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Leonardo Electronic Almanac                 Volume 8, No. 4
                                            April, 2000
Craig Harris,  Executive Editor
Patrick Maun,  Gallery Editor/Curator
Craig Arko,    Coordinating Editor
Michael Punt,  LDR Editor-in Chief
Roger Malina,  LDR Executive Editor
Kasey Asberry, LDR Coordinating Editor

Editorial Advisory Board:
Roy Ascott, Michael Naimark, Simon Penny, Greg Garvey,
Joan Truckenbrod

                         ISSN #1071-4391
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                          |  CONTENTS  |
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INTRODUCTION

<  This Issue  >
                                  Craig Harris

FEATURE ARTICLES
                                                                    
<  Fontana Articulates Cyber-Space in 1947   >
                                  by Joseph Nechvatal                                  

PROFILES

<  FORECAST Public Artworks / Public Hearing  >

LEONARDO DIGITAL REVIEWS

<  This Month's Reviews  >
                                  Michael Punt

ANNOUNCEMENTS

<  "A"  Virtual Memorial  >
<  Mobile Immobilise  >
<  MUTEK - Music, Sound and New Technology  >
<  What's new in  Virtual Africa  >
<  The EMF / Leonardo Guide to the World  >
<  Space and the Arts Workshop 2001  >
<  3rd Annual International Digital Art Competition and Exhibition  >

ACKNOWLEDGMENTS
LEA WORLD WIDE WEB ACCESS
LEA PUBLISHING & SUBSCRIPTION INFORMATION

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                           ________________
                          |                |
                          |  INTRODUCTION  |
                          |________________|

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<  This Issue  >
                                  Craig Harris, Executive Editor


LEA 8-4 CONTENTS

LEA Volume 8 Number 4 features an article by Joseph Nechvatal entitled
"Fontana Articulates Cyber-Space in 1947." In the article Nechvatal
discusses the impact of Lucio Fontana as a "proto cyber/immersive
artist of the 20th Century." Also this month is a Feature Profile of
FORECAST Public Artworks, an organization that promotes the
development and dissemination of Public Art. FORECAST recently
published an issue of their journal Public Art Review, "Public
Hearing," exploring sound and public art, and the possibilities of
orienting a visual culture towards what can be heard and often not
seen. Philip Blackburn, program director at American Composers Forum
is the Guest Editor of the issue, which has a fascinating
international roster of artists providing insights into their work.

LEA INSTALLING NEW PASSWORD

With LEA 8-4 we are installing a new password, which in effect
reinitializes our subscription system. For several months (and for
most of the last 7 years for that matter) Leonardo/ISAST and MIT Press
has offered Leonardo Electronic Almanac to subscribers across the
globe. The honor system that we had implemented a few years ago,
hoping that people who benefited from the valuable content found in
our monthly issues and in our ever expanding archive, did not energize
the community to formally subscribe. We have the statistics that
indicate extensive usage of the site, and we hope that this will
continue. All subscribers to the hard copy journal Leonardo will
continue to have access as part of their subscription benefits.
Subscribers to Leonardo Electronic Almanac will also have access to
the LEA Archive, which contains the electronic versions of Leonardo.
For a mere $35 this is an incredible value, so take advantage of this
opportunity and subscribe! We will be distributing the new password to
paid subscribers along with the distribution of the text version of
LEA 8-4.

LEA COMMISSION OPPORTUNITY

LEA is pleased to be participating again this year in the Sonic
Circuits festival. The festival launches in November 2000, and is a
collaboration between Leonardo Electronic Almanac, the American
Composers Forum, and the Walker Art Center. In addition to a
constellation of performances in Minneapolis and St. Paul, several
works are selected to become part of a travelling set of works to be
performed at Sonic Circuits festivals around the globe. For Sonic
Circuits VIII we are fortunate to be able to offer a commission for
new work, underwritten by the Jerome Foundation. Three commissions are
offered this year, and LEA is administering one of them.

