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Leonardo Electronic Almanac                 Volume 8, No. 7-8
                                          July - August, 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

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
                                                                    

<  The Spirit and Power of Water: 
    A Study at the Confluence of Arts and Sciences  >
                                  by Jocelyne Rotily and Roger Malina

<  GFP Bunny  >
                                  by Eduardo Kac                                  

<  Computers and Art: Myths and Reality  >
                                  by B. M. Galeyev                                 

MONOGRAPH

<  The Souillac Conferences, 1997-1998  >
                                  Introduction by Don Foresta 
                                    and Fernando Lagrana

LEONARDO DIGITAL REVIEWS

<  This Month's Reviews  >
                                  Michael Punt
OPPORTUNITIES

<  Music Technology Instructor Needed - Northeastern University
   in Boston  >
<  UC Berkeley Media Theorist/Studio Practitioner  >


ANNOUNCEMENTS

<  Media_city Seoul 2000 - Contemporary Art and Technology Biennial  >
<  Call for papers - WSCG - Int. Conference on Computer Graphics,
   Visualization, Computer Vision and related fields  >
<  Call for Participation:  "Spirit of Water"  >
<  ISEA2000 - 10th International Symposium on Electronic Arts  >

ACKNOWLEDGMENTS
LEA WORLD WIDE WEB ACCESS
LEA PUBLISHING & SUBSCRIPTION INFORMATION

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                           ________________
                          |                |
                          |  INTRODUCTION  |
                          |________________|

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

<  This Issue  >
                                  Craig Harris, Executive Editor


Leonardo Electronic Almanac
Volume 8, Number 7 and 8
Introduction

This double issue of Leonardo Electronic Almanac covers a great deal
of territory on the media arts scene.

Jocelyne Rotily and Roger Malina announce the realization of a
multicultural and interdisciplinary three-year project focused on the
cultural and scientific contexts of water: "The Spirit and Power of
Water." The primary objective of the project is to develop and
encourage exchanges between intellectuals and artists from Africa and
from the other continents.

In "Computers and Art: Myths and Reality" Bulat Galeyev explores a
variety of myths and preconceptions when computers, progress and art
converge.

Eduardo Kac introduces Alba, the living result of his pursuit of
Transgenic Art, an art form based on the use of genetic engineering to
transfer natural or synthetic genes to an organism, to create unique
living beings. GFP Bunny, or Green Fluorescent Protein Bunny, probes
deeply into the creative and sociological issues that intersect with
this complicated terrain.

We also are bringing an extensive Monograph into the LEA Archive, The
Souillac Conferences, 1997-1998. These conferences brought the worlds
of art and industry together to explore collaborate and innovation,
and this monograph reflects the combined archive for two substantial
conferences.

And Michael Punt brings Leonardo Digital Reviews back in full force,
after a brief "sabbatical" reorganizing the LDR web site and fine
tuning the LDR process.

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                    _______________________
                   |                      |
                   |  FEATURE ARTICLES    |
                   |______________________|

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

<  The Spirit and Power of Water: 
    A Study at the Confluence of Arts and Sciences  >
                                  by Jocelyne Rotily and Roger Malina

Jocelyne Rotily
Curator
174 Bis, rue Jean Mermoz
13008 Marseilles, France
Tel: 04 91 71 70 08
E-mail: <jocelyne.Rotily@wanadoo.fr>

OLATS/VIRTUAL AFRICA , in collaboration with the RIVER FESTIVAL
announce the realization of a multicultural and interdisciplinary
three-year project focused on the cultural and scientific contexts of
water: "The Spirit and Power of Water."

 
1) Virtual Africa in a few words <http://www.olats.org>.
 
Virtual Africa is a multimedia project organized under the aegis of
LEONARD/OLATS. Its primary objective is to develop and encourage
exchanges between intellectuals and artists from Africa and from the
other continents. Designed as a large patchwork of images and texts,
with several scenarios put together and presented by experts from the
scientific and artistic fields, Virtual Africa  proposes to reflect on
the following themes:
 
_ The relations between arts and sciences.
_ The relations between ancient and contemporary arts.
_ The relations between Africa and the other continents.
 
