at digital artists.
03/27/2001, Simon Biggs <simon@babar.demon.co.uk>
A.I.R's are pretty common in the UK as well as Australia and Canada.
Perhaps it's a language thing? Mostly they are with academic
institutions, but sometimes with government bodies, research centres or the
corporate world. I think the latter, outside the States, is pretty rare...but
not unheard of (as you mention Latham at IBM in the UK).
Regarding Karl Sims. He was not A.I.R at Connection Machines. He was
CEO. Karl developed some early massively parallel computing systems and that
became Connections, which then went on to make a number of
supercomputers for well healed clients. I understand that Karl left the company,
initially to pursue his artistic interests within its umbrella and latterly a
complete seperation...but this is just gossip, so cannot confirm or
deny. He also has close contacts to MIT Medialab as his partner is Pattie Maes
who runs (or who use to run) the Medialab AI program.
-Is it a practice in other countries?
-----
In my experience it is...but that is mostly in English speaking
environs. I've done residencies in the USA, Australia, the UK and New
Zealand...but also Sweden.
-Is it getting less?
-----
In the UK we have just had the Year of the Artist, much of which was
about putting artists into unlikely environs. This has been done largely
through residencies, in hospitals, factories, communities, farms, national
parks, corporations, museums, etc.
-Is it tax deductable for the company?
-----
In the UK, if the monies are funneled through a non-profit recognised
charitable arm of the company then they are tax deductable at the
company rate of tax (eg: 40%).
-Do they provide the artist with more than just facilities?
-----
Depends on the residency. There is also a question of what is expected
of the artist. It is a two way street. You do not get something for
nothing. Most residencies would expect the artist to make some sort of input
beyond making new work (eg: workshops, public presentations, advertising copy).
-Is there anything to be found on the Web?
-----
Look up the Year of the Artist data on the Arts Council site
(www.ace.org, I think).
03/27/2001, Cynthia Beth Rubin <cbrubin@brainiac.com:
-How common is this practice in the USA?
Corporate Sponsorship for real residencies is very rare. As far as I
know, all recent "artist in residence" positions have been created by
the individuals involved (they convinced the companies to hire them, as
individuals). There used to be more in the old days - for example Xerox
invited many artists to use color copy machines when they were first
invented and then sponsored an exhibition at the Eastman House Museum.
There is one notable exception: Kohler. They make bathroom and kitchen
fixtures (sinks, etc.) and they sponsor a regualar (and competitive)
artist residency for when they are not in production.
Kohler is at:
<http://www.jmkac.org/Arts/homepageARTSindustry.html>
There are private/non-profit artist residencies, some of which ask
artists to pay a fee, and others which grant free access to studio
space. Even when artists pay a fee, they can often work this off
(helping the the kitchen, for example),
-Is it a practice in other countries?
I have had 4 artist residencies (2 long term, 2 short term) in France.
-Is it getting less?
Spontaneous little acts of generousity on the part of companies is
declining, private non-profits are probably about the same.
-Is it tax deductable for the company?
YES
-Do they provide the artist with more than just facilities?
Depends - some private ones like the Vermont Studio School provide
everything (but you pay to be there), as does Yaddo (the most famous).
Some in NYC provide just studio space
*****
THE DANIEL LANGLOIS FOUNDATION LAUNCHES A PROGRAM OF GRANTS
FOR RESEARCHERS IN RESIDENCE
Montreal, April 23, 2001
The Daniel Langlois Foundation for Art, Science and Technology is
launching a program of grants for researchers in residence. With this new
program, the Foundation hopes to foster critical thinking about how technologies
affect people and their natural and cultural environments. Following an
international competition open to historians, curators, critics,
independent researchers, artists and scientists in various fields including
computer science and related areas of social science, the Foundation will enable
two researchers to work in the collections and archives of the Centre for
Research and Documentation (CR+D). Each year, the Foundation will
announce the research topics that researchers' proposals must address. For
2001-2002, the topics are: Technological, artistic and aesthetic history of
computer animation, and Conceptual, scientific and artistic issues involved in
preserving digital artworks or works with digital components. Twice a
year, the CR+D will welcome a researcher for three to six months. The
researchers will be given access to computer and audiovisual equipment, the
Foundation's database, and its entire collection of documentation. The
researchers in residence will be required to publish their research findings on
the Foundation's Web site. For more details on this new initiative, consult
the program of Grants for Researchers in Residence in the Funding Programs
section of the Foundation's Web site:
http://www.fondation-langlois.org/e/programmes/menu.html. If you don't
have Internet access, please contact us directly and we'll mail you the
information you need. The deadline for applying is August 31, 2001. For
questions about how to submit a project to the Foundation, contact the
program officer Angela Plohman at aplohman@fondation-langlois.org.