LEA is seeking to foster a new collaborative performance work to be
created by a musician or music group working with new media, and a
visual artist or visually-oriented group working in new media. The
work should be a Web-based performative piece, capable of being
featured as a live performance work on the Internet, lasting
approximately 15 minutes, with a version that can reside in the
permanent LEA Gallery Archive.

The commission fee is $3,000, to be divided equally among
collaborators, inclusive of expenses pertaining to creation of the
work. The piece will be presented during the launching festival in
November 2000 in the Twin Cities, with the expectation that the
performance will be web-cast, and it will be featured in the LEA
Gallery in November's issue of the journal. The artists will also need
to prepare a profile describing their work, their collaboration, and
the resources employed to create and present the work. Artists will
retain ownership of their work, offering LEA rights to present the
work at the festival, and non-exclusive rights to publish the work in
LEA and in the LEA Archive.

Proposals should be sent to <lea@mitpress.mit.edu>, and should
include:

a) biographical statements for all artists, 
b) a clear and detailed description of the proposed work, 
c) a description of how the work is to be performed at the festival,
d) a description of how the work would function as part of the
   permanent LEA Gallery Archive,
e) pointers to samples of work by the artists participating in the
   collaboration, and
f) a project budget.

The deadline for consideration is July 31, 2000. Decisions will be
made by August 15, 2000. The work needs to be completed and prepared
for presentation no later than October 20, 2000, in order to ensure
that the work is completed on time, and to allow for festival
presenters to properly prepare for performance.

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                   |  FEATURE ARTICLES    |
                   |______________________|

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<  Fontana Articulates Cyber-Space in 1947   >
                                  by Joseph Nechvatal                                  

Joseph Nechvatal
Email: <jnech@hotmail.com>

Review: Lucio Fontana
Sperone Westwater
143 Greene Street
NY NY 10012
Tel 212 431 3685
Fax 212 941-1030
Email: <info@speronewestwater.com>
URL: <http://speronewestwater.com/>

Introduction

Concerning what Adrian Henri calls the "environmental urge" (Henri, p.
18), Lucio Fontana (1899-1968) explored in analogous manner the
problem of representing spatial concepts abstractly. As a result, he
is an important proto cyber/immersive artist of the 20th century, best
known for exploring the concept of Spatialism.

From February 16th to the 25th of March, the gallery Sperone Westwater
has mounted a small, museum quality, exhibition displaying the
infinite conceptual space typical of the work of Lucio Fontana (see:
<http://speronewestwater.com/>). There are twelve paintings in the
show, mainly work from the early 1960's which exemplify his "buchi"
(holes) series; his "tagli" (cuts) series; and two "paintings" in
metal (one in copper; one in brass). Several  works were recently
included in the artist's full-scale retrospective at the Hayward
Gallery in London.

While Fontana's works can be appreciated independently of their
theoretical background, they receive an added proto-cyber
conceptualist dimension through references to it.

Fontana was born in 1899 at Rosario di Santa Fe, Argentina and died in
Varese, Italy on September 7th, 1968, a few months before the first
man walked upon the moon. By the late-1950s Fontana was slashing
monochromatic canvases with a razor blade as the lacerated canvas
indicated for him access into the infinite. In doing so, he
transformed a presumably ruinous attitude into an act of creation that
challenged classical easel painting and the sanctity of the picture
plane. This extravagant slashing gesture made him a nullifier of
painting's flat window-like metaphoric space and thereafter he became
a harbinger of a conceptual consideration of an immersively engaging,
cyber-spatially oriented total art.

Particularly what is cyberly important to us today about Fontana is
his, and his group's, theoretical manifestos. The movement known as
"Spazialismo" (a neologism deriving from the Italian word "spazio"
(space)) was initiated by a group of artists/intellectuals in Milan in
1947. Spazialismo's first manifesto was written by Fontana, the critic
Giorgio Kaisserlian, the philosopher/artist Beniamino Joppolo and the
writer/artist Milena Milani. The movement's second manifesto (called
"Spaziali") was signed in 1948 by Fontana, Beniamino Joppolo, Milena
Milani, Giorgio Kaisserlian, Antonio Tullier and Gianni Dova.