 2/ The River Festival <http://www.olats.org/festival-eau>
 
The River Festival is a project organized by Camel Zekri and Dominique
Chevaucher. Their scope is to engage a cultural and artistic dialogue
while traveling down the biggest rivers of Africa. The Niger and
Mouhoun River were parts of their last journeys. The "River Festival"
will be on tour in France in the autumn and spring of 2001.

OLATS/VIRTUAL AFRICA in collaboration with the RIVER FESTIVAL announce
the realization of a multicultural and interdisciplinary three-year
project focused on the cultural and scientific contexts of water :
"The Spirit and Power of Water." This project will have its source in
the African continent, a land known as the cradle of the universe but
also as one of the first victims to suffer from highly critical
problems of shortage and purification of water. Starting with artistic
and scientific studies proper to the African context, we will then
extend some ramifications in the direction of the other continents in
order to examine - in the largest possible perspective - the role and
signification of water in the artistic and cultural activities of
human societies. Water, a linking substance per se, will be used in a
symbolic mode to create links between different cultures, and to open
up spaces of encounter and reflections between artists and scientists.

"The Spirit and Power of Water" will give rive to a seminar in
Vandoeuvre-les-Nancy (France), in May 2001. This encounter will gather
artists, scientists, engineers, and will allow them to present the
outcomes of their research on how water and water networks do
structure cultural, economic and political lives of African peoples
and human beings in general. In prolongation of the seminar, a series
of publications and workshops will be made accessible on the Virtual
Africa's web site. Later on, a selection of artworks and articles will
be equally published in the American arts and sciences journal
LEONARDO (published by MIT Press).


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

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


*************************************************************

<  GFP Bunny  >
                                  by Eduardo Kac                                  

Eduardo Kac
Email: <ekac@artic.edu>

My transgenic artwork "GFP Bunny" comprises the creation of a green
fluorescent rabbit, the public debate generated by the project, and
the social integration of the rabbit. GFP stands for green fluorescent
protein. "GFP Bunny" was realized in 2000 and first presented publicly
in Avignon, France. Transgenic art, I proposed elsewhere, is a new art
form based on the use of genetic engineering to transfer natural or
synthetic genes to an organism, to create unique living beings. This
must be done with great care, with acknowledgment of the complex
issues thus raised and, above all, with a commitment to respect,
nurture, and love the life thus created.

WELCOME, ALBA

I will never forget the moment when I first held her in my arms, in
Jouy-en-Josas, France, on April 29, 2000. My apprehensive anticipation
was replaced by joy and  excitement. Alba -- the name given her by my
wife, my daughter, and I -- was lovable and affectionate and an
absolute delight to play with. As I cradled her, she playfully tucked
her head between my body and my left arm, finding at last a
comfortable position to rest and enjoy my gentle strokes. She
immediately awoke in me a strong and urgent sense of responsibility
for her well-being.

Alba is undoubtedly a very special animal, but I want to be clear that
her formal and genetic uniqueness are but one component of the "GFP
Bunny" artwork. The "GFP Bunny" project is a complex social event that
starts with the creation of a chimerical animal that does not exist in
nature (i.e., "chimerical" in the sense of a cultural tradition of
imaginary animals, not in the scientific connotation of an organism in
which there is a mixture of cells in the body) and that also includes
at its core: 1) ongoing dialogue between professionals of several
disciplines (art, science, philosophy, law, communications,
literature, social sciences) and the public on cultural and ethical
implications of genetic engineering; 2) contestation of the alleged
supremacy of DNA in life creation in favor of a more complex
understanding of the intertwined relationship between genetics,
organism, and environment; 3) extension of the concepts of
biodiversity and evolution to incorporate precise work at the genomic
level; 4) interspecies communication between humans and a transgenic
mammal; 5) integration and presentation of "GFP Bunny" in a social and
interactive context; 6) examination of the notions of normalcy,
heterogeneity, purity, hybridity, and otherness; 7) consideration of a
non-semiotic notion of communication as the sharing of genetic
material across traditional species barriers; 8) public respect and
appreciation for the emotional and cognitive life of transgenic
animals; 9) expansion of the present practical and conceptual
boundaries of artmaking to incorporate life invention.