Angela Plohman, Program Officer
Daniel Langlois Foundation for Art, Science and Technology
Phone: ++1-514-9877177
Fax: ++1-514-9877492
E-mail: info@fondation-langlois.org
Web site: http://www.fondation-langlois.org
*****
EUROPEAN MEDIA ARTISTS IN RESIDENC EXCHANGE
Last Call For Applications
Deadline: May, 31, 2001
Grants for European Media Artists for England, Scotland, Germany and
Netherlands. The seventh European Media Artists in Residence Exchange will take
place in Summer 2001 to spring 2002.
Europe based Media Artists in the fields of digital media including
internet and computer based art, filmmakers, sound and video artists are
invited to apply for a two month residence based stipend at Hull Time Based
Arts, Kingston Uppon Hull in England; at Duncan of Jordanstone College
School of Television and Imaging, Dundee, Scotland, at V2 Organisation,
Rotterdam, Netherland or at Werkleitz Gesellschaft's Center for Media Arts
Saxony-Anhalt, Germany. Students are not permitted, but young artists
encouraged. EMARE includes a grant of 2.000 Euro, free accomodation, 250
Euro travel expenses, access to the technical facilities and media labs and
a professional presentation. Entries should include a CV, (audio)visual
reference projects documentation and a proposal sketch for the project
which should be developed within EMARE. Artists with residence in or
identity card for a European country (including East European countries)
are invited to visit the homepage and download the application form:
http://www.werkleitz.de/emare
Any further questions Please contact one of the partner centres:
-Germany:
Werkleitz Gesellschaft e.V. EMARE, Peter Zorn, Strasse des Friedens 26,
D-39249 Tornitz. Tel ++49-39-2986750 Fax ++49-39-29867555
emare@werkleitz.de www.werkleitz.de/emare
-England:
Hull Time Based Arts, Gillian Dyson, 42 High Street, HU1 1PS Hull, UK
Tel ++44-1482-216446 fax ++44-1482-589952
gill@htba.demon.co.uk www.timebase.org
-Scotland:
Duncan of Jordanstone College, School of Television and Imaging, Mike
Stubbs, Perth Road, DD1 4HT Dundee, UK. Tel ++44-1-382223261 fax ++44-1-
382226136 stubbs@easynet.co.uk
-Netherlands:
V2_Organisation, Institute for the Unstable Media, Anne Nigten,
Eendrachtsstr.10, 3012 XL Rotterdam, Netherlands Tel ++31-10-2067273
fax ++31-10-2067274 anne@v2.nl www.v2.nl
EMARE 2001 is supported by the Ministry of cultural affairs Saxony-Anhalt;
the Arts Council of England; Yorkshire Arts; British Council; Goethe
Institute
***********************************************
WINNERS OF THE SMITHSONIAN AMERICAN ART MUSEUMS
NEW MEDIA-NEW CENTURY AWARD ANNOUNCED
***********************************************
Smithsonian American Art Museum and the Renwick Gallery Washington, DC
USA
New technology artists Cindy Bernard, Russet Lederman and Patrick
Lichty are winners of the Smithsonian American Art Museum s New Media-New
Century Award to create art for the Web. By now their work should be posted on
Helios, the museum's online American photography center, through its award-
winning Web site, AmericanArt.si.edu.
**************
AVECOM
Ronnie Stevens
**************
(unedited!)As I noticed at ISEA2000, the AVE-festival has not been forgotten.
During the late 80's and beginning 90's we had more than 300 participating
artist from all over the world. It's concept was unique, sending teams
throughout Europe to find those young media-artist. Mainly working with video,
as at that time digital techniques were not available to most artist. But time
changed, and it was no longer possible to keep the festival alife. However,
slowly there is a new festival rising. Still looking for it's identity,
an organisation has been formed, and plans are being made. In March we
organised an expert-meeting. During this day several lectures and artist
presentations were held in a former theater in Arnhem, the Netherlands. In
october 2001 there will be a 4 day-festival. AVECOM is inviting artist to create
work for the festival, offering also a facility in the media-lab of PlaatsMaken
to create their work. AVECOM will not only be a presentation-platform, but also
actively stimulating the creation of media-art. For this AVECOM is also looking
for cooperation with other organisations to become part of the international
community which is stimulating and presenting this form of art.
***************************************************************
end of part 1 of this Newsletter
In the attachment to this Newsletter:
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****************************************************************
Editors:
Frank Boelen, Madris Duric (ISEA HQ)
ISEA, Inter-Society for the Electronic Arts
POB 512, 3800 AM Amersfoort, Netherlands
Phone ++31-33-4228915 Fax ++31-33-4228933
isea@isea.qc.ca * http://www.isea.qc.ca
_____________________________________________________________
ISEA Board Members: Nina Czegledy, Kathy Rae Huffman,
Amanda McDonald Crowley, Cynthia Beth Rubin,
Thecla Schiphorst, Atau Tanaka, Wim van der Plas,
Marina Grzinic, Niranjan Rajah
___________________________________________________________________
ISEA-HQ: Frank Boelen, Constantijn van Duren, Madris Duric,
Rogier van Etten, Christian Kromme, Milo Patiniott
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