Fontana wrote or collaborated on a number of other proto-cyber
theoretical tracts, such as his eminent "Manifesto Bianco" (White
Manifesto) of 1946 in which it was stated that: "What is necessary is
to overcome painting, sculpture, poetry and music. We need a more
comprehensive art that meets the requirements of the new spirit."

At the end of his life Fontana said that his art "took a new direction
with the "Spatial Manifesto" of 1946". (Trini, p. 34) With it Fontana
became more than a painter or a sculptor, as it was space itself that
interested him above all else; space in the third and fourth
dimensional realm and space in the metaphorical and conceptual sense,
i.e. proto-typical cyber-spaces.

Fontana often said that the canvas for him is primarily there not for
what it is or for what it represents but to show that we can look and
move through it. (Fontana, 1963) It is for this reason that he
punctured holes in his canvases as a means of integrating the
theoretical space represented on the surface of his paintings with the
tangible space that surrounded them.

In 1949 Fontana's spatial theories, which had been developing in his
paintings, could no longer only be expressed through a two-dimensional
surface and hence he created his first spatial environment, "Ambiente
Spaziale a Luc Nera", in the Galleria del Naviglio by placing in the
darkened gallery an abstract shape painted with phosphorescent varnish
and lit by neon lamp. From then on Fontana titled all of his works
"Concetto Spaziale" (Spatial Concept). He shortly thereafter made his
first white punctured hole pieces, his first buchi (Italian for hole)
works.

Fontana, in his last interview with Tommaso Trini said that, "The
evolution of art is something internal, something philosophical and is
not a visual phenomenon. Speaking of the buchi in a late interview,
Fontana said, "...the discovery of the cosmos is a new dimension, it
is the infinite, so I make a hole in this canvas, which was the basis
of all the arts, and I have created an infinite dimension (...) that
is precisely the idea, it is a new dimension corresponding with the
cosmos. The hole was precisely to create that void there at the back."
(Beeren & Serota)

Concerning this puncturing of holes, Fontana said in the last
interview that "...if any of my discoveries are important the buchi
(hole) is. By the buchi I meant going outside the limitations of a
picture frame and being free in one's conception of art. (...) I make
a hole in the canvas in order to leave behind me the old pictorial
formulae, the painting and the traditional view of art and I escape
symbolically, but also materially, from the prison of the flat
surface." (Trini, p. 34)

Also Fontana said of his buchi that "as a painter, while working on
one of my perforated canvases, I do not want to make a painting; I
want to open up space, create a new dimension for art, and tie in with
the cosmos as it endlessly expands beyond the confining plane of the
picture" in which "the images appear to abandon the plane and continue
into space". (Manifesto Tecnico)

Moreover, Fontana has said, "The surface cannot be confined within the
edges of the canvas, it extends into the surrounding space."
(Palazzoli)

To make the point in specifically heightened immersive terms, Fontana
created in 1952 a ceiling peppered with his punctured buchis for the
Kursaal at Varazza which also incorporated low-angled lighting. He
repeated the gesture on the ceiling of a cinema in Breda the following
year. (Beeren & Serota)

Besides Yves Klein, Futurism was another historic source of Fontana's
inspiration, particularly, Giacomo Balla's studies of spatial
ambience. Fontana readily identified with the Futurist's rumination on
motion which he developed and expanded and integrated as part of his
Spatialist creations. For Fontana however, space no longer functioned,
as it did for the Futurists, in the context of the image (the flow of
space around sculpture or the implied space of painting), but it
became the palpable field in which his proto-cyber spatial method took
shape. Hence he literally transgressed abstract painting's support,
refusing the illusory for the actual, activating ambient space and the
technological allure which envelops post-modern life.

This is what constitutes the cutting-edge of Fontana's deceptively
simple (but far reaching) work for Rhizomeers.

... [Content omitted: Ed.] ...

[Ed. note: the complete content of this article is available at the
LEA website: <http://mitpress.mit.edu/e-journals/LEA/>.]