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


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


*************************************************************

<  Computers and Art: Myths and Reality  >
                                  by B. M. Galeyev                                 

B. M. Galeyev
Russia, Kazan
Email: <galeyev@prometey.kcn.ru>

The words "computer" and "progress" have become regarded as synonyms
long ago, though the development of cybernetics in our country, as it
is known, met dramatic conflicts at the beginning. But "dramas of
ideas" accompany computerization of our life permanently, even after
it's exclusive usefulness and inevitability have become obvious and
indisputable - especially when applied to technology, natural
sciences, economics, statistics, intellectual games and so on. The
situation with computer application to art/creative work appeared to
be more problematical. Here we meet some inherent prejudices and myths
that began to form since the very beginning and are present not only
in common consciousness, but also in a social one. Let's consider
these myths in their logical and historical order.

1st myth: sooner or later, computers should be able to make adequate
models of any form of human mental activity, including art forms. The
pathos of such slogans was displayed especially brightly in our
country, when after the initial persecution of cybernetics as
bourgeois false science the pendulum had swung into the opposite
position. Even humanitarians suddenly began to sing enthusiastic hymns
to expected potentialities of computer art. This forced one prominent
poet to shudder: "Any progress is reactionary, if man falls to the
ground!"

Such expectation of "Art ex machina" was, using the expression of a
French theorist in the field of cinema, A. Bazin, "most of all
bourgeois." Saying so, he had in mind cinema and photo-technique. By
his opinion, the advocates of this conception see the destination of
new technique in allowing ones "to fabricate art works, not being the
artists themselves." Let's add that the following attitudes are
"bourgeois" as well: a desire for man's liberation from "pains of
creation" by shifting them off onto the computer; i.e., an expectation
of marvelous birth of new artistic value spontaneously and practically
"from nothing." The father of cybernetics N. Wiener warned about the
dangers of such attitudes. He anticipated that there might appear new
tribes of "machine worshippers" who will gladly expect that "some
functions of their slaves can be passed to the machine." The logic of
its operation might be unknown, but still it is regarded as "reliable"
and wittingly "objective." Of course both Bazin and Wiener point out
here the position utterly humiliates both the artist and the art
itself. But "drama of ideas" is called as "drama" just because one
cannot achieve harmony immediately - harmony between question mark and
exclamation mark, between desire and possibility.

So, when researchers began to investigate the problem of "Art and
Computer", arising in aesthetics since 1950s, they met paradoxical
facts: even those machine's "creative works" (more concretely,
computer graphic compositions) which were obtained without any
artist's interference (in the process of solving pure
mathematical/engineering tasks), often were demonstrated at special
"cybernetic art" exhibitions and their beauty were widely recognized.
Especially it relates to the amazing fractal geometry patterns, that
were discovered not long ago (and would lead one to conclusion that
God was probably the first programmer with somewhat aesthetic
inclination, when He created the whole beauty of nature around us).

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

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


=============================================================
                           ___________________
                          |                   |
                          |  MONOGRAPH        |
                          |___________________|

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

<  The Souillac Conferences, 1997-1998  >
                                  Introduction by Don Foresta 
                                    and Fernando Lagrana

---------------------------
Introduction by Don Foresta
---------------------------

It is generally agreed that, throughout the 20th century, we have been
through and continue to experience a period of profound change
manifest everywhere in western civilization, socially, politically,
culturally, intellectually, philosophically and psychologically. This
transformation has been most apparent in the arts and the sciences of
our century and it is there we must look to discover the meaning of
that change and its consequences for society. These tandem sources of
knowledge have, consciously and unconsciously, been offering clues for
the past 100 years as to where we might be headed.

Every society has at its core an image of itself, a schema of how it
operates, how it defines relationships, an image of how that society
functions - an organizational space. During the course of the 20th
century that schema, for western and probably world civilization, has
changed in profound and fundamental ways from the clockwork
mechanistic universe to something not yet defined. By exploring art
and science, separately and as an ensemble, we can perhaps begin to
understand that emerging space and how it works and thereby better
understand, and possibly direct, the future evolution of our society.

The organizational space is at the same time a communication space, a
visual space, an intuitional space, the space we call imagination and
the way we see things operating. It will probably be at least another
generation or two before we have consensus on the shape of that space,
but if we are to believe what art and science have been saying, it is
probable that that space will exist in time, be an interactive process
and organised horizontally with a geometry quite different from the
euclidian geometry of renaissance perspective.