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                          |  PROFILES         |
                          |___________________|

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<  FORECAST Public Artworks / Public Hearing  >

URL: <http://www.forecastart.org/>

FORECAST Public Artworks is a Twin Cities-based nonprofit organization
which supports the development and appreciation of public art by
creating opportunities for artists and communities to explore the
public realm. Established in 1978, FORECAST started out as a gallery
without walls, facilitating artists working in various communities
throughout the region.

Two ongoing programs, established in 1989, are Public Art Affairs, a
grant program for emerging Minnesota artists of all disciplines, and
Public Art Review, a national journal critically surveying
developments in the field. FORECAST has also presented numerous
performance events, workshops, and publications.

FORECAST meets the needs of a wide variety of clients and partner
organizations. A leading nonprofit presenter of public art in the
region, FORECAST facilitates communities seeking to engage artists or
integrate public art activities. FORECAST's community partners are
diverse, including the Science Museum of Minnesota, the Multicultural
Arts Committee of Hennepin County, and Marcy Open School. We offer:

Project and competition management for a wide variety of public art
activities; Workshops and strategic planning facilitation for groups
interested in developing public art projects or programs; and Public
art panels, slide lectures and presentations for symposia or
conferences.

... [Content omitted: Ed.] ...


[Ed. note: the complete content of this profile is available at the
LEA website: <http://mitpress.mit.edu/e-journals/LEA/>.]

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            |                          	   |
            |    LEONARDO DIGITAL REVIEWS  |
            |    		    2000.04        |
            |______________________________|


Editor-in Chief: Michael Punt
Executive Editor: Roger Malina
Managing Editor: Kasey Rios Asberry

=============================================================

During the past six weeks Leonardo Digital Reviews has been able to
post eleven new reviews on its website. Perhaps the first thing that
needs to be said about this is a word of thanks to the international
group of panelists for their work. If there are any common themes to
their contributions this month it is first that increasingly the
diversity of cultural geographies that we call upon now seems an
essential constituent for tracking bibliographic trends and emerging
attitudes to art and technology. To this end we are extremely
privileged to have the benefit of Andreas Broeckmann's and Eugeny
V.Sintzov perspectives on so called "Easter European" cultural and
political histories. If there is another tendency to be detected this
month it is undoubtedly the interventionist nature of much of the
copy. I suspect that this is not so much a collective dyspepsia, but a
response to the burgeoning question about the relationship between
text and internet technology. Now the first flush of secessionist
enthusiasm has given way to more measured reflection the very nature
of the critical discourse appears to have lost a unifying momentum.

When one considers that, compared with the cinema and film, the
bibliography relating to television is still without any real sense of
critical purpose this may come as no surprise. Certainly on the
evidence of this month's reviews there is much serious work to be done
if we are to find a qualitative alternative to volume of writing about
the internet. To borrow from Richard Kade's closing observation,
without a critical filtering of what is being published, writing about
the internet will become "like speeding up in a car when you're lost;
the result usually just enables you to get lost over a wider area." We
hope that, thanks to the heterogeneous constitution and intellectual
energy of the panel, Leonardo Digital Reviews can help draw the
essential cultural map through its interventions.

Michael Punt
Editor in Chief
Leonardo Digital Reviews
<http://mitpress.mit.edu/e-journals/Leonardo/ldr.html>

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Visit Leonardo Digital Reviews online to read these reviews in full
together with the latest postings in LDR Raw as they come in.
<http://mitpress.mit.edu/e-journals/Leonardo/ldr.html> Your comments
are welcome at <kasberry@humanorigins.org>

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                          |  OPPORTUNITIES  |
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No new opportunities this month.

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                           _________________
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                          |  ANNOUNCEMENTS  |
                          |_________________|

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<  "A"  Virtual Memorial  >


Further information at the Service Centre.
Email: <info@a-virtual-memorial.de>
URL: <http://www.a-virtual-memorial.de>

"A" Virtual Memorial

Memorial project against the Forgetting and for Humanity
Author and artist: AGRICOLA de Cologne

Subject:
Remembering (Commemorating) - Repressing - Forgetting

A counter point for the fast running and changing environment of the
Internet will be created, intending to provoke starting an (artistic)
discussion about essential questions of human existance.