With the explosion in telecommunications potential and its eventual
merger with media, we are witnessing the creation the infrastructure
of a new interactive communication space which will inevitably grow in
importance and contain more and more of the personal space of each of
us. It is our contention that this new space is, in many ways, the
technical manifestation of the space described above. That it is the
product of the artistic and scientific revolutions of our century,
whereby art and science redefine our imaginary space and propose new
sets of relationships, adding to our philosophical and psychological
givens, time, interactivity and virtuality in a new emerging geometry.
Seeing relationships is the stuff of art and of science. The new
communication space will change our way of communicating with each
other, the perception of the world around us and how we relate to it
and to others.

The charter for art and industry that we are presenting here is a
response to that change and a recognition that we can in fact begin to
see what that new space may be through the artistic use of the
evolving tools of communication. As stated in the document, the point
of departure is the mutual recognition on the part of the art world
and industry that a profound transformation is taking place in our
society due to a radical shift in communication potential and that all
actors concerned can address the issue and examine ways of
collaboration and cooperation to assure the most beneficial use of
this new potential for all of society.

People from industry, those of the world of art, culture and
education, others responsible for government policy are all asking the
same questions about the future of this new space and what it will
mean to them and their constituencies. What decisions are to be taken
in developing this important new means of communication and for what
ends. The charter focuses on a small area of human activity, but with
partners directly concerned by the issues, and proposes the beginning
of a search for some answers to those questions.

--------------------------------
Introduction by Fernando Lagrana
--------------------------------

In an era of globalisation, I like such a name: "The Souillac
Charter." This manifesto was drafted over an extended period of time,
involving a fairly large group of people disseminated around the
planet (I should say around the network). However, this name reflects
the fact that the Charter was drafted during a short retreat (a few
days) in a very precise - and tiny - location on the globe.

Who knows Souillac? The local and regional population of course does,
as well as this group of irreducible fighters who have anchored their
reflection in an almost abandoned abbey in a really forgotten village
of Perigord. In a way, the Souillac Group shows the need for a right
balance between a global network, a global vision, and a local
identity. We need such a strong anchor, which can serve as a point of
reference in the new communication space. Souillac will remain in my
mind the point of origin to which I will often refer to navigate
safely in a network with almost no limits and a changing and
unpredictable topology.

I am probably the last infocommunication industry representative
advocating for the right to hesitate. I do promote with the same
conviction improved interactivity in networked services and
applications, and non real-time usage of this enhanced feature.
Souillac was based on this type of interactivity: we could meet and
mark a pause in a shared communication space, as Don Foresta likes
them, and think, discuss, exchange our views quietly, at the kind of
pace that I perceive as being "natural" and that I favour.

Why a dialogue between the infocommunication industry and the art
world? Because scientists have created a new reality that they can't
grasp anymore. And they know that artists excel at using new tools in
unexpected ways and at exploring new directions. The infocommunication
industry has developed communication patterns that have altered our
organisational space, as well as our relation to time. Gabriel Garcia
Marquez said once that he hated travelling by plane, because the soul
and the body couldn't travel at the same speed. Our industry has
indirectly created the netlag. It has modified the original space-time
curve and generated a new type of chaos, that even the most advanced
researchers (like Ralph H. Abraham) haven't analysed yet.

Ends of century have always provided good opportunities to stop, look
back and prepare for the future. We were very lucky because we stopped
in Souillac. We sat down. We discussed. The result is the Art-Industry
Charter, the Souillac Charter. If you are familiar with the ISOC,
consider this text as an RFC. Your comments, as one says, are most
welcome.


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


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

=============================================================
             ______________________________
            |                          	   |
            |    LEONARDO DIGITAL REVIEWS  |
            |    		    2000.08        |
            |______________________________|


Editor-in Chief: Michael Punt
Executive Editor: Roger Malina
Managing Editor: Bryony Dalefield
Web Editor: Sudhira Hay

As you may know Leonardo Digital Reviews has been on a short
sabbatical while it has restructured its organisation to respond to
the growing complexity of managing reviews and initiating new projects
in a web environment. The LDR page is now up and running again in a
SKELETON form. Sudhira Hay has been working on the basics and we will
now get an information designer to look at it as a project. In the
meantime we are slowly posting the backlog of reviews and have
produced a substantial section of reviews for the next Leonardo. At
the time of writing this editorial the contributions listed below are
posted, and we hope that by the time this copy of LEA is distributed
the number of reviews up on the site will have increased substantially
since we have a large backlog of work to process. In the meantime we
are, as ever, grateful to the panel for their sustained output of high
quality reviews during this period of reorganisation, and look forward
to some exciting opportunities for new projects to develop on the
website and in the journal.