Starting point:

Guilt and flight from responsability are often enough reason for
repressing problems, forgetting means eliminiation of being (and
vice-versa), remembering: the chance for sorting oneself out.

Certainly one of the most insisting examples represents the Holocaust,
whether from the view of the victims, the culprits, the fellow
travellers or the outsiders or the later born; not comparable in their
dimension, but comparable in the consequence of human behaviors, the
genocide in Kosovo, civil war in Angola, the meanwhile historical
Apartheid in South Africa, the situation of the homeless people here
an anywhere; but in the same way in the dayly life and the human
interrelations the same repeating rituals happen; countless examples
in the Past, Present and certainly Future, as well.

In media and public meaning, the latest news are old and worthless
while being published, human destiny only relevant if the viewing
figures are on the highest level, and only, when connected with
material profit.

The heart of a computer is called memory. The mass of contineously
upcoming informations and data are beyond the limits of the available
capacities. Data have to be deleted.

The dimensions may be small connected to the PC at home.

What's about the coordinating points where the relevant decisions are
made in matters of administration, sciences, politics or economy. Who
is allowed to decide, what or who worth is to be saved or to be alive,
or what or who has to be changed or manipulated, or has to be deleted
or extermineted because it is not worth to be saved or to exist.
What's about all those people standing outside of that kind of
responsablity.

Remembering-Repressing-Forgetting

This call is addressed to visual artists, who are invited to make an
artistic statement to the subject by creating an object of art in form
of a webpage, or submit already existing projects or webpages related
to the subject.

In principle, all submitted homepages will be included in the project
by installing a link to (including a reciprocal link from) the
respective homepage.

Further more, <http://www.a-virtual-memorial.de> will function as a
server and will created for the Memorial project, under certain
selecting terms. Sufficient saving capacity is available.

Ask for terms and details.

Authors from the field of art, culture and sciences and persons of
public invited to make statements to the subject under certain
aspects, which will be integrated to the TextObjects section.

Institutions in the fields of art, culture, sciences and public
relevance, who are invited to cooperating, networking and supporting.

Visitors of the website who are invited to give live their personal
comments to the project and its subject.

The website of the memorial project will be a forum the exchange of
the variety of collected informations and associations intending to
create an image or memorial inside the viewer or visitor.

Further more, it is the author's intension, to realize the project at
a as well.

Finally, the project is open for the unexpected, new developments and
perceptions.


*************************************************************
<  Mobile Immobilise  >


Virginie Bec
Centre Interculturel de Pratiques Recherches et Echanges
   Transdisciplinaires
c/o Friche de la Belle de Mai
41,rue Jobin 13003
Marseille, France
Tel: 33 (0) 495 04 95 75
Fax: 33 (0) 491 11 42 44
Email: <cypres@lafriche.org>
URL: <http://www.cypres.asso.fr>

Announcing a project, a part of Technomade, carried by
AVIGNONumerique. CYPRES has been requested to realise Mobile
Immobilise, a project about Disability, Culture and New Technologies.
It's a reflection for the disabled people to develop some
possibilities to have access to Culture with various technologies'
tools.

We aim to make a research statute in the fields of disability:
research laboratories, artists using new technologies or disabled
artists using also new technologies.

Mobile Immobilise will materialise these issues through several events
in Avignon e Marseilles during October and November 2000.

We are in collaboration with an artist who works at the Imperial
College, in London. She is a dancer/choregrapher and she is interested
in question about weightlessness. Maybe you know some projects in the
same fields or about artist who works with new technology and disabled
artist who work also with new technology?

Helsinki, a city of culture as Avignon, was very interested in our
project at the reunion of the cities in Bologna.

*************************************************************
<  MUTEK - Music, Sound and New Technology  >

MUTEK contacts:
Tel: 1 (514) 847-9272
Fax: 1 (514) 847-0732
E-mail: <mutek@ex-centris.com>
URL: <http://www.mutek.ca>

MUTEK - Music, Sound and New Technology
First Edition - June 7 to 11, 2000 - Montreal

Montreal, April 12 2000 - Ex-Centris  and F.I.L.M.S. proudly present
the first edition of MUTEK, a five-day event combining music and sound
creation with new technology. The event, which will take place from
June 7 to 11, 2000 is brought to you by the same team which has, for
the last three years, organized the Media Lounge and the "New Media"
section of the Montreal International Festival of New Cinema and New
Media (FCMM).

In the era of digital tools and new media, MUTEK hopes to establish
itself as an annual gathering showcasing emerging forms of electronic
music and the latest trends in sound creation. Its mission is to be on
the cutting edge of innovation and to provide an environment for
discovery.  With the international profile of its content, MUTEK
promises to become a unique North American event not to be missed.

This first edition programme will centre around five evenings of
intense musical and sound experimentation presented by a series of
avant-garde artists from Europe, the United States, and Canada.
Confirmed artists include: Taylor Dupree, Savvas Ysatis and Panacea
(ARCHITETTURA mixed-media event by Caipirinha Productions); Frank
Bretschneider, Byetone, CoH and Carsten Nicolai (RASTER-NOTON event),
Vladislay Delay, Jake Mandell and Sutekh (MILLE PLATEAUX event); as
well as Thomas Brinkmann, Triple R, [The User], Pole and many others.

The first two evenings, June 7 and 8, will be held in the Fellini
theatre at Ex-Centris (complex of cinema and new media). The last
three, from June 9 to 11, will be held at Cafe Campus.  Taking
advantage of the fact that Saint-Laurent Boulevard will be alive with
the rhythm of the first of its sidewalk sales, MUTEK will offer
special outdoor events in complement of its entire programme. Most of
these events will be webcasted live on the Internet.

MUTEK is a project conceived by the Foundation Image Light Motion &
Sound (F.I.L.M.S.), a non-profit organization whose principal mandate
is to develop special projects related to film and digital culture
within the context of Ex-Centris. Ex-Centris is a dynamic environment
dedicated to independant film and new media. Its objective is the
development of cinema as well as of different means of artistic and
cultural expression related to digital technology. Media partners
include The Wire, Brave New Waves (CBC Radio) and CIBL.

Information regarding MUTEK will be posted and updated regularly on
the website at the following address: <http://www.mutek.ca> -
beginning as of April 26th.


*************************************************************
<  What's new in  Virtual Africa  >

Jocelyne Rotily, Curator
Email: <jocelyne.Rotily@wanadoo.fr>
URL: <http://www.olats.org>

What's New in Virtual Africa

- The Last Paintings of Luis Meque by Chiedza Musengezi

Chiedza Musengezi reviews an exhibition of works by Luis Meque
organized in 1998 to commemorate the life and art work of a painter
who actively contributed to Zimbabwean artistc life. His last
paintings, characterized by predominantly dark colours and an
expressionist style, find their inspiration in urban scenes, in
portraits of marginal people. They also reveal Luis Meque's daily
struggle with illness and death.
(Text in English)
URL: <http://www.olats.org/africa/galerie/gal_meque.shtml>

- In the "Arts and sciences" Section : Jean Pierre Rossie's
  presentation of his recent book: "Toys, Culture and Society.
  An Anthropological Approach with Reference to North Africa
  and Sahara":

Jean-Pierre Rossie is a Social-Cultural Anthropologist and Staff
Member of Nordic Center for Research on Toys and Educational Media
(University of Halmstad, Sweden). For several years, he has been
working on the social representation and significance of toys in North
Africa.
(Text in French and in English)
URL: <http://www.olats.org/africa/artsSciences/rossie_toys_en.shtml>

- Very Soon in the Virtual Gallery  : The interview of Antonio Ole by
  Barbara Murray

Antonio Ole was born in Angola but his family is half Portuguese half
Angolan. His work is very much "an exploration of conditions in Africa
and the impact of colonialism". Yet, he refuses to consider art as a
mere political weapon. "Art", Ole says, "has the freedom to go further
in other directions, searching for horizons and variety. Art is
particularly about light". Barbara Murray is the editor of a young and
dynamic journal "Delta Gallery", published in Harare, Zimbabwe.
(Text in English)

*************************************************************
<  The EMF / Leonardo Guide to the World  >

URL: <http://www.emf.org/guidetotheworld/>

The EMF / Leonardo Guide to the World Important events and people in
electronic music, new music, media arts ... May 15, 2000

The World Wide Calendar

We hope that you've been making regular visits to The EMF / Leonardo
Guide to the World website because you'll find a lot of calendar
information on electronic music, media art, and other exceptional
events, including concerts, festivals, conferences ...