These reviews can be read at the usual URL:
<http://mitpress.mit.edu/e-jopurnal/Leonardo/ldr.html>.

Electronic Adventures in Flamenco Lagos/Venosta/Mariani.
  Reviewed by Mike Mosher

New Music for Player PianoGodfried-Wilelm Raes, Joachim Brackx, Hans
 Roels, Kris De Baerdemacker.
  Reviewed by Mike Mosher

Strange and Charmed: Science and the Contemporary Visual Arts edited
 by Sian Ede.
  Reviewed by Jacques Mandelbrojt

Contemporary African Art by Sidney Littlefield Kasfir.
  Reviewed by Mike Mosher

Paris Leonardo Space Art Workshop March 26, 2000.
  Reviewed by Arthur Woods

Camouflage US Government, U.S.A., 1942
  Reviewed by Roy R. Behrens 

Edvard Munch in Germany, Films for the Humanities and Sciences, U.S.A.
  Reviewed by Roy R. Behrens


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

=============================================================
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 <ldr@Leonardo.org>

=============================================================
                           _________________
                          |                 |
                          |  OPPORTUNITIES  |
                          |_________________|

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

<  Music Technology Instructor Needed - Northeastern University
   in Boston  >

Dennis Miller
Email: <dhmiller@mediaone.net>
URL: <http://www.casdn.neu.edu/~dmiller>

Music Technology Instructor Needed

Northeastern University in Boston is seeking qualified instructors to
teach introductory courses in music technology. One opening is
available for Fall, 2000, but other openings may exist for courses
that run in the Winter and Spring quarters. Qualified applicants
should be directly involved in the production of music on the desktop
and should have some teaching experience.

Please contact Dennis Miller immediately if you are in the Boston area
and interested in this opportunity. (There is no relocation money
available.)  A description of the course, Computer Literacy for
Musicians, and the five-year degree program in Music Technology at
Northeastern can be found at:

<http://www.casdn.neu.edu/~Emusic/DegreePrograms/MusicTech/index.html>
(see Curriculum, then Course Descriptions.)

*************************************************************

<  UC Berkeley Media Theorist/Studio Practitioner  >

Address letters of application to:
Chair, Digital Media/Film Studies Search Committee,
Department of Art Practice
345 Kroeber Hall
University of California Berkeley, Berkeley, CA 94720.

University of California at Berkeley
Junior/Tenured Faculty Position
Media Theorist/Studio Practitioner

The Department of Art Practice and the Program in Film Studies at the
University of California Berkeley seek a media theorist/studio
practitioner for a junior level - tenure track - appointment effective
July 1, 2001. Candidates should possess a notable record of
accomplishments including: digital media research, professional
exhibitions, and scholarly publication record on issues of media
theory and the digital arts. Arts based computing expertise is
required in two or more areas: digital video and audio, design for
virtual worlds, physical computing, modeling and animation, sensing,
database, and programming for Web-based interactive environments.

Qualifications:

Distinction as a professional artist and scholar in the area of New
Media, Ph.D. or terminal degrees. University level teaching experience
and new program development.

Application Requirements:

Statement of artistic and scholarly background, educational
philosophy/approach to teaching, resume, three references including
phone numbers, mail and e-mail addresses. Support materials must
include examples of both professional studio work and scholarly
publications. Applications should contain no more than 30 pages of
written material (hard copy only), and no more than 15 minutes total
viewing time of media-based work including video, interactive media
and web-based work. Media files must be formatted for the Macintosh,
URL's listed must include on ZIP disk the necessary plug-ins needed to
view. Include SASE for return of materials.

Application Deadline:

December 15, 2000.

The University of California Berkeley is an Equal
Opportunity/Affirmative Action Employer.