Looking for something to do next week? This summer? New York?
Marseille? Seattle ? Sarajevo ? Hong Kong ? Go here!

*************************************************************
<  Space and the Arts Workshop 2001  >

Annick Bureaud
Email: <bureaud@altern.org>

For further information on the Space Arts Workshops see:
OLATS/Observatoire Leonardo des Arts et des Techno-Sciences:
<http://www.olats.org>

25 March 2001

* General Statement

The "Rencontres du 13 avril" are a series of workshop co-organized by
Leonardo/OLATS, the OURS Foundation and the International Academy for
Astronautics. Every year, since 1997, it gathers leading scientists
and artists on a specific theme for a one day workshop in
Boulogne-Billancourt in the near suburb of Paris. The "Rencontres du
13 avril" focuses on the exchanges between artists and scientists and
on the cultural impact of space activities.

In year 2001 the fith "Rencontres du 13 avril" will be on the theme
"Outer space - Cyber space".

* Outer Space - Cyber space

The Fifth Space Arts Workshop will explore the ways that artists and
scientist are using the internet both to extend human presence in
outer space, but also to bring access to the results of space
exploration to earth.

The first interplanetary internet nodes are being planned, and the
international space station will be connected to the internet. Space
Agencies are now using the internet to enable broad access to the
results of space exploration: future missions are being planned to
allow live webcast of images. Simulated extraterrestial worlds have
been created by artists in virtual space, and artists and scientists
have used the web to create scenarios of the future of space
exploration. This workshop will explore how outer space and cyberspace
are becoming inter-connected and how concepts and approaches that have
been developped within the outer space activities can be related to
concepts and approaches that are now experienced in cyberspace.

*************************************************************
<  3rd Annual International Digital Art Competition and Exhibition  >

Cynthia Pannucci
Founder/Director of ASCI
(12 yrs.of service to field of art/sci/technology)
New York City
Tel: (718) 816-9796
Email: <asci@asci.org>
URL: <http://www.asci.org>

Art & Science Collaborations, Inc. (ASCI) presents... 

their 3rd Annual International Digital Art Competition & Exhibition.
Two Categories:  Digital Prints and Web Art

This year the exhibition travels to three venues!

Central Fine Arts, 596 Broadway, NYC - June 28 - July 14
Technology Gallery, NY Hall of Science - Sept. 18 - Nov. 26
Silicon Gallery, Philadelphia, PA - December 1 - 30

Please NOTE:
Because of a change in dates at the first venue, our original Juror,
Margot Lovejoy who will be travelling to Banff, Canada for a residency
at that time, will therefore not be able to judge this year.

New JURORS:
Marilyn Kushner - Curator of Prints and Drawings at the Brooklyn Museum
                  of Art
Jon Ippolito - artist, Assistant Curator of Media Arts/ Guggenheim
               Museum
 
DEADLINE: May 31, 2000
Prospectus and Full Details: <http://www.asci.org/digital2000>

In conjunction with the Opening of the Exhibition on June 28th at
Central Fine Arts in SoHo, there will be a panel, The Digital Print
II, from 7-9pm immediately following the reception.

By-the-way... the Brooklyn Museum's prestigious Print Biennial in 2001
will be DIGITAL prints ONLY !!!

ASCI is a 12 year old, non-profit members organization based in NYC.
Their monthly e-publication, the ASCI BULLETIN, has become a timely
and invaluable listing of news, resources, opportunities, exhibitions,
symposia, etc. in the international field of art-sci-technology. If
you would like a Complimentary Copy or would like to send a short info
blurb for publication, email <asci@asci.org> (Send information by the
10th of the month for publication on 15th.)

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<  End of Leonardo Electronic Almanac 8(4)  >
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