=============================================================
                           _________________
                          |                 |
                          |  ANNOUNCEMENTS  |
                          |_________________|

=============================================================
<  Media_city Seoul 2000 - Contemporary Art and Technology Biennial  >

Contact information:

Tel:   82-2-772-9847
Fax: + 82-2-775-5281
Email: <inter@mediacity.seoul.kr>
URL: <www.mediaseoul.org>

Contemporary Art and Technology Biennial
September 2-October 31, 2000
Seoul, Korea

Media_city seoul is an international biennial event on view in museums
and public venues throughout Seoul that presents and explores the
convergence of technology and the contemporary arts. The theme for the
inaugural biennial, city: between 0 and 1, interprets the ways in
which the digital revolution is transcending physical boundaries of
space and time.

Artists:

Including Vito Acconci, PilYun Ahn, Chantal Akerman, Laurie Anderson,
Matthew Barney, Pierre Bismuth, Christian Boltanski, Stan Douglas,
Douglas Gordon, Dan Graham, Zaha Hadid, Bernd Halbherr, Gary Hill,
Myungseop Hong, Michel Jaffrennou, Haemin Kim, Kichul Kim, Sora Kim,
Alexander Kluge, Rem Koolhaas, Bul Lee, Sookyung Lee, Steve McQueen,
Tony Oursler, Nam June Paik, Pipilotti Rist, Danny Rozin, Ilgon Song,
SUPARTIST, Rosemarie Trockel, Bill Viola, Tamas Waliczky, Jane &
Louise Wilson, HyunJung Yu and Pei Li Zhang.

General/Artistic Director: Misook Song, Art Historian and Critic

Curators:

Barbara London, The Museum of Modern Art, New York; Jeremy Millar,
Artist and Curator, London; Hans Ulrich Obrist, Le Musee d'Art Moderne
de la Ville de Paris; Byoung Hak Ryu, Independent Curator; Shin Eui
Park, Art Historian and Critic; and, Chang Ik Jang, Magic I
Entertainment Co. Ltd.

Organizers: media_city seoul 2000 Organizing Committee

Sponsors:
Seoul Metropolitan Government
Seoul Industry Promotion Foundation

Media contact information:
<info@bluemedium.com>

*************************************************************
<  Call for papers - WSCG - Int. Conference on Computer Graphics,
   Visualization, Computer Vision and related fields  >

Prof.Ing.Vaclav Skala, CSc.
University of West Bohemia
Computer Science Dept.
Univerzitni 8, Box 314
306 14 Plzen
Czech Republic
Tel: +420-19-74 91 188
Tel.(secretary): +420-19-74 91-212
Fax: +420-19-74 91-213
e-mail: <skala@kiv.zcu.cz>
URL: <http://iason.zcu.cz/~skala>
URL WSCG:  <http://wscg.zcu.cz>

The 9-th International Conference in Central Europe on Computer
Graphics, Visualization and Computer Vision 2001, in cooperation with

EUROGRAPHICS, IFIP WG 5.10 & Computer Graphics Society

to be held in February 5 - 9, 2001 in Plzen very close to PRAGUE, the
capital of the Czech Republic.


------------------------
W S C G '2001 Conference
------------------------

Conference dates:       February 5 - 9, 2001
Deadline for authors:   October 10, 2000
Information:            <http://wscg.zcu.cz>

Accepted papers will be published in the Conference proceedings with
ISBN and processed by INSPEC, ISI, Cambridge Scientific Abstracts and
others for citations index.


Topics included

Fundamental algorithms, rendering and visualization, computer vision,
pattern recognition and image processing, virtual reality, medical
imaging, geometric modelling and fractals, parallel and distributed
graphics, computational geometry, graphical interaction and standards,
object-oriented graphics, WWW technologies,  animation and multimedia,
computer aided geometric design, CAD/CAM, DTP and GIS systems,
educational aspects of related fields, usage of graphics within
mathematical software (Maple, Mathematica, MathCAD etc.) in education.

Papers on all aspects of computer graphics are encouraged.

The program includes international books exhibition and video show,
too.

--------------------------------------
W S C G '2001 International Exhibition
--------------------------------------

The WSCG Exhibition will be held in parallel. Top leading European and Czech
companies active in computer graphics, visualization and computer vision,
CAD/CAM  and GIS systems, virtual reality, multimedia systems and others
will be presenting their latest products.

Special programme will be available, too.

*************************************************************
<  Call for Participation:  "Spirit of Water"  >

 For more information on the project, please, contact :
 
Jocelyne Rotily
174 Bis rue Jean Mermoz
13008 Marseilles. France.
Email: <jocelyne.Rotily@wanadoo.fr>

CALL FOR PARTICIPATION : "THE SPIRIT AND POWER OF WATER"
A study at the confluence of arts and sciences
 
OLATS/Virtual Africa <http://www.olats.org/africa/avva.shtml>, in
collaboration with the River Festival
<http://www.olats.org/festival-eau> announces the realization of a
multicultural and interdisciplinary three-year project focusing on the
cultural and scientific contexts of water: "The Spirit and Power of
Water." This project will originate in the African continent, a land
known as the cradle of the universe but also recognized as one of the
first victims of highly critical problems of shortage and purification
of water. Starting with artistic and scientific studies in the African
context, we will extend some ramifications so that other continents
can examine the role and signification of water in the artistic and
cultural activities of human societies. Water, a linking substance per
se, will be used symbolically to link different cultures and to
initiate dialogue and reflection between artists and scientists.

Water has always held a privileged place in men's imagination and
artistic creation. In Africa like  anywhere else in the world,  water
is very often seen like a living substance inhabited by spirits, by
supernatural beings that men have imagined to explain natural
phenomena and some aspects of the human condition. Around the
ambivalent and extraordinary world inherent in water, some myths,
legends fairy tales, ritual religious practices have crystallized.

On the basis of these quasi-universal cultural representations,
associating water with spirituality, with wonder and imagination, a
body of studies and workshops (on-line and off-line) are proposed.
These events will examine the cultural and artistic representations
linked to water, in their complexities and diversities, both in Africa
and on the other continents.
 
Hence, the terms of an esthetic study on water is posed. Water, as
will be verified, has its own esthetic characteristics, its own
imagination, and, as such, is an endless source of inspiration for all
the artists in the world.

Artists whose work is/has been inspired by the water theme are
strongly encouraged to participate in this special event. All medias
and artistic trends will be represented.

A selection of artworks and articles will be equally published in the
American arts and sciences journal LEONARDO (published by MIT Press).

*************************************************************
<  ISEA2000 - 10th International Symposium on Electronic Arts  >

ISEA2000 - REVELATION
10th International Symposium on Electronic Arts
Paris, France - December 7-10, 2000 

(to receive a more detailed program and/or to register)
ART3000
156 Avenue de Verdun 
92130 Issy-les-Moulineaux France 
Tel.: 33 (0)1 46 48 66 36 
Fax: 33 (0)1 46 48 66 59 
Email: <isea2000@art3000.com>
URL: <http://www.art3000.com>

After Utrecht, Groningen, Sydney, Minneapolis, Helsinki, Montreal,
Rotterdam, Chicago, and Liverpool/Manchester, the tenth edition of the
International Symposium on Electronic Art (ISEA) will be held in
France in December of 2000, uniting participants from over 30
countries. Under the theme of Revelation, ISEA 2000 will explore the
effects of the technological revolution on art and its impact on
society through new forms of representation, such as digital imaging,
multimedia, the virtual, interactive installations and networks. ISEA
2000 will focus on the transformations and the challenges that exist
in the visual arts, the performing arts, music, imaging, architecture
and design, while highlighting how these new tools generate artistic
expression intrinsic to digital culture.

ISEA 2000 includes: 

An International Symposium at the Forum des Images from December 7th
to the 10th which will bring together over 2000 artists, educators,
researchers and industry experts.

A series of artistic events organized by various groups in and around
Paris, including: Batofar, Bibliotheque nationale de France, the
Canadian Cultural Centre, Centre d'art d'Ivry (CREDAC), Centre Georges
Pompidou, Centre National de la Danse, CICV Pierre Schaeffer, Divan du
Monde, Espace Landowski (Boulogne), Institut Goethe, Institut
Finlandais, IRCAM, Project Cafe MK2, Universite Paris 8-CIREN, Web
Bar, les Nuits Savoureuses (Belfort), Monaco Danse Forum, De Visu
(Brest), Mix Move (Paris), ACROE (Grenoble), Intersenses (Marseille). 

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<  End of Leonardo Electronic Almanac 8(7-8)  >
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